While celebrity collectibles have been a good investment for years, guitars themselves have largely been overlooked. However, the guitar was perfected between the 1930s and the 1960s, depending on the model, and instruments from this period are highly regarded. Some people think that in fifty to a hundred years, guitars from the mid 20th century will be thought of in the same way as violins and cellos from the 17th and 18th century.

The appeal of any guitar grows over time, and there hasn't yet been a period when the market sank. That makes a vintage guitar a great investment choice, as well as a visually and emotionally rewarding collectible. There's nothing like being able to say that you own the guitar once played by a legend.

Values only continue to go up, too. While a 1959 Fender Sunburst Stratocaster, one of the most famous types of guitar, originally cost about $250, it brought between eight and nine thousand dollars in 1997. Today, you might have to pay seventeen thousand for a model with a slab fingerboard.

Recent stock market unpredictability has meant that people are more interested in guitar collecting. These vintage instruments are a great type of protected investment. For collectors who want to cover all the bases, consider a varied collection - acoustic, electric, exotic, antique, vintage, contemporary and even custom guitars.

Over the past couple of years the vintage guitar market has taken a hit here and there but overall has proven to be a sound investment for most. The experts say that when inflation accelerates and the dollar shrinks collectibles prove to be a good place for your money.

People are starting to realize how much these instruments from the 50's 60's, and 70's really meant to our culture.

There is a very limited supply and there still seems to be a high demand for these pieces of history which has proved to be a good choice for those who have invested in these instruments, such as the Gibson Les Pauls' and Fender Telecasters and Stratocaster's from the same era. (50's, 60, and 70's).

A good place to start collecting vintage guitars as an investment would be to focus your research on obtaining guitars from the list below. This list includes that have been inducted into Vintage Guitar Magazine’s Hall of Fame. There are, of course, other lists and other guitars worth investing in, but this is certainly a great place to begin.

In the coming weeks, I will be featuring each of the exquisite instruments in detail. This information will prove useful in your search for vintage guitars that will provide a good return on your investment.

Gibson SG Standard

Inducted in 2009
By 1960, declining sales of the Les Paul model had Gibson looking to revamp the guitar. So the company gave it a radically redesigned, much thinner (and lighter!) body intended to better compete with Fender's Strat. But the things that made up its very heart and soul - especially its humbucking pickups - remained. Today, the early-'60s version is a true classic.

Gibson Les Paul Model (Goldtop)

Inducted in 2008
Les Paul tried for years to convince Gibson it needed a solidbody in its line. Finally, Ted McCarty brought a single-cut experiment guitar to Les for his approval. Though its origianl bridge/tailpiece was far from perfect, the instrument served as Gibson's test bed through the '50s. Eventually, it reached the pinnacle among guitars and today sits among the top collectibles.

Gibson J-45

Inducted in 2007
Martin's "dreadnought" flat-tops were big and dominated the guitar market of the 1930s. By the early '40s, Gibson knew it needed a big flat-top to compete, and he J-45 ("J" for Jumbo, "45" indicating its price in dollars) was it. A 16" round-shoulded flat-top, even in the tough times of its launch, it received a very warm welcome and has ever since remained one of - if not the - most popular Gibson guitars.

Fender Jaguar

Inducted in 2006
Jumping on the speeding Fender bandwagon in 1962, it helped the company stay on top throughout the decade, with its fancy new vibrato tailpiece, sophisticated electronics, and (usually) a funky custom color. If you played instrumental rock at the time, you either had one of these or you were probably ignored!

Gibson ES-5

Inducted in 2006
One of the first guitars built after Ted McCarty took charge of Gibson, it helped solidify the company's position as the world's preeminent electric archtop maker. Today, its late-'50s variant with three PAF humbuckers and Switchmaster tone control is one of the most collectible of its ilk.

National Tri-Cone series

Inducted in 2005
Its warm, sustaining tone emanates from three aluminum "resonators" designed to help guitarists stand out in big-band or orchestra settings. But, soon after being introduced, Nationals were adopted by Hawiian and blues players. Today, the Tri-Cone produces what many consider the ultimate acoustic blues tone.

PRS Custom

Inducted in 2004
The first production instrument from a company that has become the guitar's preeminent modern success story.

Gretsch White Falcon

Inducted in 2004
Like many great guitars, it has evolved through several versions. But it has been a classic since day one, for both it sound and utterly unique aesthetic.

The 1954-'56 Gibson Les Paul Custom

Inducted in 2003
Can you say "Black Beauty?" Though Gibson didn't give it the name, Les Paul himself chose black as the secondary color for the guitar bearing his moniker. Gibson did, however, use it to experiment with a three-pickup configuration and to introduce its famed Alnico-magnet pickup.

Fender Jazzmaster

Inducted in 2002
Designed and marketed by Leo to cut into Gibson's jazz market, it supplanted the Strat at the top of Fender's line in 1958. And though its sound kept it from catching on with jazzers, garage surf bands of the day ate it up. It is one of the most copied solidbody designs of all time.

Gibson SJ-200

Inducted in 2002
A landmark amongst acoustic flattops, the SJ-200 was designed for cowboy guitarist Ray Whitley, and any cowboy worth his salt played one. Its popularity carried over to other genres, and never faded. From its jumbo-sized, sunburst-finished body to its ultra-fancy pickguard, bridge, and headstock, it was considered the consummate flat-top. Just ask Emmylou!

Gibson ES-150

Inducted in 1999
Gibson's first electric Spanish guitar was also the first good-quality electric to hit the market. Favored by Charlie Christian, it housed Gibson's first pickup, which is still in high demand and considered a classic.

Martin D-45

Inducted in 1998
Originally the fanciest of Martin's innovative dreadnought line. If you had one of the 96 made in the 1930s and early '40s, your net worth would be considerably higher than it is now.

Rickenbacker 360/12

Inducted in 1997
It was good enough for George Harrison and gave us the "jingle jangle" of Roger McGuinn. That's more than enough for the 360/12 to be the only 12-string in the VG HoF.

Gibson Flying V

Inducted in 1996
One of the most distinct guitar designs ever created, but it wasn't a hit when it came out in 1958. Rock and rollers discovered it the late '60s and the V still makes a unique statement today.

Gretsch 6120

Inducted in 1996
If you play rockabilly, you better have one of these! Introduced as the Chet Atkins Hollowbody in '54, the 6120 soon shed the "G" brand and western inlays of the early versions, but never lost the Western Orange finish or the cool twang.

Fender Jazz Bass

Inducted in 1995
With its two specially designed pickups, offset waist, and slimmer, narrower neck, the Jazz Bass was intended to be the more tonally diverse, slicker-playing descendant of the Precision. The fact it was available in Fender custom colors (often with matching headstock) makes it all the more cool.

Gibson L-5

Inducted in 1994
Introduced in 1922 and with a design guided by the legendary Lloyd Loar, the L-5 was the first modern archtop guitar. Initially a non-cutaway acoustic, the L-5 went through many changes, ultimately becoming a single-cutaway with two humbuckers.

D'Angelico New Yorker

Inducted in 1993
George Gruhn said of it in the March 2000 issue of Vintage Guitar, "The New Yorker is significant due to its superb quality and aesthetic artistic appeal," and is "one of the finest guitars in the history of the instrument."

Gibson Super 400

Inducted in 1993
Introduced in 1934, with its 18" body and deluxe features, the Super 400 was the largest and most expensive guitar in the Gibson line. Its influence was soon apparent in the designs of many of the great archtops built by others. Whether the earlier non-cutaway acoustic version or the later double-pickup cutaway, it remains a true work of art.

Fender Precision Bass

Inducted in 1992
The first bass in the VG Hall, and why not, it only forever revolutionized how the bass was played. One of the most innovative ideas in modern music history.

Gibson ES-335

Inducted in 1992
Born during Gibson's "golden era," the semi-hollow body ES-335 wedded archtop looks with solidbody performance. Whether it has dot inlays or blocks, it remains one of the coolest designs in guitardom.

Martin D-28

Inducted in 1991
The first acoustic in the VG Hall, the D-28 launched Martin's line of incredible big and loud dreadnoughts in 1931. The D-28 has inspired many guitarists and builders, and remains one of Martin's most popular models.

Fender Telecaster

Inducted in 1991
Leo Fender's timeless classic is about as simple as an electric guitar can be, but still has the magic to appeal to guitarists playing just about any style of music. Every guitar player has a Telecaster (or should). Along with the Strat and Les Paul, the Tele is among the most popular designs around.

Fender Stratocaster

Inducted in 1990
The VG Hall of Fame was started in 1990 and we had little doubt the Strat would be among the first instruments selected for inclusion by our readers. Three single-coils, a vibrato (usually), and that great contoured, offset-double-cutaway body. Some 50 years after its introduction, it is still one of the most popular designs.

Gibson Les Paul Standard ('Burst)

Inducted in 1990
Also an easy first-year selection, LP Standard was introduced with a sunburst finish in 1958, and the '58 to'60 models are the most valuable vintage solidbody guitars. The Les Paul Standard is a classic no matter what finish it bears.

Well, you could always go to your local music store and get an estimate. You may learn a few things there. But, what do you know about their background and expertise? About their honesty? Well without saying too much negative about the local music stores, I will just say most of them are not experts in this field and probably are basing quotes on local pricing values and their limited knowledge, not qualifying them as an expert.

There are also books and websites! If you plan on using a book or website, most importantly look at the year it is published. Old information and old price estimates or quotes is about worthless. The older the more useless, because the vintage acoustic guitar and vintage electric guitar are like classic and antique cars. The value is based on many different factors. To begin with the year, the make, and the model. Then of course, is this a limited number or limited edition, or special version. Is this a special order item or mass produced or a small production or limited number quality.

And the Quality, of course the closer to perfect condition and like new the more valuable in most eyes. But, on the other hand, an antique guitar in original condition such as original parts and paint and scratches, scuffs, pings, dents, etc would be worth much more than one that had been restored repaired and repainted to look like new. Even worse would be updating the parts to new type or something other than OEM (Original Equipment Manufacturer) It is usually worth more 100% original or as close as possible. Keep the instrument original!

Most important factor in determining value is the demand. No matter the condition or age or other qualities, if there is not a demand for the vintage acoustic guitar and vintage electric guitar then the value is down no matter the age or rareness or other factor or quality. I has to be a vintage guitar that is in demand, one that people are willing to pay for! Either because of actual value or perceived value due to demand! It is worth what someone is willing to pay! Based on these many factors and what part of the United States you are in or what part of the World you are in. And the value or perceived value there!
So, how do we know? Like classic and antique cars, all these factors are broken down and took into consideration and put in book form. These books are like a car blue book, not precise, especially for the older, rarer, and more in demand, etc. But the book is just an estimate based on the market value and sometimes the location too, just to give a starting point and a ball park value or perceived value! It really pays to use the book as starting point and then do your homework! Do all the research so you will know exactly what you got! And what it is worth! Whether you are buying or selling you don’t want to find out later that you didn’t make a fair deal, because you didn’t know or take the time to do your homework. Knowledge is power.

Of course sometimes on non vintage valuable guitars it is worth restoring, repairing and even customizing! Depending on value, needs, and wants. Value is truly perceived and rarely a set price. ONLY ballparks!

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All Martin guitars since 1898 (except solidbody electrics from the 1970s, basses, and tiples) are numbered in consecutive order. Ukuleles do not have serial numbers. Mandolins use a different serial number system than guitars. Martin guitar serial numbers start at 8000 in 1898 because Martin estimated they made 8000 instruments before 1898.

Model Numbers stamped above the Serial Number starting in 1930.
Starting in October 1930, Martin also stamped the model number just above the serial number. Martin model numbers are straight forward too. The first set of characters are the body size. Next there is a "-". The last set of numbers are the ornamention style.

For example, "OO-28" stamped above the serial number tells use the body is "OO" size (14 5/16" wide for a 14 fret model, 14 1/8" wide for a 12 fret model), and the ornamention style is "28" (rosewood body, ice cream cone style neck).

Left: The model and serial numbers, as seen through the sound hole on the neck block of this 1950 D-28. Prior to October 1930, the model is NOT stamped on the neck block (you have to figure it out yourself!).
Right: The model and serial numbers, as seen through the sound hole of this 1944 D-18, serial number 90067. Notice the "1" in the "18" does somewhat look like a "2". This confuses a lot of people who think their style 18 guitar is a style 28. Also the "D" is sometimes confused for an "0".

On round hole martin guitars, the serial and model numbers are stamped on the neck block inside the instrument. The number can be seen by looking inside the sound hole. Look at an angle towards the neck. All f-hole Martin archtops have their serial and model numbers stamped on the inside center of the backstripe.

The numbers listed here show the LAST serial number produced for that year. Martin produced all guitar serial number sequentially. These serial number apply to all Martin guitars, flat top and arch top. It does not apply to ukes (except for the first year, they do not have a serial number). Does not apply to Martin mandolins either (they have their own serial number system).

Year    Serial# Range (produced)      Year    Serial# Range (produced)

----    ------------------------      ----    ------------------------

1898    8001-8349 (347)               1950    112962-117961 (4999)

1899    8350-8716 (367)               1951    117962-122799 (4837)

1900    8717-9128 (411)               1952    122800-128436 (5636)

1901    9129-9310 (181)               1953    128437-134501 (6064)

1902    9311-9528 (217)               1954    134502-141345 (6843)

1903    9529-9810 (281)               1955    141346-147328 (5982)

1904    9811-9988 (177)               1956    147329-152775 (5446)

1905    9989-10120 (131)              1957    152776-159061 (6285)

1906    10121-10329 (208)             1958    159062-165576 (6514)

1907    10330-10727 (397)             1959    165577-171047 (5470)

1908    10728-10883 (155)             1960    171048-175689 (4641)

1909    10884-11018 (134)             1961    175690-181297 (5607)

1910    11019-11203 (184)             1962    181298-187384 (6086)

1911    11204-11413 (209)             1963    187385-193327 (5942)

1912    11414-11565 (151)             1964    193328-199626 (6298)

1913    11566-11821 (255)             1965    199627-207030 (7403)

1914    11822-12047 (225)             1966    207031-217215 (10184)

1915    12048-12209 (161)             1967    217216-230095 (12879)

1916    12210-12390 (180)             1968    230096-241925 (11829)

1917    12391-12988 (597)             1969    241926-256003 (14077)

1918    12989-13450 (461)             1970    256004-271633 (15629)

1919    13451-14512 (1061)            1971    271634-294270 (22636)

1920    14513-15484 (1335)            1972    294271-313302 (19031)

1921    15485-16758 (909)             1973    313303-333873 (20570)

1922    16759-17839 (1080)            1974    333873-353387 (19513)

1923    17840-19891 (2051)            1975    353388-371828 (18440)

1924    19892-22008 (2116)            1976    371829-388800 (16971)

1925    22009-24116 (2107)            1977    388801-399625 (10824)

1926    24117-28689 (4572)            1978    399626-407800 (8174)

1927    28690-34435 (5745)            1979    407801-419900 (12099)

1928    34436-37568 (3132)            1980    419901-430300 (10399)

1929    37569-40843 (3274)            1981    430301-436474 (6173)

1930    40844-45317 (4473)            1982    436475-439627 (3152)

1931    45318-49589 (4271)            1983    439628-446101 (6473)

1932    49590-52590 (3000)            1984    446102-453300 (7198)

1933    52591-55084 (2493)            1985    453301-460575 (7274)

1934    55085-58679 (3594)            1986    460576-468175 (7599)

1935    58680-61947 (3267)            1987    468176-476216 (8040)

1936    61948-65176 (3228)            1988    476217-483952 (7735)

1937    65177-68865 (3688)            1989    483953-493279 (9323)

1938    68866-71866 (3000)            1990    493280-503309 (10032)

1939    71867-74061 (2194)            1991    503310-512487 (9177)

1940    74062-76734 (2672)            1992    512488-522655 (10167)

1941    76735-80013 (3278)            1993    522656-535223 (12567)

1942    80014-83107 (3093)            1994    535224-551696 (16472)

1943    83108-86724 (3616)            1995    551697-570434 (18737)

1944    86725-90149 (3424)            1996    570435-592930 (22495)

1945    90150-93623 (3473)            1997    592931-624799 (31868)

1946    93624-98158 (4534)            1998    624800-668796 (43996)

1947    98159-103468 (5309)           1999    668797-724077 (55280)

1948    103469-108269 (4800)          2000    724078-780500 (56422)

1949    108270-112961 (4691)          2001    780501-845644 (65143)

----    ------------------------      ----    ------------------------

Year    Serial# Range (produced)      Year    Serial# Range (produced)

Important Serial Number Milestones.

• 439xx to 44362: October 1930 first time both the body size & style number stamped on neckblock above the serial number (exact serial number change unknown).
• 57305 = T frets first used and T bar first used (1934)
• 59044-61181 = Martin stamp in back of peghead discontinued (1935)
• 72740 = Change in nut width on 14-fret models from 1 3/4" to 1 11/16" (late 1939) on all non-slotted peghead models. Style 17 models with 14-fret body may have changed earlier.
• 80585 = Ebony neck reinforcement started to be implemented during WW2 (1942)
• 83107 = Last pre-WW2 style 45 guitar (1942).
• 89926 = According to Martin, this is the approximate last scalloped braced guitar made (late 1944). Though some models have been seen after this number with scalloped braces, and before this number with tapered braces. (For example #90014 appears to be the last D28 with scalloped braces, and D-28 #88112 had tapered braces.)
• 90021 = Snowflakes on D28 discontinued (1944). This is an approximate serial#.
• 98223 = Last style 28 guitar made with Herringbone trim (early 1947).
• 99992-100240 = Last style 28 guitars made with a "zipper back" center seam (mid 1947).
• 197207 = Bridge pin holes moved back 1/16" (1964).
• 200601 = short saddle bridge (1965).
• 205251 = 102C Grover machines on all "D" guitars (1965).
• 211040 = Boltaron bindings on D-28 and D-35 (1966).
• 212100 = Boltaron bindings on D-18 (1966).
• 213775 = Boltaron rosettes (1966).
• 215253 = New tape strips on sides (1966).
• 216736 = Bridge pin holes moved to center (1966).
• 217215 = Tortoise guards discontinued (1966).
• 220467 = Last hand stamped serial/model numbers (1967).
• 224079 = Kluson K324 tuners on all style 18 models (1967).
• 226969 = Grover v100 tuners on all 0,00,000 models (1967).
• 228246 = Square truss rod bar on D models (1967).
• 235586 = Rosewood bridgeplates on all guitars (1968).
• 242454 = Larger rosewood bridgeplates on all guitars (1969).
• 254497 = Last style 28 guitar made with Brazilian rosewood (late 1969).
• 254498 = East Indian rosewood introduced (1969, a model D-21).
• 255717 = First D-41 model with Indian Roseood.
• 256366 = First D-45 model with Indian Rosewood.
• 350287 = Plastic saddles on D-18 models (1975).
• 355357 = Plastic saddles on D-28 models (1975).
• 360970-365831 = Rosewood vertical sidestrips (1975).
• 370976 = Micarta nuts and saddles (1975).
• 447004 = Self-adhesive pickguard trial (1984).
• 447501 = Last glued-down pickguard in regular production (1984).
• 453181 = Adjustable truss rods gradually implemented (1985).
• 478093 = Maple bridgeplates on all guitars (1988).
• 737277 = Last HD-28LSV with an Adirondack top (2000). Sitka spruce was used in regular production thereafter.