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D’Aquisto Blonde Guitar By Hagstrom 1969 Serial # 743442
Estimated price for orientation: 1 395 $
Category: Electric Guitar
Class:
Description Condition: Used: An item that has been used previously. The item may have some signs of cosmetic wear, but is fully operational and functions as intended. This item may be a floor model or store return that has been used. See the seller’s listing for full details and description of any imperfections. See all condition definitions- opens in a new window or tab ... Read moreabout the condition Brand: D'Aquisto String Configuration: 6 String Body Type: Semi-Hollow Country/Region of Manufacture: Sweden
D’Aquisto Blonde Guitar By Hagstrom 1969 Serial # 743442 Jimmy Hagstrom /D’Aquisto Blonde This is number 442 of only 480 made in 1969 from the first and the only run in the 1960,s. The Hagstrom Jimmy was designed for Hagstrom by famous American luthier James D´Aquisto who is considered one of the greatest builders of archtop guitars. The guitar is all original, and in good order original frets are still in good condition. Hollow 16" body with a bound ebony fretboard and features the large, asymmetrical D´Aquisto-style headstock. A fine playing guitar who delivers a variety of sounds from crispy trebles to throaty, jazzy basses. Only 480 f holeJimmy models where built between 1969 and 1976! Comes with poor-average condition an OHSC. Technical. Details: Body: 16" Birch hollow-body, single cutaway, Neck: 2-piece birch / set-neck, Headstock: asymmetrical D´Angelico style, Fretboard: bound Ebony with pearl dot inlays, Frets: 20 original vintage style, Pickups: 2x hum bucking PUs, Controls: 2x Vol, 2x Tone, 3- way toggle ,3-way toneswitch Scale: 625mm, Bridge: adj. micromatic bridge, Tailpiece: Hagstrom cast trapeze tailpiece, Tuners: 6x closed, - See more at: http://www.vintageandrare.com/product/Hagstrom-Jimmy-1972-Sunburst-56672#sthash.DoovF2J0.dpuf - See more at: http://www.vintageandrare.com/product/Hagstrom-Jimmy-1972-Sunburst-56672#sthash.DoovF2J0.dpuf This custom semi-acoustic guitar with Venetian cutaway has been designed by one of the world’s finest guitar makers: James L. D’Aquisto. Laminated birch top back and side. Ebony fingerboard with block inlays. Laminated birch neck with H-rod construction. Arched top with oval sound hole. NOHC It has a very nice straight neck with great frets. It's all original and 100% complete. It's in excellent condition 9.9 /10 with extremely minor surface wear. Everything remains structurally sound with no cracks, breaks, or repairs. All electronics work and sound great Besides making some of the most beautiful and interesting guitars and stringed instrument Jimmy D’Aquisto had created a guitar in 1975 for Hagstrom that was a beauty. Following the Hagstrom collaboration, Fender hired him to design some of the nicest archtops that the company ever produced. Couple of good reads here ...
http://lance-bebopspokenhere.blogspot.co.uk/2009/08/story-of-hagstrom-james-l-daquisto.html https://www.gbase.com/gear/hagstrom-daquisto-jimmy-oval-1977-sunburst#sthash.XMDOGZ86.dpuf Michael Wright that great author of many fine publications sums up here what is a fascinating read In the world of archtop guitar making, the legendary luthier James L. D’Aquisto (1935-’95) is considered one of the greats. A jazz guitarist, D’Aquisto was an apprentice to perhaps the greatest archtop maker of all time, New York’s John D’Angelico, from 1952 until the luthier’s death in 1964. Toward the end, D’Aquisto was essentially making all D’Angelico guitars and eventually D’Aquisto struck out on his own. Today, his creations are desirable (and expensive). However, like many another famous luthier, there were some periods in his career when D’Aquisto worked with a large company to design guitars intended to be factory-produced. For D’Aquisto, those companies were Hagstrom and Fender. D’Aquisto’s first venture into such an arrangement began circa 1968, when the Hagstrom company of Sweden recruited him to design a line of arch top jazz guitars for them. Ironically, most of us associate Hagstrom with those little double-cutaway guitars covered in vinyl with plastic “swimming pool” pickup assemblies. Great necks, but a little goofy. However, below the surface you’ll find some sophisticated and interesting guitars, many of surprisingly good quality. By the early ’60s, the company was making the Corvette and Impala, with some of the first heelless neck joints (and the pastel “vegematic” controls were a definite plus!). Hagstrom struck again in the early ’70s with the ribbon mahogany, single-cutaway Swede that picked up an endorsement by Larry Coryell. But perhaps the piéce de resistance of the Hagstrom run was their electric/acoustic archtop, the Jimmy, designed by D’Aquisto. The Jimmy debuted in ’69 as a downsized archtop with 16″ body that was narrower and thinner than a full-sized jazzbox. It had an arched (not carved) laminated spruce top, unbound f-holes, birch body and neck, and bound rosewood fingerboard. It also featured the asymmetrical D’Aquisto-style head with a large pearl inlay, twin pickups, a small, thin D’Aquisto-style two-point Florentine pickguard, and a large cast “harp” trapeze. Most models had pearl dot inlays; it’s not clear if some had blocks. They were made in blond and sunburst. Although 480 Jimmys were produced in the initial run, they were more in the nature of prototypes because Hagstrom intended to farm out production to the Swedish Bjarton factory. But before it could happen, Bjarton closed its doors. In any case, the late 1960s was not a great era for guitar sales. Valco/Kay went out of business in ’68, followed by Danelectro in ’69. So Hagstrom stopped the project. But it didn’t abandon the dream; D’Aquisto’s headstock was used on the Swede and Hagstrom’s Viking thinlines in the early ’70s. In ’76, Hagstrom called for D’Aquisto’s help again, to make a few refinements, and get the line into production. Hagstrom reintroduced the original Jimmy, with a slightly more conventional pickguard and pearl block inlays. Bodies were laminated birch, with a two-piece birch neck flanking a mahogany strip. Tuners were Grover Imperials with the groovy stairstep button. The Jimmy was available in Cherry, Sunburst, Golden Sunburst, White, and Natural. These Hagstrom Jimmys are fine-playing guitars, delivering a range of tones from crisp trebles to a throaty, jazzy bass on the neck pickup. The pickups are not as hot as those on contemporary American guitars, but these were not intended for producing tons of volume and distortion. The workmanship is excellent. As you’d expect on a Hagstrom, the neck has a very thin profile. The 16″ body is very comfortable. You can’t compare it to an acoustic jazz box, but it was, after all, designed both for production and amplification, and the guitar delivers for either electric jazz or fusion. Between 1976 and ’79, a little more than 1,200 f-hole Jimmys were built. The f-hole Jimmy was joined by another D’Aquisto-designed model in ’77. Basically this Hagstrom Jimmy was identical except that instead of f-holes it sported an oval soundhole. These are actually much rarer birds than the guitar shown, since only a little more than 350 were produced by the time the model ended in 1979. In ’78, the venerable double-cutaway Viking thinline was also identified as being part of the D’Aquisto legacy. It had already incorporated the D’Aquisto headstock, so why not? Whether or not D’Aquisto was actually hands-on involved with these is unknown. These Jimmy Vikings also lasted only through ’79. Jimmy D’Aquisto’s second cooperative venture with a big company was to design part of the Fender 1984 Master Series. The Masters included the chambered solidbody Esprit and Flame, designed by Dan Smith, and the D’Aquisto archtop. These were conceived as set-necks that would compete with Gibson. They were originally to be made in Fullerton, but a reality check shifted production to Fuji Gen Gakki, the Japanese factory known for producing Ibanez (and Fender Japan). Made of flamed maple instead of birch, the Fender D’Aquistos had a lot in common with the earlier Hagstroms, including an almost identical body and the Florentine pick-guard. The head featured an extended open book design instead of D’Aquisto’s French curve, announcing the challenge to Gibson. Instead of the large cast tailpiece, Fender D’Aquistos had a carved ebony violin-style tail. Two models were produced, the Elite (with an ebony fretboard, block inlays, and one Schaller D’Aquisto humbucker in the neck position) and the Standard, with a rosewood ‘board and two humbuckers. Both were identified as D’Aquistos with an engraved headstock inlay. Neither the Hagstrom Jimmy nor the Fender D’Aquisto are really D’Aquisto guitars, because he merely designed them. But from another perspective, they really are D’Aquistos because he designed them. Both brands are esteemed by players and have devoted fans. They will be dramatically less expensive than a D’Aquisto-made D’Angelico or a handmade D’Aquisto. Still, they’re a significant part of a minor chapter in guitar history… and a little piece of the Jimmy D’Aquisto heritage.
Description
| Condition: | Used: An item that has been used previously. The item may have some signs of cosmetic wear, but is fully operational and functions as intended. This item may be a floor model or store return that has been used. See the seller’s listing for full details and description of any imperfections. See all condition definitions- opens in a new window or tab ... Read moreabout the condition | Brand: | D'Aquisto |
| String Configuration: | 6 String | Body Type: | Semi-Hollow |
| Country/Region of Manufacture: | Sweden |
D’Aquisto Blonde Guitar By Hagstrom 1969 Serial # 743442 Jimmy Hagstrom /D’Aquisto Blonde This is number 442 of only 480 made in 1969 from the first and the only run in the 1960,s. The Hagstrom Jimmy was designed for Hagstrom by famous American luthier James D´Aquisto who is considered one of the greatest builders of archtop guitars. The guitar is all original, and in good order original frets are still in good condition. Hollow 16" body with a bound ebony fretboard and features the large, asymmetrical D´Aquisto-style headstock. A fine playing guitar who delivers a variety of sounds from crispy trebles to throaty, jazzy basses. Only 480 f holeJimmy models where built between 1969 and 1976! Comes with poor-average condition an OHSC. Technical. Details: Body: 16" Birch hollow-body, single cutaway, Neck: 2-piece birch / set-neck, Headstock: asymmetrical D´Angelico style, Fretboard: bound Ebony with pearl dot inlays, Frets: 20 original vintage style, Pickups: 2x hum bucking PUs, Controls: 2x Vol, 2x Tone, 3- way toggle ,3-way toneswitch Scale: 625mm, Bridge: adj. micromatic bridge, Tailpiece: Hagstrom cast trapeze tailpiece, Tuners: 6x closed, - See more at: http://www.vintageandrare.com/product/Hagstrom-Jimmy-1972-Sunburst-56672#sthash.DoovF2J0.dpuf - See more at: http://www.vintageandrare.com/product/Hagstrom-Jimmy-1972-Sunburst-56672#sthash.DoovF2J0.dpuf This custom semi-acoustic guitar with Venetian cutaway has been designed by one of the world’s finest guitar makers: James L. D’Aquisto. Laminated birch top back and side. Ebony fingerboard with block inlays. Laminated birch neck with H-rod construction. Arched top with oval sound hole. NOHC It has a very nice straight neck with great frets. It's all original and 100% complete. It's in excellent condition 9.9 /10 with extremely minor surface wear. Everything remains structurally sound with no cracks, breaks, or repairs. All electronics work and sound great Besides making some of the most beautiful and interesting guitars and stringed instrument Jimmy D’Aquisto had created a guitar in 1975 for Hagstrom that was a beauty. Following the Hagstrom collaboration, Fender hired him to design some of the nicest archtops that the company ever produced. Couple of good reads here ...
http://lance-bebopspokenhere.blogspot.co.uk/2009/08/story-of-hagstrom-james-l-daquisto.html https://www.gbase.com/gear/hagstrom-daquisto-jimmy-oval-1977-sunburst#sthash.XMDOGZ86.dpuf Michael Wright that great author of many fine publications sums up here what is a fascinating read In the world of archtop guitar making, the legendary luthier James L. D’Aquisto (1935-’95) is considered one of the greats. A jazz guitarist, D’Aquisto was an apprentice to perhaps the greatest archtop maker of all time, New York’s John D’Angelico, from 1952 until the luthier’s death in 1964. Toward the end, D’Aquisto was essentially making all D’Angelico guitars and eventually D’Aquisto struck out on his own. Today, his creations are desirable (and expensive). However, like many another famous luthier, there were some periods in his career when D’Aquisto worked with a large company to design guitars intended to be factory-produced. For D’Aquisto, those companies were Hagstrom and Fender. D’Aquisto’s first venture into such an arrangement began circa 1968, when the Hagstrom company of Sweden recruited him to design a line of arch top jazz guitars for them. Ironically, most of us associate Hagstrom with those little double-cutaway guitars covered in vinyl with plastic “swimming pool” pickup assemblies. Great necks, but a little goofy. However, below the surface you’ll find some sophisticated and interesting guitars, many of surprisingly good quality. By the early ’60s, the company was making the Corvette and Impala, with some of the first heelless neck joints (and the pastel “vegematic” controls were a definite plus!). Hagstrom struck again in the early ’70s with the ribbon mahogany, single-cutaway Swede that picked up an endorsement by Larry Coryell. But perhaps the piéce de resistance of the Hagstrom run was their electric/acoustic archtop, the Jimmy, designed by D’Aquisto. The Jimmy debuted in ’69 as a downsized archtop with 16″ body that was narrower and thinner than a full-sized jazzbox. It had an arched (not carved) laminated spruce top, unbound f-holes, birch body and neck, and bound rosewood fingerboard. It also featured the asymmetrical D’Aquisto-style head with a large pearl inlay, twin pickups, a small, thin D’Aquisto-style two-point Florentine pickguard, and a large cast “harp” trapeze. Most models had pearl dot inlays; it’s not clear if some had blocks. They were made in blond and sunburst. Although 480 Jimmys were produced in the initial run, they were more in the nature of prototypes because Hagstrom intended to farm out production to the Swedish Bjarton factory. But before it could happen, Bjarton closed its doors. In any case, the late 1960s was not a great era for guitar sales. Valco/Kay went out of business in ’68, followed by Danelectro in ’69. So Hagstrom stopped the project. But it didn’t abandon the dream; D’Aquisto’s headstock was used on the Swede and Hagstrom’s Viking thinlines in the early ’70s. In ’76, Hagstrom called for D’Aquisto’s help again, to make a few refinements, and get the line into production. Hagstrom reintroduced the original Jimmy, with a slightly more conventional pickguard and pearl block inlays. Bodies were laminated birch, with a two-piece birch neck flanking a mahogany strip. Tuners were Grover Imperials with the groovy stairstep button. The Jimmy was available in Cherry, Sunburst, Golden Sunburst, White, and Natural. These Hagstrom Jimmys are fine-playing guitars, delivering a range of tones from crisp trebles to a throaty, jazzy bass on the neck pickup. The pickups are not as hot as those on contemporary American guitars, but these were not intended for producing tons of volume and distortion. The workmanship is excellent. As you’d expect on a Hagstrom, the neck has a very thin profile. The 16″ body is very comfortable. You can’t compare it to an acoustic jazz box, but it was, after all, designed both for production and amplification, and the guitar delivers for either electric jazz or fusion. Between 1976 and ’79, a little more than 1,200 f-hole Jimmys were built. The f-hole Jimmy was joined by another D’Aquisto-designed model in ’77. Basically this Hagstrom Jimmy was identical except that instead of f-holes it sported an oval soundhole. These are actually much rarer birds than the guitar shown, since only a little more than 350 were produced by the time the model ended in 1979. In ’78, the venerable double-cutaway Viking thinline was also identified as being part of the D’Aquisto legacy. It had already incorporated the D’Aquisto headstock, so why not? Whether or not D’Aquisto was actually hands-on involved with these is unknown. These Jimmy Vikings also lasted only through ’79. Jimmy D’Aquisto’s second cooperative venture with a big company was to design part of the Fender 1984 Master Series. The Masters included the chambered solidbody Esprit and Flame, designed by Dan Smith, and the D’Aquisto archtop. These were conceived as set-necks that would compete with Gibson. They were originally to be made in Fullerton, but a reality check shifted production to Fuji Gen Gakki, the Japanese factory known for producing Ibanez (and Fender Japan). Made of flamed maple instead of birch, the Fender D’Aquistos had a lot in common with the earlier Hagstroms, including an almost identical body and the Florentine pick-guard. The head featured an extended open book design instead of D’Aquisto’s French curve, announcing the challenge to Gibson. Instead of the large cast tailpiece, Fender D’Aquistos had a carved ebony violin-style tail. Two models were produced, the Elite (with an ebony fretboard, block inlays, and one Schaller D’Aquisto humbucker in the neck position) and the Standard, with a rosewood ‘board and two humbuckers. Both were identified as D’Aquistos with an engraved headstock inlay. Neither the Hagstrom Jimmy nor the Fender D’Aquisto are really D’Aquisto guitars, because he merely designed them. But from another perspective, they really are D’Aquistos because he designed them. Both brands are esteemed by players and have devoted fans. They will be dramatically less expensive than a D’Aquisto-made D’Angelico or a handmade D’Aquisto. Still, they’re a significant part of a minor chapter in guitar history… and a little piece of the Jimmy D’Aquisto heritage.
http://lance-bebopspokenhere.blogspot.co.uk/2009/08/story-of-hagstrom-james-l-daquisto.html https://www.gbase.com/gear/hagstrom-daquisto-jimmy-oval-1977-sunburst#sthash.XMDOGZ86.dpuf Michael Wright that great author of many fine publications sums up here what is a fascinating read In the world of archtop guitar making, the legendary luthier James L. D’Aquisto (1935-’95) is considered one of the greats. A jazz guitarist, D’Aquisto was an apprentice to perhaps the greatest archtop maker of all time, New York’s John D’Angelico, from 1952 until the luthier’s death in 1964. Toward the end, D’Aquisto was essentially making all D’Angelico guitars and eventually D’Aquisto struck out on his own. Today, his creations are desirable (and expensive). However, like many another famous luthier, there were some periods in his career when D’Aquisto worked with a large company to design guitars intended to be factory-produced. For D’Aquisto, those companies were Hagstrom and Fender. D’Aquisto’s first venture into such an arrangement began circa 1968, when the Hagstrom company of Sweden recruited him to design a line of arch top jazz guitars for them. Ironically, most of us associate Hagstrom with those little double-cutaway guitars covered in vinyl with plastic “swimming pool” pickup assemblies. Great necks, but a little goofy. However, below the surface you’ll find some sophisticated and interesting guitars, many of surprisingly good quality. By the early ’60s, the company was making the Corvette and Impala, with some of the first heelless neck joints (and the pastel “vegematic” controls were a definite plus!). Hagstrom struck again in the early ’70s with the ribbon mahogany, single-cutaway Swede that picked up an endorsement by Larry Coryell. But perhaps the piéce de resistance of the Hagstrom run was their electric/acoustic archtop, the Jimmy, designed by D’Aquisto. The Jimmy debuted in ’69 as a downsized archtop with 16″ body that was narrower and thinner than a full-sized jazzbox. It had an arched (not carved) laminated spruce top, unbound f-holes, birch body and neck, and bound rosewood fingerboard. It also featured the asymmetrical D’Aquisto-style head with a large pearl inlay, twin pickups, a small, thin D’Aquisto-style two-point Florentine pickguard, and a large cast “harp” trapeze. Most models had pearl dot inlays; it’s not clear if some had blocks. They were made in blond and sunburst. Although 480 Jimmys were produced in the initial run, they were more in the nature of prototypes because Hagstrom intended to farm out production to the Swedish Bjarton factory. But before it could happen, Bjarton closed its doors. In any case, the late 1960s was not a great era for guitar sales. Valco/Kay went out of business in ’68, followed by Danelectro in ’69. So Hagstrom stopped the project. But it didn’t abandon the dream; D’Aquisto’s headstock was used on the Swede and Hagstrom’s Viking thinlines in the early ’70s. In ’76, Hagstrom called for D’Aquisto’s help again, to make a few refinements, and get the line into production. Hagstrom reintroduced the original Jimmy, with a slightly more conventional pickguard and pearl block inlays. Bodies were laminated birch, with a two-piece birch neck flanking a mahogany strip. Tuners were Grover Imperials with the groovy stairstep button. The Jimmy was available in Cherry, Sunburst, Golden Sunburst, White, and Natural. These Hagstrom Jimmys are fine-playing guitars, delivering a range of tones from crisp trebles to a throaty, jazzy bass on the neck pickup. The pickups are not as hot as those on contemporary American guitars, but these were not intended for producing tons of volume and distortion. The workmanship is excellent. As you’d expect on a Hagstrom, the neck has a very thin profile. The 16″ body is very comfortable. You can’t compare it to an acoustic jazz box, but it was, after all, designed both for production and amplification, and the guitar delivers for either electric jazz or fusion. Between 1976 and ’79, a little more than 1,200 f-hole Jimmys were built. The f-hole Jimmy was joined by another D’Aquisto-designed model in ’77. Basically this Hagstrom Jimmy was identical except that instead of f-holes it sported an oval soundhole. These are actually much rarer birds than the guitar shown, since only a little more than 350 were produced by the time the model ended in 1979. In ’78, the venerable double-cutaway Viking thinline was also identified as being part of the D’Aquisto legacy. It had already incorporated the D’Aquisto headstock, so why not? Whether or not D’Aquisto was actually hands-on involved with these is unknown. These Jimmy Vikings also lasted only through ’79. Jimmy D’Aquisto’s second cooperative venture with a big company was to design part of the Fender 1984 Master Series. The Masters included the chambered solidbody Esprit and Flame, designed by Dan Smith, and the D’Aquisto archtop. These were conceived as set-necks that would compete with Gibson. They were originally to be made in Fullerton, but a reality check shifted production to Fuji Gen Gakki, the Japanese factory known for producing Ibanez (and Fender Japan). Made of flamed maple instead of birch, the Fender D’Aquistos had a lot in common with the earlier Hagstroms, including an almost identical body and the Florentine pick-guard. The head featured an extended open book design instead of D’Aquisto’s French curve, announcing the challenge to Gibson. Instead of the large cast tailpiece, Fender D’Aquistos had a carved ebony violin-style tail. Two models were produced, the Elite (with an ebony fretboard, block inlays, and one Schaller D’Aquisto humbucker in the neck position) and the Standard, with a rosewood ‘board and two humbuckers. Both were identified as D’Aquistos with an engraved headstock inlay. Neither the Hagstrom Jimmy nor the Fender D’Aquisto are really D’Aquisto guitars, because he merely designed them. But from another perspective, they really are D’Aquistos because he designed them. Both brands are esteemed by players and have devoted fans. They will be dramatically less expensive than a D’Aquisto-made D’Angelico or a handmade D’Aquisto. Still, they’re a significant part of a minor chapter in guitar history… and a little piece of the Jimmy D’Aquisto heritage.