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Guitar
Maker: James D'Aquisto
Date: 1982, May
Place Made:Greenport, New York, United States, North America
Model: New Yorker
Serial No: 1158
SignedInlaid in mother-of-pearl on headstock: D’Aquisto
Signed in black in on inside of back, the serial number branded: James L D’Aquisto / 5/3/1982 / 1158
Signed in black ink on inside of soundboard, lower bout: James L D’Aquisto / 5/10/1982 / #1158
Signed in black in on inside of back, the serial number branded: James L D’Aquisto / 5/3/1982 / 1158
Signed in black ink on inside of soundboard, lower bout: James L D’Aquisto / 5/10/1982 / #1158
MarkingsEngraved and filled with black ink on peghead inlay: New Yorker
Stamped on Schaller tuner gear covers: S / Made in W. Germany
Stamped on Schaller tuner gear covers: S / Made in W. Germany
DescriptionSoundboard: arched, two-piece, quarter-cut spruce: medium grain broadening to wide toward edges
Back: two-piece, maple cut off-the-quarter: narrow, horizontal curl
Ribs: two-piece, quarter-cut maple: medium curl angled to right on bass side, angled to left on treble side
Head: three-piece maple with ebony veneer on front and back; ivory celluloid binding, with four-ply (black-ivory-black-ivory) celluloid purfling trim; white mother-of-pearl scroll inlay decoratively engraved and filled with black ink, including name “New Yorker”; mother-of-pearl “D’Aquisto” inlay; two triangle-shaped mother-of-pearl inlays on back of head; head topped with turned brass ornament; ebony truss rod cover
Neck: maple with narrow curl; integral with head
Heel cap: ivory celluloid with four-ply black and ivory celluloid trim
Binding: ivory celluloid binding, trim comprised of six-ply (black-ivory-black-ivory-black-ivory) celluloid purfling strips on soundboard and back and four-ply (black-ivory-black-ivory) celluloid purfling strips on ribs
Fingerboard: ebony bound in ivory celluloid with single black and ivory celluloid purfling strips on each side of top, four-ply black and ivory celluloid strip trim on sides; separate maple support under fingerboard beyond 16th fret; black plastic side dots behind 1st, 3rd, 5th, 7th, and 15th frets; clear plastic side dots behind 12th fret
Nut: bone
Bridge: two-piece ebony (compensated) with gold-plated brass screws for height adjustment
Tailpiece: ebony with bone edging at string recess, blackened brass hardware on lower rib, secured with with three brass domed, slotted screws
Tuners: six Schaller gold-plated worm-gear machine tuners with gold-plated heads
Endpin: gold-plated aluminum; lozenge shaped
Strap button: gold-plated aluminum; lozenge shaped, affixed to upper bass rib
Soundholes: f-holes bound in ivory celluloid with two-ply black and ivory celluloid trim; no notches
Pick guard: ebony bound in ivory celluloid with four-ply black and ivory celluloid trim; pickup control and jack plug mounted on underside
Pickup: electromagnetic; gold-over-nickel-plated steel cover
Lacquer: golden
Linings: kerfed mahogany
Neck block: mahogany; chamfered corners
End block: mahogany; chamfered corners
Soundboard bracing: spruce X-brace
Grafts: vertical spruce grafts on inside of ribs with tapered edges
Back: two-piece, maple cut off-the-quarter: narrow, horizontal curl
Ribs: two-piece, quarter-cut maple: medium curl angled to right on bass side, angled to left on treble side
Head: three-piece maple with ebony veneer on front and back; ivory celluloid binding, with four-ply (black-ivory-black-ivory) celluloid purfling trim; white mother-of-pearl scroll inlay decoratively engraved and filled with black ink, including name “New Yorker”; mother-of-pearl “D’Aquisto” inlay; two triangle-shaped mother-of-pearl inlays on back of head; head topped with turned brass ornament; ebony truss rod cover
Neck: maple with narrow curl; integral with head
Heel cap: ivory celluloid with four-ply black and ivory celluloid trim
Binding: ivory celluloid binding, trim comprised of six-ply (black-ivory-black-ivory-black-ivory) celluloid purfling strips on soundboard and back and four-ply (black-ivory-black-ivory) celluloid purfling strips on ribs
Fingerboard: ebony bound in ivory celluloid with single black and ivory celluloid purfling strips on each side of top, four-ply black and ivory celluloid strip trim on sides; separate maple support under fingerboard beyond 16th fret; black plastic side dots behind 1st, 3rd, 5th, 7th, and 15th frets; clear plastic side dots behind 12th fret
Nut: bone
Bridge: two-piece ebony (compensated) with gold-plated brass screws for height adjustment
Tailpiece: ebony with bone edging at string recess, blackened brass hardware on lower rib, secured with with three brass domed, slotted screws
Tuners: six Schaller gold-plated worm-gear machine tuners with gold-plated heads
Endpin: gold-plated aluminum; lozenge shaped
Strap button: gold-plated aluminum; lozenge shaped, affixed to upper bass rib
Soundholes: f-holes bound in ivory celluloid with two-ply black and ivory celluloid trim; no notches
Pick guard: ebony bound in ivory celluloid with four-ply black and ivory celluloid trim; pickup control and jack plug mounted on underside
Pickup: electromagnetic; gold-over-nickel-plated steel cover
Lacquer: golden
Linings: kerfed mahogany
Neck block: mahogany; chamfered corners
End block: mahogany; chamfered corners
Soundboard bracing: spruce X-brace
Grafts: vertical spruce grafts on inside of ribs with tapered edges
DimensionsTotal guitar length: 1102 mm (41-5/8″)
Back length: 545 mm (20-7/16″)
Upper bout width: 340 mm (12-1/4″)
Waist width: 285 mm (10-11/36″)
Lower bout width: 458 mm (17-7/16″)
Rib height (including edging) at heel: 76 mm (3″)
Rib height, at waist: 75 mm (3-1/32″)
Rib height, at end block: 77 mm (3″)
Head length: 210 mm (8″)
Head width, top: 116 mm (4-9/16″)
Head width, bottom: 88 mm (3-3/8″)
Neck length (nut to ribs): 353 mm (13-25/32″)
Neck width, nut: 46 mm (1-11/16″)
Neck width, heel: 56 mm (2-3/32″)
Soundhole length: 169 mm (6-13/32″)
Vibrating string length (nut to bridge edge): high E: 641 mm (24-11/16″); low E: 645 mm (24-29/32″)
Back length: 545 mm (20-7/16″)
Upper bout width: 340 mm (12-1/4″)
Waist width: 285 mm (10-11/36″)
Lower bout width: 458 mm (17-7/16″)
Rib height (including edging) at heel: 76 mm (3″)
Rib height, at waist: 75 mm (3-1/32″)
Rib height, at end block: 77 mm (3″)
Head length: 210 mm (8″)
Head width, top: 116 mm (4-9/16″)
Head width, bottom: 88 mm (3-3/8″)
Neck length (nut to ribs): 353 mm (13-25/32″)
Neck width, nut: 46 mm (1-11/16″)
Neck width, heel: 56 mm (2-3/32″)
Soundhole length: 169 mm (6-13/32″)
Vibrating string length (nut to bridge edge): high E: 641 mm (24-11/16″); low E: 645 mm (24-29/32″)
ProvenanceGift of Erwin Gudelsky, Washington, DC. 2021
Terms
Credit Line: Gift of Erwin Gudelsky, 2021
On view
Published ReferencesPaul Schmidt and Arian Sheets. The Masters' Bench (Vermillion, South Dakota: National Music Museum, 2016), pp; 112-113.
Object number: 15633