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Guitar
Maker: Gibson, Inc.
Maker: Gibson
Date: 1934-1936 ca.
Place Made:Kalamazoo, Michigan, United States, North America
Model: Gibson Special, Nick Lucas Model
Serial No: [7]873804 (serial number); 9921 (factory order number)
SignedPrinted on lacquered round paper label with thin line inside thick line border, the serial number written in black ink, the first “7” written in a different ink over the lacquer, the other numerals under the lacquer: NICK LUCAS Gibson SPECIAL / [photograph of Nick Lucas with guitar] / No.7873804 / Made by / GIBSON, Inc. / KALAMAZOO, MICH. / U.S.A.
Inlaid in mother-of-pearl on headstock: Gibson
Stamped on back of head, over lacquer: MADE IN THE U.S.A.
Inlaid in mother-of-pearl on headstock: Gibson
Stamped on back of head, over lacquer: MADE IN THE U.S.A.
MarkingsRubber-stamped in black ink on neck block: 9921
Stamped on tuner plates: GROVER / PAT. / APPL.FOR [sic]
Stamped on tuner plates: GROVER / PAT. / APPL.FOR [sic]
DescriptionThe Nick Lucas Special was the first celebrity-endorsed guitar offered by an American manufacturer, a marketing idea that has since proven to be a stunning success for the industry. Thus, at a difficult economic juncture in its history, the Gibson company permanently established its guitars as desirable instruments for professionals and discriminating amateurs alike.
Nick Lucas, a jazz vocalist and guitarist who was called “the famous Crooning Troubadour” in a 1932 Gibson catalog, achieved fame in the 1920s for his vocals accompanied by guitar. Indeed, Gibson's advertising suggested that this small-bodied, but deep instrument was “an exceptional guitar for vocal accompaniment on the stage, radio, and records.” The company developed the model on the premise that many Lucas fans would be eager to replicate hits like “Tiptoe Through the Tulips,” “Picking the Guitar,” and “Teasing the Frets” at home on a guitar developed to the artist's unique specifications. Like many of the best popular instrumentalists of the time, Nick Lucas was an American of Italian descent who Anglicized his name. Born Dominic Nicholas Anthony Lucanese, Lucas had musical roots in the Italian mandolin tradition and was a skillful player of that instrument, in addition to his expert playing of the banjo and guitar.
Stringing: six steel strings
Soundboard: two-piece spruce: medium grain, narrowing toward the bass flank, broadening toward the treble flank
Back: two-piece mahogany; no back stripe
Ribs: two-piece mahogany; no end graft
Head: mahogany veneered with black lacquered maple; “Gibson” mother-of-pearl inlay; abalone fleur-de-lys inlay; black celluloid bell-shaped truss rod cover secured with nickel-plated steel slot-head screws
Neck: mahogany; integral with head
Heel cap: none
Binding: white celluloid; two-ply black and white celluloid strip trim
Fingerboard: rosewood bound in white celluloid with two-ply black and white celluloid trim between binding and neck; 19 nickel-silver frets; mother-of-pearl slotted diamond with concave sides behind 3rd fret; mother-of-pearl slotted trefoil behind 5th fret; mother-of-pearl slotted lozenge behind 7th fret; mother-of-pearl lozenge with two lobes behind 9th fret; mother-of-pearl lozenge with circle at center behind 12th fret; mother-of-pearl lozenge with two ovals and diamond at center, behind15th fret; single imitation tortoise-shell celluloid side dots behind 3rd, 5th, 7th, 9th, and 15th frets; double imitation tortoise-shell celluloid side dots behind 12th fret
Nut: bone
Bridge: rosewood; angled bone saddle; black plastic bridge pins
Tuners: six Grover nickel-plated brass worm-gear machine tuners with decoratively cut plate outlines; nickel-plated brass heads with decoratively cut head outlines and rounded edges
Endpin: white celluloid
Rosette: three ply (white-black-white) celluloid purfling strips set in from inside edge; soundhole inside edge bound in white celluloid
Pick guard: imitation tortoise-shell celluloid
Lacquer: dark red-brown sunburst on top; dark brown on back, ribs, neck, and head; fine craquelure
Linings: kerfed mahogany; 12 reinforcement strips of white canvas glued to inside of ribs, perpendicular to top and back
Neck block: mahogany; beveled edges
End block: mahogany; beveled edges
Top braces: spruce X-brace, the joint of main cross brace reinforced with white cloth; transverse and finger braces with tapered ends; maple bridge plate
Back braces: spruce back graft; four spruce back braces with tapered ends
Nick Lucas, a jazz vocalist and guitarist who was called “the famous Crooning Troubadour” in a 1932 Gibson catalog, achieved fame in the 1920s for his vocals accompanied by guitar. Indeed, Gibson's advertising suggested that this small-bodied, but deep instrument was “an exceptional guitar for vocal accompaniment on the stage, radio, and records.” The company developed the model on the premise that many Lucas fans would be eager to replicate hits like “Tiptoe Through the Tulips,” “Picking the Guitar,” and “Teasing the Frets” at home on a guitar developed to the artist's unique specifications. Like many of the best popular instrumentalists of the time, Nick Lucas was an American of Italian descent who Anglicized his name. Born Dominic Nicholas Anthony Lucanese, Lucas had musical roots in the Italian mandolin tradition and was a skillful player of that instrument, in addition to his expert playing of the banjo and guitar.
Stringing: six steel strings
Soundboard: two-piece spruce: medium grain, narrowing toward the bass flank, broadening toward the treble flank
Back: two-piece mahogany; no back stripe
Ribs: two-piece mahogany; no end graft
Head: mahogany veneered with black lacquered maple; “Gibson” mother-of-pearl inlay; abalone fleur-de-lys inlay; black celluloid bell-shaped truss rod cover secured with nickel-plated steel slot-head screws
Neck: mahogany; integral with head
Heel cap: none
Binding: white celluloid; two-ply black and white celluloid strip trim
Fingerboard: rosewood bound in white celluloid with two-ply black and white celluloid trim between binding and neck; 19 nickel-silver frets; mother-of-pearl slotted diamond with concave sides behind 3rd fret; mother-of-pearl slotted trefoil behind 5th fret; mother-of-pearl slotted lozenge behind 7th fret; mother-of-pearl lozenge with two lobes behind 9th fret; mother-of-pearl lozenge with circle at center behind 12th fret; mother-of-pearl lozenge with two ovals and diamond at center, behind15th fret; single imitation tortoise-shell celluloid side dots behind 3rd, 5th, 7th, 9th, and 15th frets; double imitation tortoise-shell celluloid side dots behind 12th fret
Nut: bone
Bridge: rosewood; angled bone saddle; black plastic bridge pins
Tuners: six Grover nickel-plated brass worm-gear machine tuners with decoratively cut plate outlines; nickel-plated brass heads with decoratively cut head outlines and rounded edges
Endpin: white celluloid
Rosette: three ply (white-black-white) celluloid purfling strips set in from inside edge; soundhole inside edge bound in white celluloid
Pick guard: imitation tortoise-shell celluloid
Lacquer: dark red-brown sunburst on top; dark brown on back, ribs, neck, and head; fine craquelure
Linings: kerfed mahogany; 12 reinforcement strips of white canvas glued to inside of ribs, perpendicular to top and back
Neck block: mahogany; beveled edges
End block: mahogany; beveled edges
Top braces: spruce X-brace, the joint of main cross brace reinforced with white cloth; transverse and finger braces with tapered ends; maple bridge plate
Back braces: spruce back graft; four spruce back braces with tapered ends
DimensionsTotal guitar length: 1008 mm (39-11/16″)
Back length: 492 mm (19-3/8″)
Upper bout width: 260 mm (10-1/4″)
Waist width: 216 mm (8-1/2″)
Lower bout width: 376 mm (14-13/16″)
Rib height (including edging) at heel: 99 mm (3-29/32″)
Rib height, at waist: 113 mm (4-7/16″)
Rib height, at end block: 119 mm (4-11/16″)
Head length: 168 mm (6-19/32″)
Head width, top: 60 mm (2-3/8″)
Head width, bottom: 59 mm (2-5/16″)
Neck length (nut to ribs): 351 mm (13-13/16″)
Neck width, nut: 45 mm (1-3/4″)
Neck width, heel: 57 mm (2-1/4″)
Soundhole diameter: 99 mm (3-29/32″)
Vibrating string length (nut to bridge edge): high E: 629 mm (24-3/4″); low E: 632 mm (24-7/8″)
Back length: 492 mm (19-3/8″)
Upper bout width: 260 mm (10-1/4″)
Waist width: 216 mm (8-1/2″)
Lower bout width: 376 mm (14-13/16″)
Rib height (including edging) at heel: 99 mm (3-29/32″)
Rib height, at waist: 113 mm (4-7/16″)
Rib height, at end block: 119 mm (4-11/16″)
Head length: 168 mm (6-19/32″)
Head width, top: 60 mm (2-3/8″)
Head width, bottom: 59 mm (2-5/16″)
Neck length (nut to ribs): 351 mm (13-13/16″)
Neck width, nut: 45 mm (1-3/4″)
Neck width, heel: 57 mm (2-1/4″)
Soundhole diameter: 99 mm (3-29/32″)
Vibrating string length (nut to bridge edge): high E: 629 mm (24-3/4″); low E: 632 mm (24-7/8″)
Terms
Credit Line: John R. Barmeyer Collection, 2006
Not on view
Published ReferencesJames Westbrook and Ted Fuller, The Complete Illustrated Book of the Acoustic Guitar (Wigston, UK: Lorenz Books, 2012), p. 218.
Object number: 12574