Guitar
Maker
James D'Aquisto
Date1970, March
Place MadeHuntington, New York, United States, North America
ModelExcel
Serial No.1039
SignedInlaid in mother-of-pearl on headstock: D’Aquisto / NEW YORK [incised on tail of “o” and filled with black ink]Signed in black in on inside of back, the serial number branded: James L. D’Aquisto / 3/2/1970 / 1039
Signed in black ink on inside of soundboard, lower bout: James L D’Aquisto / 3/12/1970 / #1039
MarkingsEngraved and filled with black ink on peghead inlay: Excel
In raised letters (vertically) on tuner gear covers: GROVER / [horizontal] U.S.A.
Written in black ink on white sticker on end of tailpiece: F551
DescriptionSoundboard: arched, two-piece, quarter-cut spruce: fine grain broadening at the sides
Back: two-piece, quarter-cut maple: narrow curl descending from center joint
Ribs: two-piece, maple cut off-the-quarter: narrow curl angled to right on bass side, angled to left on treble side
Head: three-piece maple with black-stained maple veneer on front and back; ivory celluloid binding, with two-ply (black-ivory) celluloid purfling trim; white mother-of-pearl scroll inlay decoratively engraved and filled with black ink, including name “Excel”; mother-of-pearl “D’Aquisto / NEW YORK” inlay; two triangle-shaped mother-of-pearl inlays on back of head; head topped with gold-plated, turned brass ornament; mother-of-pearl stair-step truss rod cover
Neck: maple with broad curl; integral with head
Heel cap: ivory celluloid with two-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 two-ply (black-ivory) celluloid purfling strips on ribs
Fingerboard: ebony bound in ivory celluloid with single black and ivory celluloid purfling strips on each side; separate maple support under fingerboard beyond 16th fret; 22 nickel-silver frets; mother-of-pearl block inlays behind 1st, 3rd, 5th, 7th, 9th, 12th, 15th, and 17th frets; black plastic side dots behind 1st, 3rd, 5th, 7th, and 15th frets; clear plastic side dots behind 12th and 17th frets
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 Grover Imperial gold-plated worm-gear machine tuners with chevron-shaped heads
Endpin: aluminum
Strap button: chrome-plated steel, affixed to upper bass rib
Soundholes: f-holes bound in ivory celluloid; no notches
Pick guard: missing
Lacquer: orange-brown sunburst
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: 1055 mm (41-17/32″)
Back length: 520 mm (20-15/32″)
Upper bout width: 311 mm (12-1/4″)
Waist width: 262 mm (10-5/16″)
Lower bout width: 432 mm (17″)
Rib height (including edging) at heel: 71 mm (2-13/16″)
Rib height, at waist: 71 mm (2-13/16″)
Rib height, at end block: 72 mm (2-27/32″)
Head length: 200 mm (7-7/8″)
Head width, top: 115 mm (4-17/32″)
Head width, bottom: 88 mm (3-15/32″)
Neck length (nut to ribs): 348 mm (13-11/16″)
Neck width, nut: 43 mm (1-11/16″)
Neck width, heel: 53 mm (2-3/32″)
Soundhole length: 165 mm (6-1/2″)
Vibrating string length (nut to bridge edge): high E: 628 mm (24-23/32″); low E: 633 mm (24-29/32″)
Published ReferencesPaul Schmidt and Arian Sheets. The Masters' Bench (Vermillion, South Dakota: National Music Museum, 2016), pp. 110-111.
Credit LineGift of Erwin Gudelsky, 2021
Object number15632
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