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Plectrum guitar
Maker: John D'Angelico
Date: 1937/02/19
Place Made:New York, New York, United States, North America
Model: Excel / archtop
Serial No: 1241
SignedInlaid in mother-of-pearl on headstock, “New York” incised on tail of “o” and filled with black ink: D’Angelico / NEW YORK
Incised on mother-of-pearl banner on peghead: EXCEL / MODEL
Engraved on tailpiece, “New York” on tail of “o”: D’Angelico / NEW YORK
Incised on mother-of-pearl banner on peghead: EXCEL / MODEL
Engraved on tailpiece, “New York” on tail of “o”: D’Angelico / NEW YORK
MarkingsBranded on inside of back (double struck): 1241
Stamped on tailpiece: GROVER / PAT.APPL’D FOR
Stamped on tuner plates, the lettering curved upward at each end: GROVER
Bridge position marked by incised bracket on bass side, slightly smaller than bridge
Stamped on tailpiece: GROVER / PAT.APPL’D FOR
Stamped on tuner plates, the lettering curved upward at each end: GROVER
Bridge position marked by incised bracket on bass side, slightly smaller than bridge
DescriptionThis four-string plectrum guitar was made by John D’Angelico, one of the finest makers of archtop guitars. Such instruments were devised to help banjo players transition to the guitar as the four-stringed plectrum and tenor banjos began to fall from favor in the 1930s. The plectrum guitar permitted these musicians to achieve a guitar sound without having to relearn their fingerings and technique. Likely a special commission, the instrument was completed on February 19, 1937, and sold to "Arnold," according to D’Angelico’s ledger books. The instrument features D’Angelico’s Excel model trim with geometrically engraved mother-of-pearl block inlay on the fingerboard and top X-bracing.
Stringing: four steel strings
Soundboard: arched, two-piece spruce, very wide grain
Back: two-piece, slab-cut maple with broad curl ascending from center joint; wooden pin through back into neck block on bass side of center joint; wooden pin through back into end block on treble side of center joint
Ribs: two-piece, semi-slab-cut maple with broad curl angled to right on bass side
Head: maple; broken pediment-style with turned, gold-plated brass ornament; decorative mother-of-pearl inlay; mother-of-pearl “D’Angelico / NEW YORK” and “EXCEL MODEL” inlay
Neck: maple with narrow curl; integral with head; three strips of inlay along center line, brown-stained maple on outsides and maple on inside
Heel cap: white celluloid
Binding: white celluloid; trim comprised of black-white-black-white-white-black-white-black celluloid purfling strips
Fingerboard: ebony bound in ivoroid with single black and white celluloid purfling strips on each side; end terminating in a point, with rounded edges on the sides; 19 nickel-silver frets; mother-of-pearl blocks engraved with geometric designs filled with black ink behind 1st, 3rd, 5th, 7th, 10th, 12th, and 16th frets; black celluloid side dots behind 3rd, 5th, 7th, 10th, 12th, and 15th frets
Nut: bone
Bridge: two-piece ebony with bone saddle and brass screws for height adjustment
Tailpiece: gold-plated steel Grover trapeze with eight raised bars on crossbar
Pegs: four Grover gold-plated brass worm-gear machine tuners with convex head surfaces, reversely curved corners (known as “butterbeans”), and decoratively cut plate outlines
Endpin: white celluloid
Soundholes: f-holes bound in white ivoroid
Pick guard: imitation-tortoise-shell celluloid with decoratively-cut outline, bound in white celluloid with single strips of black and white celluloid, with three decorative, engraved bars at upper and treble sides, mounted on guitar with gold-plated brass bracket and three gold-plated steel screws
Lacquer: black-brown-to-blonde sunburst with fine craquelure
Linings: kerfed maple
Neck block: mahogany; chamfered corners
End block: mahogany; chamfered corners
Top bracing: spruce X-brace; single spruce transverse brace
Grafts: short maple grafts on inside of back near neck and end blocks; short spruce grafts on inside of top near neck and end blocks
Stringing: four steel strings
Soundboard: arched, two-piece spruce, very wide grain
Back: two-piece, slab-cut maple with broad curl ascending from center joint; wooden pin through back into neck block on bass side of center joint; wooden pin through back into end block on treble side of center joint
Ribs: two-piece, semi-slab-cut maple with broad curl angled to right on bass side
Head: maple; broken pediment-style with turned, gold-plated brass ornament; decorative mother-of-pearl inlay; mother-of-pearl “D’Angelico / NEW YORK” and “EXCEL MODEL” inlay
Neck: maple with narrow curl; integral with head; three strips of inlay along center line, brown-stained maple on outsides and maple on inside
Heel cap: white celluloid
Binding: white celluloid; trim comprised of black-white-black-white-white-black-white-black celluloid purfling strips
Fingerboard: ebony bound in ivoroid with single black and white celluloid purfling strips on each side; end terminating in a point, with rounded edges on the sides; 19 nickel-silver frets; mother-of-pearl blocks engraved with geometric designs filled with black ink behind 1st, 3rd, 5th, 7th, 10th, 12th, and 16th frets; black celluloid side dots behind 3rd, 5th, 7th, 10th, 12th, and 15th frets
Nut: bone
Bridge: two-piece ebony with bone saddle and brass screws for height adjustment
Tailpiece: gold-plated steel Grover trapeze with eight raised bars on crossbar
Pegs: four Grover gold-plated brass worm-gear machine tuners with convex head surfaces, reversely curved corners (known as “butterbeans”), and decoratively cut plate outlines
Endpin: white celluloid
Soundholes: f-holes bound in white ivoroid
Pick guard: imitation-tortoise-shell celluloid with decoratively-cut outline, bound in white celluloid with single strips of black and white celluloid, with three decorative, engraved bars at upper and treble sides, mounted on guitar with gold-plated brass bracket and three gold-plated steel screws
Lacquer: black-brown-to-blonde sunburst with fine craquelure
Linings: kerfed maple
Neck block: mahogany; chamfered corners
End block: mahogany; chamfered corners
Top bracing: spruce X-brace; single spruce transverse brace
Grafts: short maple grafts on inside of back near neck and end blocks; short spruce grafts on inside of top near neck and end blocks
DimensionsTotal guitar length: 1038 mm (40-7/8″)
Back length: 517 mm (20-3/8″)
Upper bout width: 310 mm (12-7/32″)
Waist width: 257 mm (10-1/8″)
Lower bout width: 433 mm (17-1/16″)
Rib height (including edging) at heel: 72 mm (2-13/16″)
Rib height, at waist: 73 mm (2-7/8″)
Rib height, at end block: 72 mm (2-13/16″)
Head length: 170 mm (6-11/16″)
Head width, top: 100 mm (3-15/16″)
Head width, bottom: 74 mm (2-15/16″)
Neck length (nut to ribs): 362 mm (14-1/4″)
Neck width, nut: 35 mm (1-3/8″)
Neck width, heel: 48 mm (1-7/8″)
Soundhole length: 154 mm (6-1/8″)
Vibrating string length (nut to bridge edge): D: 663 mm (26-5/32″); C: 665 mm (26-3/16″)
Back length: 517 mm (20-3/8″)
Upper bout width: 310 mm (12-7/32″)
Waist width: 257 mm (10-1/8″)
Lower bout width: 433 mm (17-1/16″)
Rib height (including edging) at heel: 72 mm (2-13/16″)
Rib height, at waist: 73 mm (2-7/8″)
Rib height, at end block: 72 mm (2-13/16″)
Head length: 170 mm (6-11/16″)
Head width, top: 100 mm (3-15/16″)
Head width, bottom: 74 mm (2-15/16″)
Neck length (nut to ribs): 362 mm (14-1/4″)
Neck width, nut: 35 mm (1-3/8″)
Neck width, heel: 48 mm (1-7/8″)
Soundhole length: 154 mm (6-1/8″)
Vibrating string length (nut to bridge edge): D: 663 mm (26-5/32″); C: 665 mm (26-3/16″)
ProvenanceSold at Christie's Auction House, New York, New York, May 30, 2002, lot 10. Previously owned by George Gruhn, Nashville, Tennessee, who sold it to the NMM, 2004.
Terms
Credit Line: André P. and Kay Marcum Larson Fund, 2004
Not on view
Published ReferencesPaul Schmidt and Arian Sheets. The Masters' Bench (Vermillion, South Dakota: National Music Museum, 2016)
André P. Larson, "Recent Acquisitions," National Music Museum Newsletter Vol. 33,
No. 3 (August 2006), p. 6.
George Gruhn, “1937 D’Angelico Excel Plectrum Guitar,” Vintage Guitar 18 No. 12
(October 2004), p. 39.
André P. Larson, "Recent Acquisitions," National Music Museum Newsletter Vol. 33,
No. 3 (August 2006), p. 6.
George Gruhn, “1937 D’Angelico Excel Plectrum Guitar,” Vintage Guitar 18 No. 12
(October 2004), p. 39.
Object number: 10772