|
 D'ANGELICO |
| LATER GUITARS 1935-1964 |
| By late 1935, John D'Angelico was developing three distinct models, the "Style A," "Style B," and "Excel." Following Gibson's then-recent example, he increased the width of his new instruments to 17 inches - grand auditorium size. They were likewise priced, so as to be competitive with Gibson's comparable models, with the A, B and Excel - priced at $150.00, $200.00 and $275.00 respectively -- roughly matching up with Gibson's L10, L12, and aforementioned L5. The New Yorker was D'Angelico's 1936 entry into the 18 in. guitar market. With a $400 price tag, it was a competitor of Gibson's Super 400, Epiphone's Emperor, and Stromberg's Master 400. It - along with the Excel - is considered by connoisseurs to be amongst the finest vintage archtop guitars. Taking its name and aesthetics from the city of its manufacture, the recurrent skyscraper motifs which adorned it represented the epitome of Art Deco design applied to a guitar. The 17 in. A-1 was introduced by 1938 as D'Angelico's least expensive model, and would have been comparably priced to Gibson's L7 and Epiphone's Triumph. It varied from the Style A, in that, like the L7 of the period, it was sunbursted only on the top, with the sides and back having a monochromatic mahogany finish. Also like certain L7s, it had only single bindings. The luthier, however, still paid close attention to the sound of this economy model, and they can sound every bit as good as his most costly guitars. The features which were standard to all D'Angelico models were: Carved spruce tops, carved maple backs, maple sides and necks, ebony fingerboards and adjustable bridges, and later, the inlaid pearl, script "D'Angelico" logo on the headstock. It is important to note however, that any instrument could be customized according to a client's wishes. Hence, many deviations from standard specifications exist. These typically include body size, bracing, neck construction, fingerboard and headstock inlays, headstock shape, hardware, bindings, pickguard and finish. D'Angelico would commonly use the designation "Special" in his ledger books to identify many of these guitars. He also made a few guitars with round or oval soundholes, and at least one which measured 19 in. across the lower bout. Customers would also bring their older instruments back to the maker for refinishing, updated hardware, rebinding and occasionally the installation of an adjustable truss rod (a standard feature by the late '40s) or new fingerboard, resulting in many instruments today having features from different periods, but all done by John D'Angelico, himself. One of the most common ailments of D'Angelico guitars is deterioration of the nitrocellulose bindings and pickguards. In order to preserve the integrity of the instrument, it is often necessary to have them completely replaced. As previously stated, early D'Angelicos featured simple wire or Grover DeLuxe tailpieces, nickel or gold-plated according to the type of instrument. By 1936, tailpieces designed by John D'Angelico and fabricated by the Joseph Schaffner Co. began to appear on his instruments. The earliest was apparently designed for the newly introduced New Yorker, and was used on the Excel, as well. It was hinged, and featured a cutout reminiscent of the Chrysler Building's distinctive spire, although the initials "DA" can also be traced in its combination of curves and angles. The strings were threaded through a broad rectangular, horizontal retainer with the logo "D'Angelico, New York" engraved in script. It was followed by the first of his "compensated" tailpieces (circa 1937). This consisted of a diagonally positioned, rhomboidal plate through which the strings passed. It was likewise engraved, and affixed to a non-hinged bracket whose face also employed a rectilinear skyscraper inspired motif. This was short-lived. An adaptation, with the diagonal rhomboid replaced by a more conventional horizontal plate, was used on some later acoustic instruments, and many electric guitars of the '50s. By the late '30s, the compensated "stair step" tailpiece was standard issue on Excels and New Yorkers. This is the unit which most people associate with D'Angelico guitars. It harked back to the original Chrysler building motif, however that was now surmounted by a diagonally positioned, engraved "stair step" plate. This consisted of a series of graduated steps, the center six designed to accommodate a single string anchor apiece. The New Yorker's was a bit fancier than that of the Excel's. Eventually this unique design was utilized throughout the entire D.A. line. As X-bracing became more popular towards the end of the 1930s, it became the preferred method of bracing the more expensive D'Angelico models, although later examples of parallel braced instruments are not uncommon, and most likely reflect a specific client's desires. Again, it is important to remember that deviations from the norm characterize this master's guitars. In 1947, he introduced a cutaway option on his Excel and New Yorker models, setting a standard for modern jazz guitars which has seldom been equaled. After 1948, D'Angelico concentrated mainly on the manufacture of New Yorkers and Excels (the bulk of which were cutaway,) and electric models, which he continued to make up until his death. |