1942 Epiphone FT-50 Good, Soft, $3,495.00

Hokay, folks, this is a guitar which you may never see again outside of serious collections and museums—and the even rarer intact label gives it an absolutely reliable date and provenance. Pre-War and War-time Gibsons and Martins are readily available—for exorbitant prices--and 1950s and even 1960s Gibson/Epiphone FT-79 “Texans” routinely sell for $2500 to $3500. However, while the early American Epiphones were very fine instruments, I can only assume that their production numbers were never very high, because pre-Gibson Epi flat-tops are extremely rare these days. This specific guitar is the only vintage FT-50 I have ever seen for sale anywhere, on-line or otherwise. It is a musical marvel which is in very good 75-year-old condition.

The scarcity of Epiphone flat-tops during the 1930s to 1950s was no doubt partly due to their battle with better-financed Gibson and Martin for a share of the steel-string market. However, this was exacerbated by the times and their clientele: first the Depression hit their buyers, and then WWII further complicated construction and innovation. Epiphone started using what they called the “adjustable thrust rod” in 1939, usually with a metal nut cover. The War Production Board's limitation order limited by percentage of weight how much metal a stringed instrument could have and discouraged Gibson, Martin, Epi, and others from installing metal truss rods. Gibson used a maple V reinforcement in necks while Martin used an ebony rod. Epiphone apparently suspended production of their flattops altogether in late 1943 or 1944 and did not resume making them until after the War - if you look at the catalog entries for the flattops they are stamped “discontinued” for the duration. The model line was also reduced during the war, and the FT-50 was apparently one that was cut, although they start reappearing later with serial numbers indicating 1945. Soon after that, the FT-50 was cut for good.

Gruhn’s Guide to Vintage Guitars indicates with great confidence that the serial number “17597” clearly visible on the label indicates that it was made in 1942, and goes on to describe it as a “flat-top, 14 ½” wide, mahogany back and sides, tortoiseshell celluloid binding on top and back, cherry neck, unbound rosewood fingerboard, dot inlay, center-dip peghead, pearl script logo, natural top finish, brown finish on back and sides. Available: 1941-late ‘40s.” The Blue Book of Vintage Guitars says that the FT-50 is a “00-style, spruce top, round soundhole, mahogany back/sides, tortoiseshell body binding, cherry neck, tortoise pickguard, 14/20-fret bound rosewood fingerboard with dot inlay, rosewood bridge, three-per-side tuners with plastic buttons, available in Natural finish, 14.5 in. body width, mfg. 1941-49.”

As far as a non-expert like myself can tell, virtually all of these specifications are exhibited in this guitar. The pick guard and binding are a beautiful translucent vintage celluloid and in excellent condition. The tuners are somewhat rusted but work well, are period-correct, and show no sign of change. The exceptions are the bridge, saddle, and bridge pins, which are obvious replacements. It has a very nice pearl inlaid script logo on the headstock, and the neck is solid and set at the proper angle: the action is a comfortable hair over 3/32” at the 12th fret low E.

There have naturally been some repairs over this guitar’s 75 years of making music. I see cracks in the top below the bridge, at the top of the pick guard, and at the sound hole, and both the top and the back seams have opened slightly; all have been humidified, glued, and cleated where necessary to prepare them for another 75 years. Several braces have been professionally re-glued, and my luthier says that one of the top braces may have been replaced. There is surprisingly little fret wear, but some visible wear in first position on the fretboard.

Cosmetically, it is as pictured: massive crazing, cracking, and chipping of the finish (“to let the sound out,” as my luthier says), but all the mojo and authenticity one could ever hope for. And it does let the sound out, as loudly and with as much resonance as any LG-2 or LG-3 I have ever played. Aside from its virtually unique collectability, this is an excellent player and has the resonance to hold its own in any small venue. Quite a remarkable instrument!

The case included is a vintage—but clearly not original--chip board case in good condition. The latches and hinges all work, the handle is solid, and the interior and exterior are intact. It offers credible, light-weight protection, but frankly I would probably find an appropriate hard shell case for this valuable guitar. They ain’t gonna make any more of ‘em, and you’ll probably never see another one.

Buyer pays a flat rate of $55 for insurance and shipping to the lower 48 states; shipping costs elsewhere will be negotiated as necessary. Payment by Paypal is preferred; cashier’s checks are acceptable, but checks must clear before the guitar will be shipped.

I have made every effort to describe and illustrate this guitar and case with scrupulous accuracy, but be advised that this is a very unusual 75-year-old guitar, and I am not even a luthier, much less an expert on vintage Epiphones. Hopefully you have read this description carefully and checked out the pictures. Its return will not be accepted unless it can be shown that it was egregiously misrepresented in this listing.

Thank you for your interest in this unique piece of American musical history and very cool guitar.