1959 Gibson ES-335: The Original Semi-Hollow Masterpiece That Defined an Era

Why the 1959 ES-335 Matters

The 1959 Gibson ES-335 represents the pinnacle of a revolutionary design—a guitar that solved one of the most vexing problems facing electric guitarists in the late 1950s. When Gibson introduced the ES-335 in 1958 as the world's first commercially successful semi-hollowbody electric guitar, it bridged the gap between the warm resonance of hollow-body archtops and the feedback resistance of solid-body electrics. By 1959, Gibson had perfected the manufacturing process, creating instruments that remain among the most sought-after vintage guitars in existence today.

What makes the 1959 ES-335 particularly special:

• Perfect Timing: Second year of production meant refined manufacturing processes without losing the experimental spirit and premium materials of the initial run

• Legendary PAF Pickups: Hand-wound Patent Applied For humbuckers with long Alnico magnets that deliver unmatched tonal complexity

• Iconic "Dot Neck" Configuration: The classic pearloid dot inlay fingerboard that defines the vintage ES-335 aesthetic

• Premium Construction: Thin laminated maple tops, solid maple center blocks, and mahogany necks with spectacular rosewood fingerboards

• Historic Neck Profiles: The coveted early 1959 "big neck" or the transitional late 1959 profile—both highly prized by collectors

• First Year of Cherry Finish: 1959 marked the introduction of Gibson's stunning cherry red finish option alongside traditional sunburst

• Rounded Cutaways: The distinctive "Mickey Mouse ears" cutaway shape that characterizes early ES-335 production

The 1959 ES-335 arrived at a pivotal moment in music history. Rock and roll was evolving beyond its early years, jazz was entering the modern era, and blues was experiencing a renaissance. The ES-335's versatility made it the perfect instrument for this musical crossroads—warm enough for jazz, aggressive enough for rock, and responsive enough for the expressive bends and vibrato of blues playing.

Historical Context: Gibson's Revolutionary Design

The Innovation Behind the ES-335

In 1958, Gibson president Ted McCarty and his design team introduced something completely new to the guitar world. The ES-335TD (Thinline, Double Pickups) featured a revolutionary construction: a solid maple center block running through the body, flanked by hollow wings made of laminated maple. This ingenious design combined the acoustic resonance of hollow-body guitars with the sustain and feedback resistance of solid-body instruments.

The first year of production saw approximately 909 ES-335 guitars shipped—a modest beginning for what would become one of Gibson's most enduring designs. By 1959, production had ramped up significantly as word spread about this remarkable instrument. Early adopters included forward-thinking jazz players and blues musicians who immediately recognized the ES-335's sonic potential.

What Changed in 1959

The 1959 model year brought several significant developments:

Cherry Finish Introduction: While sunburst remained the standard finish, Gibson introduced cherry red as an optional finish in 1959. Natural (blonde) finishes were also available but exceedingly rare—only 71 blonde ES-335s were produced in 1959, making them extraordinarily collectible today.

Refined Manufacturing: By the second year of production, Gibson's Kalamazoo, Michigan factory had streamlined the ES-335 production process. Workers had learned the nuances of the semi-hollow construction, resulting in more consistent build quality while maintaining the hand-crafted character that makes these instruments special.

Neck Profile Variations: 1959 saw two distinct neck profiles. Early 1959 models featured the substantial "big neck" with measurements around 0.88-0.94 inches at the first fret and a full inch or more at the twelfth fret. By late 1959, Gibson transitioned to a slightly slimmer "transitional" profile measuring approximately 0.85 inches at the first fret and 0.95 inches at the twelfth fret. Both profiles are highly sought after by collectors and players.

Thin Top Construction: Many 1959 examples feature the desirable "thin top" construction where the laminated maple top measures thinner than later production models. These thin-top guitars are particularly prized for their enhanced resonance and acoustic properties.

Famous Players and the ES-335's Rise

While the ES-335 would become iconic in the 1960s and beyond, the guitar's foundation was laid in 1959. Early users helped establish the instrument's reputation across multiple genres. The ES-335's versatility meant it could be heard in jazz clubs, recording studios, and concert halls. Chuck Berry, one of rock and roll's architects, was among the early adopters who recognized the guitar's potential. B.B. King would famously prefer the upscale ES-355 (essentially a fancier ES-335), but countless blues players discovered the 335's responsive nature was perfect for expressive playing.

By the mid-1960s, players like Eric Clapton, Alvin Lee, and Larry Carlton would make the ES-335 legendary. Clapton's work with John Mayall's Bluesbreakers and Cream showcased the guitar's ability to produce singing sustain and expressive tones. Larry Carlton's association with the ES-335 earned him the nickname "Mr. 335," and his 1968 model remains one of the most famous ES-335s in existence.

Current Market Value for 1959 ES-335 Guitars (2025 Update)

The vintage guitar market has seen significant appreciation over the past decade, with 1959 ES-335s commanding premium prices that reflect their historical importance, tonal excellence, and increasing rarity in original condition.

Key Value Factors Specific to 1959

Originality Premium: All-original 1959 ES-335s command a 40-60% premium over modified or refinished examples. Original PAF pickups alone are worth $4,000-$6,000 per pair (double white bobbins can fetch $10,000+), making originality crucial.

Neck Profile Desirability: Both the early 1959 "big neck" and late 1959 transitional neck are highly sought after. The big neck profile, in particular, has become increasingly collectible as players and collectors seek the most substantial vintage Gibson necks.

Thin Top Examples: ES-335s with the thinner laminated tops are particularly prized for their enhanced resonance. These guitars typically command a 10-20% premium when properly documented.

Color and Finish:

• Sunburst with minimal fading: highest demand

• Cherry with original vibrant color: premium value

• Blonde/natural: extreme rarity premium

• Factory black: exceptionally rare (fewer than 5 known), potentially $150,000+

Factory Configuration:

• Stop tail versions are significantly more valuable than Bigsby models

• Long pickguard (correct for 1959) is essential for full value

• Original ABR-1 bridge with proper patent numbers

Neck Angle: Guitars with proper neck angle (avoiding the shallow angle that plagued some 1958 examples) are more desirable for playability and tone.

Recent Market Trends

The market for 1959 ES-335s has appreciated steadily, with acceleration in the past 3-5 years. Factors driving values:

• Increasing recognition of early ES-335s as equals to Les Pauls in terms of investment quality

• Growing scarcity of all-original examples as more guitars are modified

• Baby Boomer collectors competing for the best examples

• Museum-quality instruments being removed from the market permanently

• Celebrity provenance adding substantial premiums (Joe Bonamassa's documented ES-345 from 1959 sold for a significant premium)

Edgewater's Advantage

At Edgewater Guitars, we consistently pay 30-40% more than typical guitar shops for premium 1959 ES-335 examples. Our deep expertise in authentication and access to serious collectors means we can offer top-dollar valuations. We understand that a true all-original 1959 ES-335 is a significant asset, and we treat every transaction with the professionalism and discretion it deserves.

Ready to discuss your 1959 ES-335? Contact Edgewater Guitars for a free, no-obligation valuation. Call us at (440) 219-3607 or request an evaluation online. For high-value instruments like 1959 ES-335s, we offer in-person appraisals throughout Ohio, Michigan, Pennsylvania, Indiana, and West Virginia.

Detailed Identification Guide: Authenticating Your 1959 ES-335

Properly identifying and dating a 1959 Gibson ES-335 requires examining multiple features. Gibson's serial numbering wasn't always consistent, so cross-referencing several dating methods is essential for authentication.

Serial Numbers and Paper Labels

Location: Original 1959 ES-335 guitars have their serial numbers on an orange oval label visible through the bass-side f-hole. The label reads "Gibson Inc. Kalamazoo, Michigan" with the serial number printed in the center.

1959 Serial Number Range: Serial numbers with an "A" prefix falling approximately between A-30000 and A-35000. However, Gibson's serial number sequencing wasn't perfectly chronological, so overlap exists with late 1958 and early 1960 production.

Serial Number Format: Five digits following the "A" prefix, such as A-31191 or A-32450.

Important Note: Serial numbers alone cannot definitively date a 1959 ES-335. Always verify with additional dating methods including Factory Order Numbers and potentiometer codes.

Factory Order Numbers (FON)

Factory Order Numbers provide more reliable dating than serial numbers. These numbers are hand-written or stamped inside the guitar.

Location: Typically found on the back of the headstock inside the guitar body, visible when looking through the f-holes with proper lighting, or stamped on the neck block.

1959 FON Indicators:

• Numbers with "T" prefix often indicate construction that began in late 1958, with shipment in early 1959

• Numbers in the "S" range typically indicate 1959 construction

• Some FONs may simply be numerical without letter prefixes

The FON system can be complex because Gibson's numbering occasionally reset or overlapped. Reference comprehensive Gibson FON charts when authenticating.

Potentiometer Date Codes

Potentiometers (volume and tone pots) carry manufacturer codes that reveal production dates. These are among the most reliable dating methods.

How to Read Pot Codes: Gibson used primarily CTS (Chicago Telephone Supply) and Centralab potentiometers in 1959. The code format is: MMMYYWW

• MMM = Manufacturer code (137 for CTS, 134 for Centralab)

• YY = Year (58 or 59)

• WW = Week of manufacture (01-52)

Example: A code reading "137 5910" indicates CTS manufactured in the 10th week of 1959 (early March 1959).

Important: Pots are typically dated several weeks or months before guitar assembly. A guitar with pots dated "5910" might have been completed and shipped in spring or summer 1959.

Warning Signs:

• All four pots should have similar date codes (within a few months)

• Significantly mismatched pot dates suggest replacement parts

• Later pot dates than the supposed manufacturing year indicate non-original electronics

Pickup Specifications and Dating

Original 1959 PAF (Patent Applied For) humbucking pickups are among the most valuable and sought-after vintage pickups ever made.

PAF Characteristics:

• "Patent Applied For" sticker on the bottom of the pickup (often missing due to age)

• Long Alnico magnets (approximately 2.5 inches)

• Hand-wound coils with no potting or wax treatment

• Enamel-coated copper wire (formvar) in dark purple-brown color

• DC resistance typically 7.0k-8.5k ohms (considerable variation due to hand-winding)

• Two-conductor braided output wire with push-back cloth covering

Bobbin Colors:

• Double black bobbins: most common, worth $2,000-$2,800 each

• "Zebra" (one black, one white): $3,000-$4,000 each

• "Reverse zebra" (white adjustable, black slug): extremely rare, $4,000-$5,000 each

• Double white: rarest and most valuable, $5,000-$6,000+ each

The white bobbin variation appeared mid-1959 due to a temporary shortage of black plastic. Gibson assumed no one would see the bobbins under the covers—they were very wrong about the future collectibility!

Magnet Polarity: Early 1959 examples may have different magnetic polarities on the neck and bridge pickups. Some experimentation occurred before Gibson standardized their approach.

Resistance Readings:

• Neck position: typically 7.3-7.9k ohms

• Bridge position: typically 7.5-8.3k ohms

• The "sweet spot" for many collectors is 7.7-8.0k ohms

• Higher resistance (8.0k+) often indicates double white bobbins

Physical Identification Features

Neck and Fingerboard:

• Pearloid dot position markers (not blocks, which appeared in 1962)

• Bound rosewood fingerboard with single-ply binding

• 22 frets (original frets were narrow and low by modern standards)

• 12-inch fingerboard radius

• 1-11/16 inch nut width (1.6875 inches precisely)

Headstock Features:

• "Gibson" logo mother of pearl inlay

• Crown headstock inlay

• Single-line Kluson Deluxe tuners with single ring buttons

• Tulip-shaped tuning buttons in white plastic (often yellowed to cream with age)

Body Construction:

• Three-ply laminated maple top (maple/poplar/maple)

• Solid maple center block running the full length

• Laminated maple back and sides

• Rounded double cutaways ("Mickey Mouse ears")

• Body depth approximately 1.6 inches (thinner than later models)

• Single-ply cream binding on top and back edges

Pickguard:

• Long pickguard extending beneath the bridge pickup

• Five-ply laminated construction

• Cream color with black layers visible at edges

• Single mounting screw at neck position

• Short pickguard wasn't introduced until 1961

Hardware Specifications:

• ABR-1 Tune-O-Matic bridge with "ABR-1" markings

• Stop bar tailpiece or Bigsby vibrato (stop bar more common and valuable)

• Nickel-plated hardware (gold hardware only on ES-345 and ES-355)

• Vintage-style output jack plate

• Three-way toggle switch with white plastic tip

Finish Characteristics:

• Nitrocellulose lacquer finish (thin application)

• Natural wood grain visible through sunburst and cherry finishes

• Typical age-related checking and patina

• Back of neck should show playing wear on original examples

• Factory sunburst: darker edges fading to amber/yellow center

• Factory cherry: deep red that may have faded to brownish-red with UV exposure

Case and Documentation

Original Cases:

• Brown and pink Lifton hardshell case with pink plush interior

• "Gibson" embossed on case exterior

• Case handle and latches appropriate to period

• Case candy may include warranty card, pickup adjustment tool, and adjustment instructions

Documentation Value:

• Original sales receipts or documentation can add 10-15% to value

• Provenance from known owners or celebrity ownership can dramatically increase value

• Original warranty cards are rare and valuable additions

Detailed Physical Specifications

Understanding the exact specifications of a 1959 ES-335 helps both authentication and appreciation of these remarkable instruments.

Dimensions and Weight

Body Dimensions:

• Body length: 19 inches

• Body width: 13.5 inches at lower bout

• Body depth: 1.6-1.65 inches (notably thinner than later models)

• Cutaway depth: Allows access to all 22 frets

Weight Range:

• Typical weight: 7.5-8.5 pounds

• Lighter examples: 7.2-7.5 pounds (particularly prized)

• Heavier examples: 8.5-9.0 pounds (less common)

• The solid maple center block contributes most of the weight

• Thin-top examples often weigh slightly less

Neck Specifications:

• Scale length: 24.75 inches (Gibson's standard)

• Nut width: 1-11/16 inches (1.6875")

• Neck profile: Two distinct variations in 1959

Early 1959 "Big Neck" Profile:

• First fret: 0.88-0.94 inches (typical: 0.89")

• Twelfth fret: 1.00-1.05 inches (typical: 1.02")

• Profile shape: Rounded, substantial C-shape

• Highly prized by players who want maximum grip

Late 1959 "Transitional" Profile:

• First fret: 0.83-0.87 inches (typical: 0.85")

• Twelfth fret: 0.94-0.98 inches (typical: 0.95")

• Profile shape: Medium C-shape

• Comfortable for most hand sizes

• This profile continued into early 1960

Fretboard:

• Radius: 12 inches (relatively flat for the era)

• Fretboard width at last fret: approximately 2-1/4 inches

• Dot inlay diameter: approximately 1/4 inch

• Inlay material: Genuine pearloid (not modern plastic imitations)

• Bound edges with single-ply cream binding

Electronic Specifications

Pickup Details:

• Type: PAF (Patent Applied For) humbucking pickups

• Magnet type: Long Alnico magnets (Alnico 2, 3, 4, or 5—Gibson used various types)

• Magnet length: Approximately 2.5 inches

• Coil wire: Formvar-insulated copper wire, #42 AWG

• Turns: Approximately 5,000 turns per coil (hand-wound variation)

• DC resistance: 7.0k-8.5k ohms typical range

• Output: Moderate by modern standards (unpotted for maximum harmonic response)

Control Layout:

• Two volume controls (one per pickup)

• Two tone controls (one per pickup)

• Three-way toggle switch (neck/both/bridge)

• 500k ohm potentiometers (audio taper)

• Capacitors: "Bumblebee" paper-in-oil capacitors (0.022 μF typical value)

• Wiring: Cloth-covered braided wire throughout

Output Jack:

• 1/4-inch mono jack

• Mounted on side of guitar body near strap button

• Oval metal jack plate

Bridge and Tailpiece

ABR-1 Bridge:

• Tune-O-Matic design with individual saddles

• Six adjustable saddles (three brass, three steel in early examples)

• Retainer wire holding saddles in place

• Thumbwheel height adjusters

• "PATENT NO" or "PAT. NO" markings on bridge

• Nickel-plated finish

Stop Bar Tailpiece:

• Lightweight aluminum construction

• Studded mounting into body top

• Simple, elegant design

• More desirable than Bigsby option for collectors

Bigsby Vibrato (Factory Option):

• B7 model Bigsby on some examples

• Original installation includes extra routing

• Reduces value compared to stop tail versions

• Period-correct for guitars originally ordered this way

Tonal Characteristics: The 1959 ES-335 Sound

The sonic personality of a 1959 ES-335 is the result of multiple factors working in harmony—from the semi-hollow construction to the PAF pickups to the thin nitrocellulose finish.

The Semi-Hollow Advantage

The ES-335's innovative construction creates a unique voice that exists between hollow-body and solid-body guitars:

Acoustic Resonance: The hollow wings provide natural acoustic amplification and warmth. When played unplugged, a 1959 ES-335 produces significant volume and a pleasant acoustic tone—much more than a solid-body guitar.

Center Block Sustain: The solid maple block running through the body adds sustain and note definition typically associated with solid-body guitars. This prevents the excessive feedback hollow-bodies experience at high volumes while maintaining resonance.

Thin Top Enhancement: 1959 examples with thinner tops exhibit enhanced harmonic complexity and a slightly more open, airy quality compared to later models with thicker tops.

Body Resonance: The laminated maple construction provides a bright, articulate foundation that complements the mahogany neck's warmth. The result is balanced across the frequency spectrum—not overly dark or bright.

PAF Pickup Magic

Original 1959 PAF pickups are legendary for good reason:

Unpotted Character: Unlike modern pickups that are wax-potted to prevent microphonic squealing, PAFs were left unpotted. This makes them slightly more prone to feedback but gives them incredible harmonic richness and dynamic response. The pickups literally respond to how hard you strike the strings.

Hand-Wound Variation: Because pickups were wound by hand, each PAF has unique characteristics. The number of windings varied slightly, creating tonal differences even between two pickups from the same period. This variation is part of the magic—some PAFs are transparent and clear, others are warm and thick.

DC Resistance and Tone:

• Lower resistance PAFs (7.0-7.5k): Clearer, more open sound with enhanced high-frequency response

• Mid-range PAFs (7.5-8.0k): The "sweet spot"—balanced across frequencies with singing midrange

• Higher resistance PAFs (8.0-8.5k): Thicker, more powerful output with enhanced bass response

Long Magnet Influence: The long Alnico magnets in 1959 PAFs contribute to the pickups' extended harmonic content and complex overtones. The magnetic field extends further into the string's vibration, capturing more tonal information.

Frequency Response: PAFs exhibit a prominent midrange peak that gives them vocal-like qualities. They compress naturally when pushed hard, smoothing out the attack without losing articulation.

Position-Specific Tones

Neck Pickup:

• Warm, round tone perfect for jazz and blues

• Exceptional for chord melody playing

• Smooth, vocal-like quality for lead work

• Less output than bridge position (typically 7.3-7.8k resistance)

Bridge Pickup:

• Brighter, more cutting tone with excellent definition

• Perfect for rhythm playing and aggressive leads

• More output than neck position (typically 7.6-8.3k resistance)

• Articulate note separation even with heavy distortion

Both Pickups (Middle Position):

• Phase cancellation creates scooped midrange

• Hollow, chimey quality reminiscent of single-coils

• Excellent for clean rhythm playing

• Unique tonal palette different from either pickup alone

Genre Applications

Jazz: The neck pickup's warmth and the semi-hollow resonance make the ES-335 perfect for jazz. The instrument can produce deep, round tones for chord comping and smooth, lyrical lines for soloing. The feedback resistance allows playing at volumes that would make hollow-bodies unusable.

Blues: The ES-335's expressive response to playing dynamics makes it ideal for blues. The guitar "speaks" with bends, vibrato, and subtle touch variations. The semi-hollow construction adds vocal-like qualities to sustained notes.

Rock: From classic rock to hard rock, the ES-335 handles gain beautifully. The center block prevents excessive feedback while the PAFs retain clarity even with distortion. The guitar's natural compression smooths out aggressive playing without losing definition.

R&B and Soul: The ES-335's balanced frequency response works perfectly for rhythm guitar in R&B and soul music. Clean tones are chimey and articulate, while overdriven tones remain musical and expressive.

Amplifier Interaction

1959 ES-335s respond particularly well to vintage-style tube amplifiers:

• Low-wattage amps (15-30 watts): Allow the guitar's natural resonance to shine, with amp distortion adding harmonic richness without overwhelming the guitar's voice

• Higher-wattage amps (50+ watts): Provide clean headroom that showcases the pickups' transparency and dynamic range

• Edge-of-breakup settings: Bring out the best in PAF pickups, allowing the guitar to move from clean to dirty with picking intensity alone

Comparison to Other Vintage Instruments

vs. 1960 ES-335: Very similar, but 1960 models transitioned to slimmer neck profiles by mid-year. The blade neck of late 1960-1962 is thinner and less prized. 1959 represents the last year of consistently chunky necks.

vs. 1958 ES-335: First-year guitars have thin tops and experimental features, but some suffer from shallow neck angles. 1959 represents refined production with better quality control.

vs. 1962-64 ES-335: Block inlays replaced dots in 1962, and patents replaced PAFs. While still excellent guitars, the PAF/dot combination of 1959 is more collectible.

vs. Les Paul Standards: Different voice entirely—ES-335s are more open and resonant, less thick and compressed than Les Pauls. Both are classics for different reasons.

Common Issues and Modifications to Watch For

When evaluating a 1959 ES-335—whether you're considering selling or authenticating an instrument—understanding common problems and modifications is essential.

Structural Issues

Neck Separations and Repairs:

• Unlike bolt-on necks, the ES-335 uses a set neck with long tenon

• Neck separations can occur from impact or temperature changes

• Well-executed professional repairs don't drastically affect value (10-20% reduction)

• Poor repairs or visible issues significantly impact value (40-60% reduction)

• Clean, invisible repairs by reputable luthiers are acceptable to most collectors

Body Cracks:

• Laminated construction is relatively resistant to cracking compared to solid carved tops

• Cracks most commonly appear near the f-holes or edges

• Small, stable cracks may have minimal impact on value

• Major structural cracks require professional repair and reduce value

Neck Angle Issues:

• Some early ES-335s have shallow neck angles, making optimal string action difficult

• Proper neck angle is critical for playability and tone

• Neck resets are major repairs that affect value

• Check action height and bridge adjustment range when evaluating

Checking and Finish Wear:

• Natural finish checking is expected and actually desirable on vintage guitars

• Fine checking adds character and confirms age

• Excessive checking or finish deterioration can affect value

• Clear wear patterns on neck and body prove the guitar was played

Electronic Modifications

Replaced Pickups:

• Single most common and most value-destroying modification

• Original PAFs add $8,000-$12,000 to guitar value

• Replacement with period-correct PAFs still reduces value by 40-50%

• Modern replacement pickups reduce value by 50-70%

• Original pickups that were removed and stored separately should be reinstalled

Rewound Pickups:

• Some PAFs have been rewound to restore output or repair damage

• Rewound pickups are worth significantly less than originals

• Disclosure is essential—undisclosed rewinds are considered fraud

• Even professional rewinds reduce pickup value by 60-80%

Potentiometer Replacements:

• Very common due to wear and scratchy operation

• Period-correct replacement pots (CTS or Centralab from late 1950s-early 1960s) minimize value impact

• Modern replacement pots are obvious to experts

• Full value requires original pots with matching date codes

Wiring Modifications:

• Common modifications include added switches, coil taps, or phase switches

• Original cloth-covered wiring should be intact

• Any non-original wiring should be disclosed

• Modern shielded wire is easily spotted

Capacitor Replacements:

• Original "Bumblebee" capacitors are valuable ($50-100 each)

• Modern replacements are obvious

• Replacement doesn't drastically affect value if other electronics are original

Hardware Changes

Bridge Replacements:

• Original ABR-1 bridges are sometimes replaced with modern Nashville bridges

• Period-correct replacements maintain more value than modern ones

• Original bridges with proper patent markings are essential for full value

Tuner Replacements:

• Grover tuners commonly added in 1960s-1970s for "improved" tuning

• Original Kluson single-line tuners essential for full collector value

• Tuner swaps often leave extra screw holes in headstock

• Check for plugged holes under existing tuners

Tailpiece Modifications:

• Stop tail to Bigsby conversions destroy value

• Bigsby to stop tail conversions require filling original holes

• Extra holes from previous hardware significantly impact value

• Strap button relocations are common and relatively minor

Nut Replacements:

• Original nylon nuts often replaced due to wear

• Bone or synthetic replacements are common

• Minimal value impact if professionally done

• Important that nut width and height maintain original specifications

Finish Issues

Refinishing:

• Single most devastating modification to value

• Factory original finish is paramount for collector value

• Even excellent refinishes reduce value by 50-70%

• Partial refinishes or touch-ups still substantially affect value

• Neck refinishes are particularly noticeable and problematic

Overspray Detection:

• Check inside control cavity for overspray

• Examine binding edges for overspray evidence

• Look at finish in areas that shouldn't show wear

• Blacklight examination can reveal refinishes

Sunburst Fading:

• UV exposure causes red pigments to fade

• Natural fading is acceptable and expected

• Heavily faded bursts may have less eye appeal but are still original

• Cherry finishes fade to brownish-red over decades

Buckle Rash and Playing Wear:

• Expected wear on back from belt buckles

• Neck wear from playing is normal and desirable

• Wear patterns should be logical and consistent with age

• Excessive wear in unusual locations may indicate abuse

Common Red Flags

"Frankenstein" Guitars:

• Parts assembled from multiple instruments

• Serial numbers that don't match component dates

• Mismatched neck and body characteristics

• Check that all elements date to the same period

Counterfeits and Fakes:

• Aged reissues misrepresented as originals

• "Upgraded" newer guitars with vintage parts

• Completely fabricated instruments

• When in doubt, seek expert authentication

Undisclosed Repairs:

• Hidden headstock breaks

• Concealed cracks or repairs

• Plugged holes from previous hardware

• Professional inspection recommended for high-value purchases

Assessing Condition

When evaluating a 1959 ES-335, consider these condition categories:

Museum Quality (9.5-10/10): Virtually unplayed condition, all original parts, minimal wear, original case and documentation. These examples are exceptionally rare and command absolute top dollar.

Excellent (8.5-9/10): Light playing wear, all original parts, no repairs, minor finish checking, fully functional. Most collectible examples fall into this category.

Very Good (7.5-8/10): Moderate playing wear, all major components original, possible minor repairs, normal finish wear for age. Still highly desirable.

Good (6.5-7/10): Significant playing wear, possible hardware replacements, minor modifications, some repairs. Valued more as players than collector pieces.

Fair (5-6/10): Heavy wear, multiple modifications or replacements, repairs, refinishing. Primarily valued for playability rather than collectibility.

Why Players and Collectors Value the 1959 ES-335

The 1959 ES-335 occupies a special place in vintage guitar collecting and playing for numerous compelling reasons that go beyond mere age or rarity.

Playing Characteristics

Versatility Across Genres: Few vintage guitars can authentically cover as much musical ground as a 1959 ES-335. The same instrument that produces warm jazz tones can deliver aggressive rock sounds or expressive blues—all with simple adjustments to amplifier settings and playing technique.

Ergonomic Excellence: The ES-335's body design is remarkably comfortable. The double cutaway provides excellent access to upper frets. The relatively light weight (compared to solid-body Les Pauls) makes it comfortable for extended playing sessions. The thin body profile sits naturally against the player's body.

Dynamic Response: The combination of semi-hollow construction and PAF pickups creates an instrument that responds to every nuance of playing technique. Light touch produces clean, articulate tones. Aggressive playing yields natural compression and sustain. The guitar feels alive in your hands.

Sustain and Resonance: The solid maple center block provides sustain that rivals solid-body guitars while the hollow wings add harmonic complexity and resonance. Notes bloom naturally and decay musically rather than cutting off abruptly.

Feedback Characteristics: Unlike fully hollow guitars that become unmanageable at high volumes, the ES-335 remains controllable. Yet the semi-hollow construction provides just enough feedback at high volumes to create singing, sustained tones when desired—a perfect balance.

Collector Appeal Factors

Historical Significance: The ES-335 represents a pivotal innovation in guitar design. Ted McCarty's team created something genuinely new—not just another variation on existing designs. The 1959 examples represent early perfection of this revolutionary concept.

Second-Year Sweet Spot: First-year guitars often have experimental features and inconsistencies. By 1959, Gibson had refined the manufacturing process while still using premium materials and maintaining hand-crafted quality. It's often the ideal year for new designs.

PAF Pickup Premium: The hand-wound PAF pickups in 1959 ES-335s are among the most sought-after pickups ever made. The combination of specific wire, magnets, winding techniques, and lack of potting creates a sound that's never been perfectly replicated. These pickups alone justify significant collector interest.

Dot Neck Desirability: The pearloid dot inlays define the classic vintage ES-335 aesthetic. When Gibson switched to block inlays in 1962, they created a clear visual distinction. Collectors strongly prefer the dot neck configuration for authenticity.

Pre-1960s Mystique: Guitars from the 1950s carry special cachet among collectors. The 1959 ES-335 represents late-1950s American manufacturing excellence—craftsmanship, materials, and attention to detail that many believe was never quite matched afterward.

Relative Availability: While 1959 ES-335s are rare, they're more available than 1959 Les Paul Standards. This makes them achievable goals for serious collectors who might never acquire a "Burst" but can own an equally historic instrument.

Neck Profile Variety: The two distinct neck profiles found in 1959—the early "big neck" and the transitional profile—give collectors options. Both are highly desirable, allowing collectors to find examples that match their playing preferences.

Investment Potential

The vintage guitar market has proven remarkably resilient over decades, with top-tier instruments appreciating significantly:

Steady Appreciation: 1959 ES-335 values have increased steadily over the past 20 years. The appreciation rate typically exceeds inflation and many traditional investments.

Increasing Scarcity: Every year, more all-original examples are modified, damaged, or removed from circulation. The pool of investment-grade 1959 ES-335s continuously shrinks, supporting long-term value.

Baby Boomer Demand: The generation that grew up hearing these guitars on classic recordings is now at peak earning and collecting power. Competition for the best examples remains strong.

Museum and Institution Buying: Major museums and institutions increasingly recognize vintage guitars as culturally significant artifacts worthy of preservation. This removes top examples from the market permanently.

Condition Sensitivity: Unlike many collectibles where condition matters less, vintage guitars command dramatic premiums for originality. All-original 1959 ES-335s will likely continue outpacing modified examples.

Celebrity Provenance: As documented provenance becomes more common, guitars with verifiable famous owners achieve remarkable premiums. Future provenance research may enhance values of currently undocumented examples.

Historical Significance in Music

The ES-335 earned its place in music history through countless landmark recordings:

Blues Evolution: The ES-335's responsive nature made it perfect for blues players seeking expressive voices. The guitar contributed to electric blues evolution from the late 1950s forward.

British Invasion: British blues-rock players in the 1960s embraced the ES-335, introducing it to new audiences. Eric Clapton's use with John Mayall's Bluesbreakers and Cream showcased the guitar's rock potential.

Jazz-Rock Fusion: Larry Carlton's association with the ES-335 proved the instrument's versatility in fusion contexts. His session work and solo recordings demonstrated the guitar's jazz credibility while maintaining rock edge.

Studio Standard: The ES-335 became a studio workhorse due to its versatility. Session players valued having one instrument that could cover multiple styles without instrument changes.

Continuing Legacy: Contemporary players still choose ES-335s for their unique voice. The guitar's relevance hasn't faded—it remains a first-call instrument for players across genres.

Selling Your 1959 Gibson ES-335 with Edgewater Guitars

If you own a 1959 ES-335 and are considering selling, Edgewater Guitars offers significant advantages over alternative selling methods.

Why Choose Edgewater?

Premium Valuations: We consistently pay 30-40% more than typical guitar shops for vintage instruments like the 1959 ES-335. Our deep expertise in authentication and direct access to serious collectors means we can offer top-dollar pricing.

Expert Authentication: Our team specializes in vintage Gibson guitars. We understand the nuances of dating, authenticating, and properly valuing 1959 ES-335s. We can identify originality, assess condition, and recognize the subtle factors that affect value.

Immediate Cash Offers: Unlike consignment or private sales that can take months, we make immediate cash offers on instruments we want to purchase. For high-value guitars like 1959 ES-335s, we can complete transactions quickly and professionally.

White-Glove Service: For significant instruments, we provide in-person appraisals throughout Ohio, Michigan, Pennsylvania, Indiana, and West Virginia. We come to you, examine your guitar in person, and make fair offers on the spot.

Discretion and Professionalism: We understand that selling a valuable vintage guitar is a significant decision. We treat every transaction with appropriate professionalism, confidentiality, and respect.

No Seller Fees: Unlike auction houses or online marketplaces that charge seller fees of 10-20%, our purchase offers are straightforward. The price we quote is the price you receive.

Comparison to Other Selling Options

Local Guitar Shops:

• Typically offer 40-60% of retail value (we pay 30-40% more)

• May lack expertise in vintage authentication

• Limited capital for high-value purchases

• Often need high margins for resale

Consignment:

• Can take months or years to find buyers

• Seller pays commission fees (typically 15-25%)

• Your guitar sits in a shop where condition risk continues

• No guaranteed sale price or timeline

Private Sales (Craigslist, Facebook):

• Safety concerns meeting strangers with valuable items

• Time-consuming communication with unqualified buyers

• Payment risk (fraud, bad checks)

• No expertise to help establish fair pricing

Online Marketplaces (Reverb, eBay):

• Seller fees (typically 5-10%)

• Payment processing fees (3-5% additional)

• Shipping risk for valuable instruments

• Potential for buyer disputes or returns

• Time and effort creating listings

Auction Houses:

• High seller commissions (15-20%)

• Buyer premiums reduce effective prices

• Months between consignment and sale

• No guaranteed minimum prices

• Complex consignment agreements

The Edgewater Process

Step 1: Initial Contact Reach out via phone at (440) 219-3607 or through our website. Provide basic information about your 1959 ES-335: serial number, condition, originality, and any known history.

Step 2: Preliminary Evaluation We'll discuss your guitar's characteristics and provide an initial assessment. For high-value instruments, we recommend in-person evaluation rather than relying solely on photos.

Step 3: In-Person Appraisal (for significant instruments) We travel throughout Ohio, Michigan, Pennsylvania, Indiana, and West Virginia to examine valuable guitars personally. This allows us to properly authenticate, assess condition, and appreciate the instrument's qualities.

Step 4: Fair Offer Based on our expertise and current market conditions, we make straightforward cash offers. Our offers reflect the guitar's true value, considering originality, condition, and current collector demand.

Step 5: Quick Transaction If you accept our offer, we complete the transaction promptly with immediate payment. We handle all logistics professionally and provide appropriate documentation.

What We Look For

When evaluating a 1959 ES-335, we assess:

• Originality: All-original instruments command premium prices

• Condition: Overall condition grade significantly affects value

• Serial Number and Dating: Proper authentication confirms the instrument's year

• Pickup Originality: Original PAF pickups are essential for top value

• Neck Profile: Both early and late 1959 neck profiles are desirable

• Finish: Original finish in good condition is paramount

• Playability: Proper setup, neck angle, and fret condition matter

• Completeness: Original case and documentation add value

• Provenance: Any documented history or famous ownership

Testimonials

"I inherited my father's 1959 ES-335 and wanted to ensure it went to someone who would appreciate it. Edgewater's knowledge was immediately apparent. They authenticated every detail, explained what made it special, and offered significantly more than local shops. The transaction was professional and respectful." — Michael R., Cleveland, Ohio

"After getting lowball offers from guitar shops, I contacted Edgewater. They understood the value of my all-original '59 ES-335 and offered 35% more than the best previous offer. They came to my home, examined it thoroughly, and paid immediately. Couldn't ask for better service." — Thomas K., Pittsburgh, Pennsylvania

Ready to Discuss Your 1959 ES-335?

Contact Edgewater Guitars today for a free, no-obligation evaluation:

Phone: (440) 219-3607
Service Area: Ohio, Michigan, Pennsylvania, Indiana, and West Virginia
Website: Request a valuation online through our contact form

We provide honest assessments, fair pricing, and professional service for vintage guitar owners throughout the Midwest. Whether you're ready to sell or simply curious about your guitar's value, we're here to help.

Related Resources and Authentication Tools

Serial Number and Dating Resources

For owners seeking to authenticate or learn more about their vintage Gibson guitars, these resources provide valuable information:

Gibson Serial Number Decoder: Understanding Gibson's serial number systems from the 1950s helps date instruments accurately. Remember that serial numbers alone aren't definitive—cross-reference with pot codes and other features.

Factory Order Number Reference: FON charts provide more reliable dating than serial numbers for 1950s Gibsons. These numbers indicate when construction began rather than when the guitar shipped.

Potentiometer Date Code Guide: Learning to read pot codes is essential for authentication. CTS and Centralab codes reveal manufacture dates that should align with the guitar's supposed year.

Authentication and Identification Guides

Vintage Gibson ES-335 Identification Guide: Comprehensive information on distinguishing authentic vintage ES-335s from reissues, identifying year-specific features, and recognizing modifications.

PAF Pickup Identification: Detailed guide to authenticating original PAF pickups, including sticker variations, bobbin colors, magnet types, and resistance readings.

Gibson Finish Identification: Understanding original Gibson finishes, including sunburst formulas, cherry red variations, and natural finishes. Learn to spot refinishes and touch-ups.

Detecting Refinishes and Repairs: Guide to identifying hidden repairs, refinishes, and other modifications that affect vintage guitar value.

Related Model Information

1958 Gibson ES-335: First-year production details, unique features, and how they compare to 1959 models.

1960 Gibson ES-335: Early examples similar to 1959; mid-year transition to thinner neck profiles.

Gibson ES-345 History: The upscale ES-335 variant with Varitone switch and gold hardware.

Gibson ES-355 Information: Top-of-the-line ES series model with premium appointments.

Market Value Resources

Current Vintage Guitar Market Report: Stay informed about current market trends and values for vintage Gibson guitars.

Auction Results Archive: Review recent auction results for comparable 1959 ES-335 guitars to understand current market values.

Price Guide Comparison: Information from multiple vintage guitar price guides providing market value ranges.

Expert Consultation

Free Guitar Appraisal: Edgewater Guitars offers free preliminary appraisals for vintage Gibson guitars. Contact us to discuss your instrument.

Authentication Services: For significant instruments, we provide professional authentication services with detailed documentation.

Selling Guide: Comprehensive information about selling vintage guitars, including timing, preparation, and maximizing value.

Conclusion: Preserving Legacy, Ensuring Fair Value

The 1959 Gibson ES-335 represents a pivotal moment in guitar history—Ted McCarty's innovative design reaching early perfection with premium materials, hand-crafted construction, and legendary PAF pickups. These instruments aren't merely vintage guitars; they're playable pieces of American manufacturing history and cultural artifacts that shaped modern music.

If you own a 1959 ES-335, you possess something genuinely special. Whether you're considering selling, seeking authentication, or simply want to understand your instrument's value, Edgewater Guitars provides the expertise and fair dealing you deserve.

Why Edgewater Guitars?

We're not just guitar buyers—we're enthusiasts, collectors, and experts who understand these instruments deeply. We recognize that selling a vintage guitar, especially one with family history or personal significance, is more than a simple transaction. It's about ensuring the instrument goes to someone who will appreciate its history and preserve its legacy.

Our commitment is straightforward: provide honest expertise, fair valuations, and professional service throughout Ohio, Michigan, Pennsylvania, Indiana, and West Virginia.

Take the Next Step

Contact Edgewater Guitars today:

Phone: (440) 219-3607
Email: Through our website contact form
Service Area: Ohio, Michigan, Pennsylvania, Indiana, and West Virginia

Whether you're ready to sell your 1959 ES-335 or simply want expert evaluation and authentication, we're here to help. Our free consultations provide valuable information about your instrument with no obligation.

For high-value instruments like the 1959 ES-335, we provide in-person appraisals, ensuring proper evaluation of all factors affecting value. We make immediate cash offers on instruments we wish to purchase, completing transactions professionally and efficiently.

Don't settle for lowball offers from shops that don't understand these instruments' true value. Trust the experts at Edgewater Guitars for fair pricing, honest dealing, and professional service.

About the Author

This guide was prepared by the expert team at Edgewater Guitars, specialists in vintage Gibson guitars with decades of combined experience in authentication, valuation, and collecting. We've handled hundreds of vintage ES-335s and maintain extensive knowledge of these remarkable instruments.

Our expertise comes from hands-on experience examining, playing, and collecting vintage guitars—not just reading books or websites. We know what makes a great 1959 ES-335, understand subtle variations that affect value, and stay current with market trends and collector preferences.

When you work with Edgewater Guitars, you benefit from genuine expertise and passionate commitment to these historic instruments.

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