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About This Listing
Clean example of this beautiful Art Deco design. Sweet tone, set up for a player. Replaced the tuners for improved adjustment and also the input jack. Comes with original hard shell case in good condition. Serial Number V 21865 Designed by Victor Smith, the New Yorker introduced a classic stair-step body shape that has been endlessly copied (for example the Epiphone Electar Model M). Implied by the name, but never overtly referenced in advertising literature, was a similarity to the stair-step profile of the great skyscrapers of New York – particularly the Empire State Building, completed in 1931. Roman numeral fret markers inside parallelogram boxes vaguely recalled the same style of architecture, while black and white stripes accented the instrument’s long dimension (or height, to carry the metaphor further). These stripes were achieved not by paint or inlay, but by a multi-layered veneer; white plastic was bonded to black plastic on top, and the black plastic was cut away to reveal the white stripes. A similar technique was used to create the fretboard markers and headstock logo. The sides and back were painted black so that they blended seamlessly with the covering on top.
National New Yorker 1949 Lap Steel Owned by Ted Turner
$1,100
$1,100
About This Listing
Clean example of this beautiful Art Deco design. Sweet tone, set up for a player. Replaced the tuners for improved adjustment and also the input jack. Comes with original hard shell case in good condition. Serial Number V 21865 Designed by Victor Smith, the New Yorker introduced a classic stair-step body shape that has been endlessly copied (for example the Epiphone Electar Model M). Implied by the name, but never overtly referenced in advertising literature, was a similarity to the stair-step profile of the great skyscrapers of New York – particularly the Empire State Building, completed in 1931. Roman numeral fret markers inside parallelogram boxes vaguely recalled the same style of architecture, while black and white stripes accented the instrument’s long dimension (or height, to carry the metaphor further). These stripes were achieved not by paint or inlay, but by a multi-layered veneer; white plastic was bonded to black plastic on top, and the black plastic was cut away to reveal the white stripes. A similar technique was used to create the fretboard markers and headstock logo. The sides and back were painted black so that they blended seamlessly with the covering on top.
