Gibson 1959 ES-125T Archtop Electric Guitar - Used  From Gibson Guitars

Vintage Gibson Hollowbody w/ Upgrades for the Modern Player!


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Gibson Guitars

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What We Think

I've always had a deep appreciation for the old ES-100-series Gibsons, having owned an ES-120T. The early ES-series has a certain mournful tonal quality that I can't help but love. String it up with flatwounds and a nice, clean amp and you have a masterful, soulful jazz guitar. String it with roundwounds and a cranked low-wattage amp and you have a blistering blues machine. This particular guitar has had a refret by our own Rob Sharer, upgraded Kluson tuning machines, and a new tune-o-matic style bridge, making it a phenomenal player's guitar.

Manufacturer's Description from Gibson Guitars

The ES 125 was reintroduced in 1946 as a 16 inch guitar built with a laminated body.  The model was modified in 1950 and subsequently cataloged right through the end of the 60's as the budget item in the hollow body electric line.

Gibson Guitars

About Manufacturer

Today's Gibson electric guitars represent the history as well as the future of the electric guitar. The models whose designs have become classics-the ES-175, ES-335, Flying V, Explorer, Firebird, SGs and Les Pauls-are a testament to Gibson's wide appeal, spanning more than four decades of music styles. Gibson's close relationship with musicians is manifest in endorsement models from King, Atkins and jazz greats Howard Roberts and Herb Ellis, plus new Les Pauls made to the personal specifications of rock stars Jimmy Page and Joe Perry. In 1994, Gibson's Centennial year, the new Nighthawk model won an industry award for design, setting the stage for a second hundred years of Gibson quality and innovation.


ES-125: 2nd Variant (1950-1969)

The second variant introduced in 1950 is characterized by a laminated maple top, a laminated maple arched back, and a pickup with adjustable pole pieces.  All the other basic specs are the same.

The Maple top allowed a yellower sunburst shading while the rest of the body kept a chocolate brown satin.  At the outset, the second variant was fitted with a slightly different trapeze tailpiece featuring vertical ridges on the cross bar.  But the raised diamond motif was reinstated in the mid 50's.  As to the P90 Pickup, a wider and flatter cover became the norm around 1953.  Otherwise, the main structural evolution was the installation in mid-1955 of a 20 fret fingerboard. 

Dimensions: 16 1/4" (W) x 20 1/8" (L) x 3 3/8" (D)

Laminated Maple top 

Laminated maple arched back 

single white binding on top and bottom edges

unbound f-holes

24 3/4" scale length

one piece mahagony neck

20 fret unbound rosewood fingerboard

dot inlays

neck to body junction at 14th fret

unbound peghead with gibson script silkscreened in gold

no ornament on headstock

Finish - dark brown with sunburst shading on top

one black-covered single coil pickup with adjustable pole pieces

volume and tone control

rim mounted input jack

tortoise pickguard

rosewood bridge with upgraded tune-o-matic-style bridge

trapeze tail piece with raised diamond on cross bar

upgraded Kluson tuners

nickel plated metal parts