When it comes to Gibson custom colors, many people think of the gorgeous color charts for electric guitars like the Firebird, SG, and Thunderbird.
Colors like Perham Blue and Inverness Green, which use automotive paint, have been on the custom color chart since 1963 when the Firebird was announced as an official option.
However, the situation is different for acoustic guitars.
Primary sources (official catalogs and color charts) regarding custom colors for acoustic guitars are nowhere to be found.
In other words, these were likely not systematized options, but rather "exceptions" born out of factory whims or special intentions.

Gibson 1960s SG Junior "Polaris White"

So, was the color model suddenly invented in 1967?
Actually, that's not the case. Tracing the history of Ebony Black reveals its existence as far back as the 1930s.

The combination of a black finish and white pickguard seen on pre-war L-00 models was affectionately nicknamed "Tuxedo" (※Photo shows Tiger Stripe pickguard) due to its chic appearance.

Gibson 1930s Black Special #4

This black finish wasn't limited to acoustic guitars; it was also used on archtop guitars. A model called the Black Special #4 existed, featuring specifications similar to the L-30 and L-50, which adopted a black ebony finish as their base color (late 1930s).

Why were there so many "black" models in 1930s Gibsons? I believe this stems from a unique blend of "practical reasons" and "aesthetic sensibilities" specific to that era.

One primary reason was "cost reduction" during the Great Depression.The finest woods with beautiful grain patterns commanded high prices, especially when finished with natural finishes that left no room for hiding imperfections. Relying solely on finishes that highlight the grain inevitably led to poor yield rates.
However, wood with knots or color variations couldn't be wasted.Even with minor visual imperfections, it could still function perfectly well as tonewood. To conceal the "visual flaws" of this wood, which was "acoustically flawless,"
black lacquer was a highly rational solution for releasing it as a finished product.

However, Gibson's extraordinary genius lies in the fact that this didn't remain merely a "stopgap measure."Jazz musicians of that era typically performed on stage in tuxedos or suits. Against that formal black attire, a jet-black guitar appeared visually chic and professional. In other words, the "wisdom of using wood without waste" was ultimately elevated into a "formal look for professionals."

Even from this era, Gibson already possessed the aesthetic of "Ebony Black" as functional beauty.

Fast forward to 1962-63.
The Everly Brothers brought this "black" back into the spotlight as the standard for acoustic guitars, now known as "Jet Black."
The jet-black body of their signature model made a powerful impact on the music scene of the time.

Could the existence of this Everly Brothers model have been the groundwork for the later birth of the J-45 Ebony Black?
One can only imagine.

How did the rare color come to be?
A precious instrument hinting at its origins has arrived at our store, Advance Guitars.

A J-45 clad in a vivid cherry red.
The back of the headstock bears a stamped "BGN (Bargain)" mark.
This stamp was not added later by an owner; we believe it was applied at the Gibson factory.
"BGN" is one of the identification marks stamped on the back of headstocks at the Gibson factory, standing for "Bargain."

Represented by the Ebony Black, these Gibson rare color models from this era often feature a "2" stamp engraved on the back of the headstock.
This indicates a "Second (2nd) grade" item, stamped when there are cosmetic defects—such as uneven paint or wood blemishes—that do not affect functionality.

This leads to one hypothesis: the possibility that dark finishes like Ebony Black or Cherry Red were applied specifically to conceal cosmetic flaws on these instruments.

Applying paint to conceal coarse grain or scratches, then positioning it as a "non-catalog color," transforms the visual disadvantage into a "rare charm," making it easier to sell.

Considering this, it makes sense why Gibson didn't actively promote rare colors for acoustics (they couldn't actively market products with cosmetic flaws), unlike the Firebird, which prominently featured "custom colors."
For acoustic guitars, rare colors were less about options and more about manufacturing constraints (solutions). That's likely why no brochures or catalogs were created for them.

This aligns with the earlier discussion about the background of the "1930s black finish" and seems quite convincing.

Even among rare colors, the existence of "even rarer" shades has been confirmed.
The foremost example is the "Brown" finish.
These possess a unique hue, reminiscent of extracting only the black portion from a sunburst, or akin to walnut. Seeing the actual instrument is extremely rare; it's a phantom specification seldom encountered even in the vintage market.

Gibson J-45 Brown ※Photo shows reissue (2004)
Brown finishes exist in the shadows of red and black.
While sometimes reissued in recent models, this coloring also existed on originals from the late 1960s.
It's an extremely rare item that rarely circulates on the market.