Exploring the History and Full Scope of Gibson Acoustic Rare Colors

When it comes to Gibson custom colors, many people likely envision the vibrant color charts found on electric guitars such as the Firebird, SG, and Thunderbird.
Colors like Perham Blue and Inverness Green, which utilized automotive paint, had been part of the Custom Color Chart since 1963, when the Firebird was officially introduced as an option.
However, the situation is different when it comes to acoustic guitars.
There are no "primary sources (official catalogs or color charts) regarding Custom Colors for acoustic guitars."
In other words, these were likely not part of a standardized selection of options, but rather “exceptions” born out of the factory’s whim or with a specific intention.

Gibson 1960s SG Junior “Polaris White”

So, were these color models suddenly invented in 1967?
Actually, that is not the case. If we trace the history of Ebony Black, it has existed since as far back as the 1930s.

The combination of a black finish and a white pickguard, seen on pre-war L-00 models, is affectionately known as the “Tuxedo” (*Photo shows a tiger-stripe pickguard) due to its chic appearance.

Gibson 1930s Black Special #4

This black finish was not limited to acoustic guitars; it was also applied to archtop guitars. There was even a model called the Black Special #4, which shared specifications similar to the L-30 and L-50—both of which featured a black ebony finish as their base color (in the late 1930s).

Why were there so many “black” models in Gibson’s 1930s lineup? I believe this stems from a combination of “practical reasons” and “aesthetic sensibilities” unique to the historical context of that era.

One of the main reasons I would cite is “cost reduction” during the Great Depression. Premium woods with beautiful grain patterns were traded at high prices, particularly when finished with natural finishes that left no room for concealment. In other words, relying solely on finishes that highlight the grain resulted in poor material yield.
However, wood with knots or color variations could not be wasted. Even if it had some visual imperfections, it still functioned perfectly well as tonewood. I believe that painting over these “visual flaws”—in wood that was “acoustically flawless”—
and release the products to the world, painting them black was likely a very rational approach.

However, what makes Gibson extraordinary is that this did not end as a mere “stopgap measure.” At the time, it was standard for jazz musicians to perform on stage in tuxedos or suits. Against that formal black attire, a jet-black guitar appeared visually very chic and professional. In other words, “wisdom for using wood without waste” was ultimately elevated into a “formal look for professionals.”

Even from this era onward, Gibson had already established an aesthetic known as “Ebony Black” as a form of functional beauty.

Fast forward to 1962–63.
It was the arrival of the Everly Brothers that reintroduced this “black”—now known as “Jet Black”—to the world as the standard for acoustic guitars.
The jet-black bodies of their signature models made a powerful impact on the music scene of the time.

Could the existence of these Everly Brothers models have laid the groundwork for the later birth of the J-45 Ebony Black?
It really sparks the imagination.

How did this rare color come to be?
A precious example that offers a clue to their origins has arrived at our store, Advance Guitars.

A J-45 clad in a striking cherry red.
The back of the headstock bears a "BGN (Bargain)" stamp.
We believe this stamp was applied at the Gibson factory, rather than added later by a subsequent owner.
“BGN” is one of the identification marks stamped on the back of the headstock at the Gibson factory, and is believed to be an abbreviation for “Bargain.”

Gibson J-45 Cherry Red “BGN” Stamped

This indicates that the guitar was sold to employees at a significant discount, and it is said that this particular instrument was not distributed to the general market.
For this reason, it is believed that this particular instrument had issues suitable for general distribution and was sold to employees in Cherry Red.

Why was such a guitar made?
While this remains purely speculative, it is possible that Gibson repurposed instruments that were difficult to sell through official channels and used them for “experimental production of non-catalog colors” within the factory.
This "BGN" model could be seen as a testament to a transitional period during which Gibson was experimenting.

Among the rare-color Gibson models of this era, such as the Ebony Black, if you look closely at the back of the headstock, you will often find a "2" stamped there.
This indicates that the instrument is a “Second (2nd) grade” item—a designation applied when there are cosmetic flaws, such as uneven paint or wood blemishes, even though the instrument functions perfectly.

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

By applying a finish to hide coarse grain or scratches and positioning it as a “non-catalog color,” the visual flaw is transformed into a “rare charm,” making the instrument easier to sell.

Viewed this way, it makes sense that, unlike the Firebird—which prominently promoted “custom colors”—Gibson did not actively promote rare colors for acoustic guitars (since they couldn’t actively market products with cosmetic flaws).
With acoustic guitars, rare colors were likely seen more as a manufacturing necessity (a solution) rather than an option, which is probably why no brochures or other promotional materials were created, and they weren’t listed in the catalogs.

This aligns with the analysis regarding the background behind the “1930s black finish” mentioned earlier, and I believe it is a compelling theory.

On the other hand, the fact that not all rare-color models bear a “Second” stamp, and that some sunburst-finished instruments also have “Second” stamps (some of which feature blackened areas known as “stingers”), further complicates this question.

In connection with this, I’ve been wondering: weren’t there a lot of “second-grade” items in the late 1960s? If so, why?
That is the question.
To delve deeper into the background, I’d like to look at the figures for “acoustic guitar shipments.”

At the time, the world was in the midst of a folk song boom. Demand for acoustic guitars was rising at an astonishing rate. This frenzy is clearly reflected in Gibson’s shipment data.
Taking the J-45 as an example, while total shipments from 1951 to 1960 were approximately 16,000 units, they surged to about 31,000 units from 1961 to 1970—nearly doubling.
This increase in production was not limited to the J-45; it was occurring across the entire Gibson flat-top lineup.

Furthermore, a closer look at annual J-45 shipment figures for the 1960s reveals a very interesting fact. While 3,951 units in 1965 is a significant number, 1967 set an outstanding record of 5,670 units.
The year 1967 coincides precisely with the period when rare colors, such as Ebony Black, began to appear in large numbers on the market.

This leads to the theory that a global surge in demand strained production capacity, resulting in an increase in flat-top models that barely met inspection standards or had cosmetic flaws. To address this, the company likely turned to “rare colors” that could conceal these imperfections, and as a result, a large number of J-45s were released in 1967 once the shipping infrastructure was in place.
It seems likely that this is also the reason why we see rare-color models with four-piece tops, in addition to those with the "Second" stamp.

The "2" stamp and the explosive volume of shipments in 1967.
These two facts may quietly tell the story of the manufacturer’s struggles and ingenuity hidden behind the birth of the rare colors.

Even among rare colors, there are some that are "even rarer."
The prime example is the "Brown" finish.
These finishes possess a unique hue, resembling either the black sections of a sunburst or the color of walnut. It is extremely rare to see one in person, making it a phantom specification rarely encountered even in the vintage market.

Gibson J-45 Brown *Photo shows a reissue (manufactured in 2004)
Brown is a color that exists in the shadow of red and black.
While it has been reissued in recent models, this color scheme actually existed in the original late 1960s models as well.
It is an extremely rare item that rarely circulates on the market.

Author: Inoue (Manager, Advance Guitars)

In charge of electric and acoustic guitars at TCGAKKI. Later, in 2023, he participated in the launch of Advance Guitars, a specialty store for acoustic guitars. As store manager, he has experience dealing with collectors and musicians both domestically and internationally. He contributed significantly to the publication of the world’s first SJ reference book, “GIBSON KING OF THE FLAT-TOPS.” He also writes numerous other columns.

A Few Words: “There are still many Gibson rare colors that have yet to be fully explored. Every time I encounter a specific instrument and unravel its history, its charm only deepens. Coming across instruments like the Brown and the LG-1 Black this time has been an incredibly valuable experience in gaining a comprehensive understanding of Gibson acoustic history.”

Qualifications & Experience: 8 years as a musical instrument appraiser; contributor and editor for Acoustic Guitar Magazine and other publications

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