Most guitars that turn up in closets and attics are student or entry level instruments worth approximately $50-200, and many sell for less. The guitars worth real money are American made Gibson, Fender, Martin and a few other makers from the 1950s, 1960s and 1970s, along with some well made Japanese instruments from the 1970s and 1980s. An original 1960s Fender or Gibson in good condition is commonly worth several thousand dollars, and the most famous models from the late 1950s are worth far more. The brand on the headstock, the serial number, the country of manufacture, and how much of the guitar is still original decide which group yours belongs to.
Quick answer
- Student and entry level guitars, including most Squier, Epiphone, Yamaha and unbranded models, sell for $50-200.
- Read the headstock logo, the serial number and the "Made in" text, then check for refinishing, replaced parts and cracks.
- Value rises sharply for original American Gibson, Fender and Martin guitars from before about 1980, and for good Japanese guitars from the 1970s and 1980s.
How to check yours, step by step
- Read the headstock. Look at the front of the headstock, the top of the neck where the tuners are. You are looking for the brand logo and any model name, such as "Stratocaster", "Les Paul" or "D-28". Note whether it says Fender or Squier, Gibson or Epiphone.
- Find the serial number. On Gibsons, look on the back of the headstock for an ink stamped or impressed number. On Fenders, look on the front or back of the headstock for a decal, or on the metal neck plate where the neck bolts to the body on older guitars. On Martins and most acoustics, look through the soundhole at the wooden block inside where the neck joins the body, or on a paper label visible through the soundhole.
- Find the country of manufacture. Look near the serial for "Made in USA", "Made in Japan", "Crafted in Japan", "Made in Korea", "Made in Mexico", "Made in Indonesia" or "Made in China". This one line can change the value by a factor of ten.
- Read the label inside acoustics. Look through the soundhole at the paper label or the stamped neck block. You are looking for the model, serial, and on older Yamahas the color of the label, which dates the guitar.
- Check the finish. Look at the finish in raking light, especially around the edges, the neck heel and under the pickguard. You are looking for signs of refinishing: overspray on the binding, a finish that is too even for its age, or a logo that looks newer than the wear around it.
- Check the hardware and electronics. Compare the tuners, bridge, pickups and knobs with photos of the same model and year. Look for extra screw holes, which mean parts were swapped. On electric guitars, a qualified person can open the control cavity and read the date codes on the potentiometers.
- Check the structure. On acoustics, look along the top for cracks, check that the bridge is firmly attached, and sight down the neck. You are looking for high action, where the strings sit far above the frets near the body, which can mean the guitar needs a neck reset. On Gibsons, look at the back of the headstock for a crack or repair.
- Look at the case and paperwork. Note the case type, any receipt, warranty card, hang tag or original owner's paperwork.
Reading serial numbers by brand
| Brand | Where the serial is | How to read it |
|---|---|---|
| Gibson, 1977 onward | Impressed on the back of the headstock, usually 8 or 9 digits | On the common 8 digit system, the 1st and 5th digits give the year and digits 2 to 4 give the day of the year, so 82765432 was made on day 276 of 1985 |
| Gibson, 1961 to 1975 | Impressed or stamped on the headstock, 5 to 6 digits | Numbers were reused across years and are hard to read alone; model features and parts date codes help |
| Gibson, before 1961 | Ink stamped on the headstock or on a label inside hollow bodies | Late 1950s Les Pauls use a first digit for the year, such as 9 for 1959 |
| Fender, 1954 to 1976 | Metal neck plate, later on the headstock | Number ranges are overlapping; neck and body dates written in pencil inside give the best date |
| Fender, 1976 onward | Decal on the headstock | Letter and number prefixes such as S9 (1979), E1 (1981), N0 (1990), Z0 (2000) and US followed by year digits |
| Fender Japan and Mexico | Headstock or neck plate | JV and SQ prefixes are early 1980s Japan; MN and MZ prefixes are Mexico |
| Martin | Neck block inside the soundhole, model stamped alongside | Sequential since 1898; Martin's published list converts the number to a year |
| Yamaha acoustics | Label inside the soundhole | Early Japanese FG models have a red label; later models use a green or other label and letter codes |
| Epiphone, 1970 onward | Headstock or label | Letters often identify the factory, and the country tells you more than the number |
Serial numbers point to an era, but they are not the whole story. Gibson and Fender both have periods when numbers overlap or were reused, and serious buyers confirm the date with the parts, the construction details and the pencil dates inside.
Vintage, reissue or copy
Many guitars look like a famous vintage model but are not one.
- Vintage originals are American guitars made in the period collectors want. Their value rests on originality and condition.
- Reissues are newer guitars built to look like a vintage model, often with "Reissue", "Classic Vibe", "American Original", "Custom Shop" or a year such as "'57" in the name. Good ones sell for $500-3,000, but they are priced as used modern guitars, not as vintage instruments.
- Licensed budget lines such as Squier by Fender and Epiphone by Gibson use similar shapes at lower prices. Most sell for $100-400.
- Japanese copies from the 1970s and 1980s by makers such as Tokai, Greco, Ibanez and others were often very well built. Collectors call some of them "lawsuit era" guitars. Good examples sell for $400-1,500.
- Counterfeits with a Gibson or Fender logo on a guitar made elsewhere are common, especially for Les Paul shapes. Rough serial stamping, poor headstock logos, wrong hardware and bolt on necks on models that should be glued are typical signs.
What guitars are worth
| Type | Examples | Typical value |
|---|---|---|
| Student acoustics and classical guitars | Unbranded, First Act, Esteban, Rogue, older department store guitars | $25-100 |
| Entry level electrics, recent | Squier, Epiphone, Ibanez GIO, Yamaha Pacifica, mostly Indonesia and China | $75-250 |
| Korean made electrics and acoustics, 1990s and 2000s | Epiphone, Squier, Cort and others made in Korea | $150-400 |
| Mexican made Fender | Player and Standard series | $350-700 |
| Yamaha FG red label acoustics, about 1966 to 1972 | Early Japanese FG models | $300-900 |
| Japanese electrics, 1970s and 1980s | Fender Japan JV and E series, Tokai, Greco, Ibanez | $400-1,500 |
| 1950s and 1960s American student brands | Harmony, Kay, Silvertone, Danelectro | $150-800 |
| Modern American Gibson, Fender and Martin | Current and recent production | $700-2,500 |
| Vintage American guitars | Typical original examples | Typical value |
|---|---|---|
| 1970s Fender Stratocaster and Telecaster | Original finish and parts | $3,000-8,000 |
| 1970s Gibson Les Paul and SG | Les Paul Custom, Deluxe, SG Standard | $2,000-7,000 |
| 1960s Gibson ES and SG models | ES-335, ES-330, SG Standard, original | $4,000-20,000 and up |
| 1960s Fender Stratocaster, Telecaster, Jazzmaster, Precision Bass | Original finish and parts | $8,000-30,000 and up |
| 1960s Martin D-18 and D-28 | Original, no major repairs | $4,000-12,000 |
| Kalamazoo Epiphones, about 1958 to 1970 | Casino, Coronet, Texan, Sheraton | $2,000-10,000 |
| 1950s Fender and Gibson | Original Stratocasters, Telecasters, Les Pauls | $15,000 to well into six figures |
| Pre-war Martin dreadnoughts | D-18 and D-28 from the 1930s | Well into five and six figures |
A late 1950s Gibson Les Paul Standard with the sunburst finish is among the most valuable production guitars ever made, but very few were made, and nearly every example is known to collectors.
Condition and originality
Originality matters more for guitars than for almost any other collectible. A collector paying a vintage price wants the guitar as it left the factory.
- Refinish. A refinished vintage guitar is commonly worth 30 to 50 percent less than an original finish example, sometimes more.
- Replaced parts. New tuners, a replaced bridge, or swapped knobs take a modest bite. Replaced pickups or a new pickguard cost more. Original parts kept in the case can be reinstalled and recover much of that value.
- Refrets. New frets are normal on a played vintage guitar and only reduce value slightly when done well.
- Cracks. Top cracks on acoustics are common and repairable. Repaired cracks lower value moderately. Headstock cracks on Gibsons are a well known weakness and usually reduce value by 30 to 50 percent even when properly repaired.
- Neck resets. Many older acoustics eventually need a neck reset, which typically costs $400-800 at a luthier. Buyers subtract that cost.
- Wear. Honest playing wear is accepted and sometimes preferred to a refinish.
For student guitars, condition matters less, because the guitar is priced as a playable instrument. A clean student guitar with new strings sells for the top of its range. A warped neck or a lifting bridge can make one worth only a few dollars.
Cases and documentation
An original hardshell case adds real value to vintage American guitars, sometimes several hundred dollars. Period cases have their own collector market, and a matching case also suggests the guitar has stayed together. Hang tags, warranty cards, original receipts and photos of the first owner with the guitar help both the value and the story. For everyday guitars, a case is nice to have but adds little. Guitars often come out of the same estate as a record collection, an old typewriter or a film camera, and those guides cover the same sorting logic.
Common mistakes
- Assuming a famous shape means a famous maker. Many Les Paul and Stratocaster shaped guitars are Epiphones, Squiers or copies.
- Ignoring the country of manufacture. A USA Fender and a Squier can look nearly identical.
- Dating from the serial alone. Overlapping and reused numbers are common on 1960s and 1970s guitars.
- Refinishing or "restoring" an old guitar before selling. It usually lowers the value.
- Throwing away old parts after an upgrade. Original parts restore value.
- Pricing from asking prices. Sold listings and dealer offers are what the market pays.
- Selling a vintage guitar without a professional look. A good 1960s guitar is worth a proper check.
What to photograph
- The full front and back of the guitar on a plain background.
- The headstock front and back, with the logo and serial readable.
- The label or neck block through the soundhole of an acoustic, with a light.
- The neck plate on a bolt on electric.
- Close ups of the bridge, pickups, tuners and knobs.
- Any cracks, repairs, finish wear or extra screw holes.
- The case, inside and out, and any paperwork.
When to get it looked at in person
- A luthier or guitar repair shop can check for cracks, neck problems, refinishing and replaced parts. A basic evaluation often costs $50-100, and many will look briefly at no charge.
- A vintage guitar dealer can confirm the model and era and give a market view. Expect dealer offers at roughly 50 to 70 percent of retail.
- A written appraisal for insurance or estate purposes usually costs $50-200 per guitar. Worth it for any American guitar from before about 1980.
- An auction house with a musical instruments department is the right place for rare and high value guitars. Commissions usually run 15 to 25 percent.
WorthPic reads the headstock, serial and label from your photos, names the maker, model and era, and estimates a value range, so you can quickly see whether the guitar is a student instrument or one that deserves a professional look.