1967 Epiphone/Gibson EC-100 Seville

I apologize in advance for telling you folks what some of you already know and others of you don’t want to know, but it’s stuff which anybody who is considering bidding on this guitar ought to know, so here goes:

Gibson introduced the C-1 classical or folk guitar in 1957 with a solid spruce top and solid mahogany back, sides, and neck. It had full body binding, a two-stripe rosette (later changed to a decorative decal), a rosewood wrap-around bridge and fingerboard, a slotted headstock, and three-per-side nickel tuners. Its classical dimensions (14 1/4” lower bout, with a 25 ½” scale), fan bracing, and nylon strings make this model considerably lighter in weight than even its contemporaries, the LG series.

However, in 1958 Gibson acquired the Epiphone trademark and equipment, lock, stock, and barrel, and as the Blue Book of Acoustic Guitars says, “It was decided that Epiphone would be re-established as a first-rate guitar manufacturer, so that Gibson’s parent company, CMI, could offer a product comparable in every way to Gibson....Gibson was (in effect) competing with itself,” selling virtually identical models of guitar. All were built at the Gibson plant in Kalamazoo to the same high standards out of the same wood stocks, in many cases by the same designers and craftsmen, but with different labels and model numbers. While this situation only lasted until 1969, when most Epiphone production was shifted abroad, the Epiphone guitars produced during this period look and perform almost exactly like their Gibson counterparts, and are therefore highly prized by players and collectors alike.

According to The Blue Book of Acoustic Guitars, the Epiphone “Seville,” or EC-100, classical/folk guitar was manufactured by Gibson in Kalamazoo from 1961 to 1970 as an exact parallel to the Gibson C-1. Gruhn’s Guide and Vintage Guitar Price Guide basically agree, although there is some disagreement as to specific features. It is the spitting image of the Gibson C-1 described above (including the zero fret later dropped by Gibson). While it may have been designed more for intimate personal performance or the coffee house of the 1960s folk music scene than for the blue grass stage, it still has enough carrying power for anybody and is a beautiful example of Gibson/Epiphone craftsmanship.

Like the Gibson C-1, this EC-100 also features a solid spruce top and a beautifully grained mahogany back, sides, and three-piece neck in a light natural finish. It has classical fan bracing, a rosewood wrap-around bridge, and a 12/19-fret (not including the zero fret) rosewood finger board. It has the wide patterned rosette decal Gruhn says was added to the Gibson classical guitars in 1964—in rare perfect condition--and beautiful binding on the top and back. The slotted classical headstock has no decal (added in 1964 to the Gibsons), while the neck width at the nut is slightly narrower than most classicals (1 7/8”) and the heel is rounded, unlike the sharp heel of most classicals.

The serial number (090050) suggests that in the notoriously erratic Gibson/Epiphone serialization “system” this particular guitar was produced in 1967. I see no evidence that would contradict this date. Regardless, you can tell at a glance—as well as with a chord or two—that the DNA of this guitar is 98% Gibson; it looks, plays, and sounds like a C-1, and is a truly great little instrument.

After 53 years of making music, there are a few cosmetic or structural concerns: there is some slight crazing or cracking in the finish, a few dings and bruises, a finish glitch in the back upper bout, and two obvious repaired cracks in the top below the bridge. However, the original binding is near perfect, and the headstock has only the slight corner dings expected after all those years. As I hope the pictures indicate, the finish is actually more beautiful than ever, despite the scratches or bruises. I see no sign of any cracks anywhere, fixed or otherwise, although there is evidence that the bridge has been re-set at some time or other.

I hope that you’re still with me—perhaps thinking that if it’s really like a 1967 Gibson, this thing’s worth serious consideration, and you’re right. The action is fine for a nylon-string guitar (at 4/32” at the 12th fret low E), the neck is straight, there are no cracks in the sides, back, or neck, and the top is flat. The presumably original nickel tuners are virtually untarnished, and they work fine. And, of course, playing music for fifty-three years has made that Gibson/Epiphone sound even better, more resonant, and more powerful, despite its modest size.

The case is the original black “alligator” chip board case, and while this also means it has few amenities, it is functional, and it affords adequate protection. The pocket and its top are intact, it is in adequate shape inside and out, the repaired handle works well, it fits the guitar perfectly, and obviously affords protection for this quality vintage instrument.

There is also some remarkable “case candy” left by the original owner, including the original hang tag announcing 50% off. The rest is hand-written, including some chord pictures and several hand-written lyrics to songs of the 1960s and 1970s. Obviously this guitar has been a big part of an owner’s life before, and is ready to do it again for a new generation.

Buyer pays a flat rate of $55 for insurance and shipping to the lower forty-eight states; shipping costs elsewhere will be negotiated as necessary. Payment by Paypal is preferred; cashier’s checks are acceptable, but checks must clear before the guitar will be shipped.

I have tried to be perfectly clear and accurate in describing this vintage instrument, so its return will not be accepted unless it can be shown that it was egregiously misrepresented in this listing. Please check out the pictures and ask any questions you might have before offering to buy it.

Thank you for your interest in this cool vintage guitar.