1959 GIBSON ES-355TD

Superb 1959 Gibson ES-355TD, in excellent preserved condition and fully playable.

With the introduction of the ES-355TD in the late 1950s, Gibson brought to a peak the decade of innovation that saw the emergence of most of their iconic electric guitars: from the first solidbody Les Pauls unveiled in 1952 to the thinline semi-hollowbody models introduced in 1958 with the ES-335. Built upon the foundation of the thinline hollowbody guitars (ES-350TD, ES-225T, ES-125T, ES-140T) introduced in 1955 and 1956, these new models featured several improvements designed to make them the ultimate tools for professional artists: the addition of a double-cutaway on both the bass and treble sides of the neck for easier access to the upper frets; the neck-body joint moved from the 14th fret to the 19th fret, opening up all 22 available frets for playing; a central beam is added, positioned lengthwise in the body of the instrument. This last element is the culmination of the research and tests carried out by the engineers and workers at the Kalamazoo plant, a development explained by Ted McCarty (Gibson’s director from the late 1940s to the 1960s who spearheaded the company’s post-war “electrification” process) in the following terms: “The solidbody guitar had become so popular, […] but it never was a real comfortable guitar. It was heavy or it was too small, and the thought was to make a guitar with hollow wings but a solid center. So what we did was to take a solid block of maple and run it all the way through the body. So you got all of the sustain of a solid body guitar with the appearance of a standard guitar, with less weight than a similar guitar if you had made it out of a solid plank.”

Once the development phase was complete, Gibson went all out to promote its new design as quickly as possible directly to its customers: rather than waiting for the annual NAMM show, they organized traveling events at their distributors during which their resident guitarist Andy Nelson demonstrated the new ES models, with a stock of units ready to be sold to the captivated audience in the back of his station wagon! The technique was a hit and orders poured in. The ES-335 was positioned as a mid-range model, and Gibson quickly raised the bar with the ES-355. Introduced in November 1958, it boasted a whole host of high-end features: an ebony fingerboard with block-style pearl inlays, multi-ply binding across the entire body, neck, and headstock, all-gold-plated hardware, and a headstock with a large split-diamond inlay, reminiscent of the Super 400. The Bigsby vibrato was factory-fitted when the guitar was introduced in 1959, but this system was replaced the following year by Gibson’s own sideways vibrato tailpiece (due to its lateral action). The Bigsby is generally considered more ergonomic and practical in use. Finally, the instrument was finished in a stunning Cherry Red, a new color recently introduced on electric models. Hailed as the ultimate jazz guitar, the 355 ironically found its initial acceptance among many blues musicians: leading the pack were B.B. King, Freddie King, and Chuck Berry, all of whom quickly acquired their own red guitars!

This particular instrument left Kalamazoo in the summer of 1959, one of only 177 mono ES-355s sold that year, and comes in a stunning Cherry finish. It’s worth noting that mono models like this one are far more desirable than their stereo counterparts, as they can be plugged directly into an amplifier without the need for complicated wiring setups or modifications (a common issue with stereo Gibsons)! The instrument naturally includes its two original humbucker pickups with the Patent Applied For (PAF) label – being the first version of the famous double-coil pickups developed by Gibson in 1957, their tone and character are breathtaking – in short, it’s exactly the sound and characteristics that many pickup manufacturers try to emulate to this day! It also features the original Grover Rotomatic tuners in their first version, known as the Pat. Pend – and they are fully functional.

This guitar has undergone meticulous restoration in our workshop to restore all the qualities of an exceptional musical instrument while preserving its historical integrity. This work included a complete refret, the crafting of a new bone nut, and the adjustment of all the setup elements to achieve a low action and accurate intonation. We noted overspray on the back and neck joint—a common practice on vintage guitars to minimize wear after decades of playing. The plastic hardware deteriorated over time and has been previously replaced.

Sold in its original case, accompanied by a certificate of authenticity issued by Jérôme Casanova guaranteeing the instrument’s originality and condition.