1932 Argentine Grey, Gold Sparkle L-2

[jt]

This is the result of a long, personal search for an affordable example of my all time- favorite Gibson: the 1932 Argentine Grey, Gold Sparkle L-2. The L-2 has a short and curious history. Introduced as a 12-fret rosewood model with trapeze tailpiece circa 1930 and closed out circa 1934 with a pin bridge, 14 fret rosewood model, its shortest and middle incarnation is, to my eyes, most striking. The 1931 L-2 flattop featured “gold sparkle” purfling around its top and soundhole and a unique, sunburst finish in “an original tone of Argentine grey, flecked with glints of gold.” The finish moniker presumably derives from the Latin “argentine,” or “gray,” and appears to have a hint of green added to the traditional, hand-rubbed stain of the era.

 

 

 

 

Now, we need Rich to post pics of his eve are rosewood, pin bridge, 14 fret L-2.

[wayside]

This is the result of a long' date=' personal search for an affordable example of my all time- favorite Gibson: the 1932 Argentine Grey, Gold Sparkle L-2. The L-2 has a short and curious history. Introduced as a 12-fret rosewood model with trapeze tailpiece circa 1930 and closed out circa 1934 with a pin bridge, 14 fret rosewood model, its shortest and middle incarnation is, to my eyes, most striking. The 1931 L-2 flattop featured “gold sparkle” purfling around its top and soundhole and a unique, sunburst finish in “an original tone of Argentine grey, flecked with glints of gold.” The finish moniker presumably derives from the Latin “argentine,” or “gray,” and appears to have a hint of green added to the traditional, hand-rubbed stain of the era.

 

[img']http://inlinethumb51.webshots.com/45426/2315538250033810361S600x600Q85.jpg[/img]

 

 

 

Now, we need Rich to post pics of his eve are rosewood, pin bridge, 14 fret L-2.

John,

 

We have to get these two together sometime.

 

Rich

 

 

 

[sfden1]

Wow, besides the obvious cosmetics, there appear to be some significant differences between the two. Maybe this can't be answered, but I wonder if the bracing and the overall body dimensions are the same, or did those change as well? Anything's possible with Gibson as we all know. Rich, yours seems to have a pronounced V shape to the neck, while John's appears, at least from the photos, to be a bit rounder. The few guitars I've played with a real vintage V neck were not comfortable to me, but I know some folks like them a lot. How does that work for you?

[wayside]

Wow' date=' besides the obvious cosmetics, there appear to be some significant differences between the two. Maybe this can't be answered, but I wonder if the bracing and the overall body dimensions are the same, or did those change as well? Anything's possible with Gibson as we all know. Rich, yours seems to have a pronounced V shape to the neck, while John's appears, at least from the photos, to be a bit rounder. The few guitars I've played with a real vintage V neck were not comfortable to me, but I know some folks like them a lot. How does that work for you? [/quote']

Dennis,

 

I'll be doing a photo session on the bracing next week and post the results here. As far as the V neck goes you are correct, it is a pronounced V and did take a bit of getting used to, but once my hand acclimated it became extremely comfortable. Dimensions:

 

Lower bout: 14 1/16"

Upper bout: 10 1/8"

Waist: 8 7/16"

Nut: 1 3/4"

Saddle (E to e spacing) 2 3/8"

Scale: 24 3/4"

 

Rich

 

PS: I just added a 1946 LG-2 to my playing arsenal...how do you like yours?

[jt]

Dennis,

 

It's the same body size, but one has a 12 fret neck joint and the other a 14 fret joint. Unlike Martin, which changed the body shape to accommodate the 14 fret neck joint, Gibson simply lengthened the neck and moved the bridge. Of course, the bracing position changed, too. Here is the bracing of a circa 1932, 12 fret L-00:

 

 

Here is a 1936 14 fret L-C:

 

 

At about the same time that Gibson went to a 14 fret neck joint (1933/34), it moved from the "C" shaped neck profile to a "V" and much heavier bracing. So, although 12 fret and 14 fret L look similar but for the neck joint, they are quite different inside. The late 1920s and early 1930s flattop necks have a very similar profile to a 1959 Les Paul! For reasons I've not figured, the 12 fret L-2s are lighter and braced more delicately than any of the other L models of the same time period. hence my personal search to get one.

[wayside]

John,

 

I think we've had this discussion before but I don't remember your reply. Taking into consideration all the strange compositions and record keeping that we have all come to know and love with Gibson, my L-2 puzzled me from the moment I saw it. "The Gibson" was supposed to have disappeared some time toward the end of 1932. It is my understanding that the 14 fret L-2 was not offered until 1934. Mine, as you well know, has a "The Gibson" logo with 14 frets. Now, there is nothing to say that a neck created in 1932 was not used on an instrument built the following year but two years later? Doesn't seem possible. What are your thoughts?

 

Rich

[jt]

John' date='

 

I think we've had this discussion before but I don't remember your reply. Taking into consideration all the strange compositions and record keeping that we have all come to know and love with Gibson, my L-2 puzzled me from the moment I saw it. "The Gibson" was supposed to have disappeared some time toward the end of 1932. It is my understanding that the 14 fret L-2 was not offered until 1934. Mine, as you well know, has a "The Gibson" logo with 14 frets. Now, there is nothing to say that a neck created in 1932 was not used on an instrument built the following year but two years later? Doesn't seem possible. What are your thoughts? Rich[/quote']

 

Yes, it is an interesting guitar. My guitar in 1931 should not have had the "The" on the headstock. Yours certainly should not. But, I don't think that these are accidents. A neck older than your guitar's body would have been a 12 fret neck or a 13 fret neck. For whatever reason, Gibson retained the old logo on the L-2. What I find equally interesting is that the L-2 bracing is clearly different from other Ls of the same time. I think that this points to them being special order guitars.

 

As for record keeping, officially there is none. Unofficially, rumors have long swirled that the missing pre-1936 shipping ledgers are in a private collection somewhere. What I can say at this point is that I've confirmed the rumors and am working on gaining access.

 

We really do need to get a pic of our two L-2s side by side.

[wayside]

 

We really do need to get a pic of our two L-2s side by side.

 

 

 

Well, a trip to visit my grandchildren is certainly not a chore for me. Let's work something out offline and get it done.

[TM]

What I can say at this point is that I've confirmed the rumors and am working on gaining access.

 

I knew they were out there somewhere! This is quite a revelation!

 

 

 

I just got information on a Marshall Special (Kel Kroydon) FON 9646 with a bill of sale dated December 12, 1930.

 

Have you xrayed a Kel Kroyden and compared those to your L2?

 

Terry

[jt]

I knew they were out there somewhere! This is quite a revelation!

 

I just got information on a Marshall Special (Kel Kroydon) FON 9646 with a bill of sale dated December 12' date=' 1930.

 

Have you xrayed a Kel Kroyden and compared those to your L2?[/quote']

 

Terry,

 

Hello! Send me an email. I've got a fair amount to tell you off line. Getting this info will be a delicate process. Rest assured that I'll share.

 

I have X-rayed a Kel, but haven't had time to compare it with the L-2, yet. I've got a Kel, a Trujo, and an L-2 in the X-ray/CT-scan database.

 

A Marshall! I missed out on one on eBay a few years back and then later discovered that Marshall was a music teacher in nearby Hartford, CT. maybe some day I'll get one.

[TM]

John, I sent you an email.

 

Terry

[lespauldc]

Mr. Thomas,

 

You said the guitar was affordable so should I assume if I am able to find a similar one it should be under 8K?

[TM]

if I am able to find a similar one it should be under 8K?

 

This one sold last week on ebay. The tenor conversion was done by a fine luthier. The listing did not last through the night.

 

I have not seen an Argentine Grey advertised in over 5 years. I would say 8K would be the low end on ebay. I doubt a dealer would price one that low. They built few and they are in strong hands. They typically get traded through word of mouth. Put a want ad on the UMGF. You don't know what may come of it.

 

Terry