1959 Gibson ES-355 (Cherry, Stereo, Varitone)

1959 Gibson ES-355 (Cherry, Stereo, Varitone): The Pinnacle of Gibson's Thinline Semi-Hollow Era

In 1958 and 1959, Gibson introduced what would become arguably the most influential family of electric guitars ever produced. The ES-335, ES-345, and ES-355 were thinline semi-hollow instruments that combined the feedback resistance and sustain of a solid-body with the acoustic resonance of a hollow-body guitar. Of the three, the ES-355 was the top-of-the-line model, loaded with the most appointments, the most elaborate wiring options, and the highest price tag. The 1959 ES-355 in Cherry finish with the Stereo wiring and Varitone circuit -- designated the ES-355 TDSV in Gibson's internal nomenclature -- is now among the most prized vintage guitars in the world. Original examples in good condition trade for $25,000 to $50,000 and sometimes considerably more.

The Context: Gibson's Thinline Revolution

The story begins in 1958, when Gibson introduced the ES-335, a completely new type of electric guitar. Previous hollow-body electrics suffered from feedback at stage volumes; solid-body guitars avoided feedback but lacked the acoustic resonance many players wanted. Gibson's solution was a guitar with a solid maple center block running through the body length, with hollow wings on either side. The result had the sustain and feedback resistance approaching a solid-body while the hollow wings contributed tonal complexity and resonance.

The ES-335 was mid-range; the ES-345 was a step up in appointments; the ES-355 was the flagship. All three used the same fundamental construction -- the laminated maple top, back and sides, the solid maple center block, the twin humbucking pickups developed by Seth Lover -- but the 355 added the most elaborate specifications: multiple layers of binding, a Varitone rotary switch for tonal variation, a stereo wiring option, a block-letter headstock, and the Bigsby tremolo as standard equipment.

The 1959 production year is particularly significant. Gibson's 1959 guitars, across virtually every model, are considered the culmination of the late 1950s golden era before the company began making cost-cutting changes in the early 1960s. The 1959 ES-355 was built during the same window when the 1959 Les Paul Standard, widely considered the greatest electric guitar ever made, was also in production. The factory methods, the attention to finish quality, and the component sourcing that characterize 1959 Gibson guitars give them their special status.

Anatomy of the 1959 ES-355 TDSV

The nomenclature tells the story of the guitar's configuration: ES = Electric Spanish, 355 = model designation (top tier), T = Thinline, D = Double pickup, S = Stereo, V = Varitone.

Body construction: Three-ply laminated maple top, back, and sides with a solid maple center block. The body depth is approximately 1.75 inches, the "thinline" dimension that distinguished these guitars from Gibson's deeper-bodied jazz guitars of the era.

Pickups: Two Patent Applied For (PAF) humbucking pickups. The PAF humbuckers of the 1957-1962 era are among the most sought-after pickups in electric guitar history, prized for their warm, complex tone that has been widely imitated but never fully replicated. Each pickup has its own volume and tone control.

Varitone: The Varitone is a six-position rotary switch that engages different notch filter circuits, altering the tonal character of the output. Position 1 is bypass (no filter); positions 2 through 6 progressively cut different frequency ranges. The Varitone was controversial even at the time -- many players felt it sucked tone -- and numerous 355s have had their Varitone circuits bypassed or removed. An unmolested, original-wiring 355 with intact Varitone is more valuable than one that has been modified.

Stereo wiring: In the stereo configuration, the neck and bridge pickups are wired to separate output jacks (the guitar has a Y-shaped output jack arrangement). This allowed the two pickups to be routed to separate amplifiers, theoretically creating a stereo effect on stage. Like the Varitone, the stereo wiring was often bypassed or modified by players who preferred standard mono wiring. Original stereo wiring intact is a positive factor for collectors.

Hardware: Bigsby B7 vibrato tailpiece as standard equipment in 1959. Gold-plated hardware throughout. Multiple-layer binding on the top, back, and neck. Pearl block-pattern inlays on an ebony fingerboard. "Fretless Wonder" frets (a very low, wide fret profile unique to ES-355 guitars of this era).

Headstock: The 1959 ES-355 uses what collectors call the "conversion" headstock -- a transitional design. Early in 1959, the headstock retained elements of the earlier configuration before transitioning to the design that would persist through subsequent years.

Finish: Cherry was the standard finish for the ES-355 from introduction through the mid-1960s. The original Cherry finish was a transparent dye over the natural maple, and it has aged in various ways depending on exposure to light and environmental conditions. Some 1959 examples retain a vivid cherry red; others have faded to what collectors sometimes describe as "watermelon red" or "salmon," a prized and highly characteristic look.

Case: Original 1959 ES-355s came with a brown hardshell case with pink lining. The presence of the original case is a significant factor in both authenticity assessment and value.

Identification and Authentication

Authenticating a 1959 ES-355 requires expert examination of multiple elements:

Serial number: Gibson serial numbers from this era follow a specific pattern that can be decoded to identify the approximate production year. Numbers in the 490,000 to 570,000 range are typical for 1959. However, serial numbers alone are not sufficient authentication, as they can be duplicated.

Pickups: PAF pickups from 1959 have specific construction characteristics, including the particular gauge and winding of the wire, the type of magnets used (Alnico II or Alnico V, applied during production in no particular order), and the specific physical construction of the pickup housing. Expert testers can distinguish original PAFs from later replacements with near-certainty.

Potentiometer codes: The date codes on the volume and tone potentiometers (pots) indicate their manufacture date, which should be consistent with 1959 production.

Construction details: The specific way the binding was applied, the characteristics of the finish, the type and application of the hardware -- all of these have period-specific characteristics that experts use to authenticate instruments.

Value and Market

The specific configuration dramatically affects value. An unmolested example with original PAF pickups, intact Varitone circuit, original stereo wiring, and no refinish or replaced parts commands maximum value. Conversely, a 355 with replaced pickups, modified wiring, and a refinished top is a fundamentally different proposition, though still a historically significant instrument.

One source notes that a 1959 stereo 355 sold for $25,500 while a Bigsby example in excellent condition was discussed at $30,000 as a fair market price. Original cases add meaningfully to the value of any complete example.

The market for these instruments is active through specialist vintage guitar dealers, Reverb, and estate auctions. The vintage guitar market broadly has appreciated significantly since 2015, and 1959 Gibson products have been among the leading performers.

Famous Players

The ES-355 attracted notable players from its introduction. Freddie King used one for much of his career, and the instrument's association with Chicago and Texas blues is direct and well-documented. Chuck Berry has been photographed with various semi-hollow Gibsons including ES-355 models. The guitar's blend of warm clean tones and punchy distorted sounds made it suitable for a wide range of styles from jazz to country to rock and roll.

The specific Stereo Varitone configuration appeals to collectors both as an original factory option and as a window into a specific moment in Gibson's history when they were experimenting with electronics-forward features that the market ultimately did not entirely embrace.

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