Selmer Mark VI Saxophone

Between 1954 and 1981, the Henri Selmer company in Paris produced a saxophone that professional musicians would spend decades arguing about. The Mark VI was not the first professional saxophone Selmer built. It was not the last. But it became the standard against which every saxophone made since has been measured, and most have been found wanting.

John Coltrane played a Mark VI. So did Sonny Rollins, Cannonball Adderley, Michael Brecker, and Stan Getz. When you listen to virtually any jazz recording made between the late 1950s and the 1980s, you are almost certainly hearing a Mark VI. That ubiquity created a self-reinforcing cycle: players wanted the sound they heard on records, which meant they wanted a Mark VI, which meant the Mark VI became the default professional horn, which meant more records were made on Mark VIs.

Today, used Mark VI tenors sell for $4,000 to $18,000 or more depending on serial number, original lacquer, and condition. Altos run slightly less. The early serial numbers, particularly the first-year 1954 production, are the most valuable.

Quick Value Summary

• Item: Selmer Mark VI Saxophone

• Year: 1954-1981

• Category: Musical Instruments

• Condition Range (Tenor):

  • Late serial, relacquered, old pads: $4,000 - $6,000
  • Mid serial, original lacquer (60-80%), good overhaul: $7,000 - $10,000
  • Early serial, original lacquer (80%+), fresh overhaul: $10,000 - $15,000
  • First-year/low serial, near-mint original lacquer: $15,000 - $18,000+

• Condition Range (Alto):

  • Late serial, relacquered: $3,000 - $5,000
  • Early/mid serial, original lacquer, overhauled: $6,000 - $12,000

• Record Sales: Exceptional early tenors with celebrity provenance have sold above $20,000

• Rarity: Common (overall production was large); Uncommon to Rare (early serials in original condition)

The Story

Henri Selmer Paris had been making woodwind instruments since the 1880s. The company's founder, Henri Selmer, was a clarinetist at the Paris Conservatoire. His brother Alexandre ran operations in New York. By the 1930s and 1940s, Selmer was producing the Balanced Action and Super Balanced Action (SBA) saxophones, both excellent professional horns that were already popular with jazz musicians.

The Mark VI arrived in 1954 as an evolution of the SBA. The changes were incremental rather than revolutionary: refined keywork, improved ergonomics, a slightly different bore taper, and better intonation in the upper register. But those incremental changes added up to something that clicked with players in a way no previous saxophone had.

The secret of the Mark VI is not any single design feature. It is the combination of a particular bore shape, a specific metal alloy (yellow brass with a high copper content), hand-finishing of the tone holes, and manufacturing tolerances that were tight enough to be consistent but loose enough to give each horn its own character. Two Mark VIs from the same production year can sound noticeably different. Players talk about "good" ones and "bad" ones, and they will spend years searching for a horn that speaks to them.

Serial numbers are everything in the Mark VI world. The earliest horns, with serial numbers in the 50,000-80,000 range (roughly 1954-1958), are the most prized. These "five-digit" Mark VIs are believed to have slightly different metallurgy and tone hole finishing compared to later production. Whether this is measurable fact or player mythology is debated endlessly on saxophone forums. What is not debated is that early serial Mark VIs command a significant premium.

Production continued through 1981, with serial numbers reaching into the 300,000s. Selmer replaced the Mark VI with the Mark VII in 1975, but continued Mark VI production alongside it until 1981, an unusual overlap that speaks to dealer and player demand for the older model.

How to Identify a Mark VI

• Engraving: "SELMER" is engraved on the bell in a distinctive style. Below it: "MARK VI." Early examples also show the Paris address. The engraving style changed slightly over the production run.

• Serial number: Stamped on the body near the thumb rest. This is the single most important factor in valuation. Cross-reference with the Selmer serial number chart (GetASax and SaxOnTheWeb maintain reliable versions).

• Lacquer: Original lacquer has a warm, slightly amber tone that darkens with age. Relacquered horns have a brighter, more uniform finish. Check for lacquer pooling around posts and key guards, which suggests reapplication.

• Key guards: The Mark VI has distinctive "bow tie" or "butterfly" key guards on the low C and Eb. Earlier production has slightly different guard shapes than later production.

• Neck: Original Mark VI necks are stamped with a serial number matching the body. Replacement necks are common and affect value.

• Tone holes: On the best early Mark VIs, the tone holes are hand-finished with slightly rolled edges. Later production moved to machine-finished tone holes.

Common confusions: The Selmer Mark VII (1975-1981) looks similar but has different keywork and a slightly different bore. It is generally less valuable. The Selmer Super Action 80 Series II (1986-present) is Selmer's current professional model and is not a Mark VI. "Stencil" saxophones (horns made by Selmer but sold under other brand names like Buescher or Martin) are not Mark VIs.

Value by Condition

Late serial, relacquered, old pads: $4,000 - $6,000 Horns from the late 1960s-1981 with serial numbers above 200,000, that have been stripped and relacquered, and have pads that need replacement. Still playable Mark VIs, but the least desirable to collectors. Budget another $1,500-$2,500 for a professional overhaul.

Mid serial, original lacquer (60-80%), good overhaul: $7,000 - $10,000 Horns from the early-to-mid 1960s (serial numbers 80,000-150,000) with most of their original lacquer. A recent overhaul by a reputable technician is a major value-add. These are the sweet spot for players who want a great horn without paying top dollar.

Early serial, original lacquer (80%+), fresh overhaul: $10,000 - $15,000 Five-digit or low six-digit serial numbers (pre-1960) with excellent original lacquer. These are collector-grade horns that also play exceptionally well. A tenor in this range with a matching original neck and case sold through GetASax in 2024 for $14,500.

First-year/low serial, near-mint condition: $15,000 - $18,000+ The rarest category: 1954-1955 production in near-pristine original condition. These are as much collector pieces as player instruments. Matching original case, mouthpiece, and documentation add value.

Trending: Mark VI prices have been relatively stable over the past five years. The market softened slightly during 2020-2021 but recovered. Early serial tenors continue to appreciate slowly. Late serial and relacquered examples have seen less price growth.

Known Variations

• Tenor vs. Alto: Tenors are more valuable than altos across all serial ranges. The jazz tenor tradition (Coltrane, Rollins, Brecker) drives this premium.

• Soprano and Baritone: Mark VI sopranos (rare) and baritones (large and heavy) have their own collector markets. Baritones in good condition can bring $8,000-$15,000.

• Silver plate: Some Mark VIs were factory-finished in silver plate rather than lacquer. Silver-plated examples are rarer and some players prefer their darker tonal qualities. They typically command a 10-20% premium over equivalent lacquered examples.

• Gold plate: Extremely rare factory gold-plated Mark VIs exist. These are primarily collector items and can bring $25,000+.

• Engraving variations: Selmer offered custom engraving at additional cost. Heavily engraved examples are rarer and can add 10-15% to value.

Authentication and Fakes

Counterfeit Mark VIs exist, though they are less common than in some other collectible markets. The bigger issue is misrepresentation: non-original parts, fake serial numbers, and undisclosed repairs.

• Serial number verification: Cross-reference the serial number with known Selmer charts. The number should be consistent with the horn's features and production year.

• Neck matching: The neck serial should match the body. Non-matching necks are common (necks get swapped between horns) and reduce collector value by 15-25%.

• Lacquer originality: This is where most disputes arise. An experienced technician or dealer can distinguish original from relacquered finishes by examining the lacquer under magnification, checking for pooling around posts, and assessing color consistency.

• Professional inspection: Before buying any Mark VI over $5,000, have it inspected by a saxophone technician who specializes in vintage horns. Budget $50-$150 for an inspection.

Where to Sell

• Specialist dealers: GetASax, Matt Stohrer, USA Horn, and similar dealers buy and sell Mark VIs regularly. Expect 60-75% of retail value on direct sales. Consignment terms vary.

• Online marketplaces: SaxOnTheWeb classifieds, eBay, and Reverb are popular. eBay fees are 12-13%. Reverb charges 5% + payment processing.

• Direct sale to players: Local music schools, jazz programs, and saxophone teachers' networks can connect you with players looking for Mark VIs. This avoids dealer markups.

• Costs to budget: Professional overhaul before selling ($1,500-$2,500 if needed), cleaning and setup ($100-$300), shipping with insurance ($100-$200), and platform fees.

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