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Apart from the pro refinish, this guitar is in original condition with period correct components and an OHSC. This one-of-a-kind guitar was developed in late 1957 and likely designed by Rickenbacker designer Roger Rossmeisl, combining features of the 325 Capri and the Combo 850, and with no serial number on the elongated jackplate.
This “transitional” Rickenbacker guitar has features found on the Combo 850 model, such as the “German carve” indent on the front of the body.
See additional detailed photos and information regarding this particular guitar on pages 20-21 of “” (1995) published by Rittor Music, Japan. This guitar has a rare “matte” Fireglo finish found on some early 1960 models (see 330F Fireglo 1960, above).
This guitar is in near-mint original condition with its original HSC. This is one of the approximately 30 model 325 guitars made by Rickenbacker in 1958, and has survived in excellent shape with its original Two-Tone Brown finish. Along with the early Combo 450 model, the short-scale model 950 is one of the few Rickenbacker guitars with two pickups but one volume and one tone control. This early “Tulip” model – so called because of the shape of the body horns – has the “sax strap” ring and hook. This short-scale model has the least frets of all the short-scale models; as opposed to the 900, 950 and 310-325 models which were short scale with 21 frets, this model is short scale with 18 frets. This transitional 950 is finished in a rare non-traditional dark reddish brown color with a slight burst effect on the sides. It is all original with a short-scale neck, “tulip” body metal truss rod cover and plastic Kluson tuner buttons.
This is one of three “Longbody” Capri prototypes produced by Rickenbacker during the R&D stages of the Capri concept in late 1957.
Guitar features a short-scale neck on an elongated semi-hollow body, which is made of several pieces of figured wood laminated together “butcher-block” style.
Restored with neck reset, new repro Kluson tuners, toaster pickup covers and Kauffman vibrola; restoration included new fingerboard with crushed pearl inlays; period-correct HSC. This guitar was acquired from the son of the original owner. Note the original Ac’cent vibrato and roller bridge. This guitar was acquired from a relative of the original owner – who evidently did not play it very much. If John Lennon had played a full-scale Capri, this might well have been his choice.All original with gray “elephant-hide” covered OHSC with red lining in good condition. 1958 Rickenbacker Capri 365 in early Fireglo finish; beautiful ribbon-flamed alder on body front; shows slight playing wear; no cracks or breaks. 1959 Rickenbacker Capri 365 in beautiful shade of burgundy-tinged Fireglo finish; MINT museum-quality guitar looks like it was made yesterday; not a nick, ding, scratch or swirl on it. This guitar was acquired from the son of the original owner. There are several pinholes on the upper bout where some metal letters spelling the owner’s initials used to be. 1959 Rickenbacker Capri 335 in a Tomato Red burst with a beautiful flamey neck; this is a very lightweight guitar in excellent original condition. 1959 Rickenbacker Capri 365 in nicely ambered Fireglo, with highly flamed 3-piece maple neck with original finish; early Ac’cent vibrola and silver HSC.All original with roller bridge and early Ac’cent vibrola with badge. This one-owner guitar was unplayed and under the bed for 50 years; Ac’cent vibrola. 1959 Rickenbacker Capri 375 restored and refinished to a beautiful shade of Autumnglo/Fireglo by Larry Davis in 2009.It was so named because it was initially played by a member of a group called the “Polynesians.” See page 147 of (1987) by Richard R. This guitar is in near-mint original condition with its original HSC.1958 Rickenbacker Capri 325 Autumn Gold – Short Neck Long Body.