Johnny Smith Rose Artifacts

[Marty Grass]

Today I received two items from Maudie Moore's trust related to the topic. Maudie is a remarkable part of Gibson and Heritage history. Some of you will be familiar with her. I met her and can join others saying she was a sweet gem.

First, here's her story. It's inspiring.

I met her when she was taking care of her elderly, sick husband a few years ago. He died and more recently she died.

Here was her estate auction. It was loaded with historic artifacts and machinery.

A friend of mine who is a luthier went to the estate sale and bought a bunch of stuff. Today he gave me two things from the estate related to Heritage Johnny Smiths, which he worked on. The image on the left is the design of the rose on the HJS headstock and often on the pickguard. This design was made by Maudie and chosen by Johnny. The petals on the rose are assigned letters which indicate the sequence in creating the inlay. The plate on the right was used to guide the creating of the inlays themselves.



My friend also has the same for the Benedetto headstock inlay, which Maudie made for Bennedetto and many other companies.

Here are the finished inlays in some Heritage Johnny Smiths.





To many, this all may seem trivial. But it tells how a quiet woman with great skills played a part in guitar history with elegance and grace.

[fine-instruments]

Thank you for posting this, it is not trivial at all to me but gives me some more insight.

RIP Maudie Moore

[Jimmy blue note]

When the average layman sees a guitar, it's always the inlays that elicits the "Oooo that's a beautiful guitar!". I always wonder about the craftsmen (and women) behind inlay and etching work. As a luthier, this is still the final frontier so infused with magic.
Thanks for posting this!

[Max405]

MG, Not many people would know who crafted these great inlays if it wasn’t for you.
You have done your part in trying to preserve the history of that went into these great instruments we all love. You have gone on missions trying to save forgotten guitars from years of being stored in various places, in some cases 100’s if not 1,000’s of miles away. You have been a champion for the Old Gibson/Heritage brand. Thanks man. I’ve learned a lot from you bud.
That Rose still means a lot to me.
Joe D

[2bornot2bop]

Here’s to you Maudie Moore! Your contributions to the Guitar world was invaluable! RIP!

[213Cobra]

A few months ago I got a near-mint, cherry, 1992 Gibson ES-165. It is a Yamano-selected guitar for Japan, with a Bigsby B6 specified and still on the guitar. I want to put a fixed tailpiece on the guitar so went looking for one. Several weeks ago, one day prowling around Reverb I found a Maudie Moore L4 brass tailpiece she engraved, which had been sourced from her estate. So that's going on the 165 very soon.

Phil

[Cunamara]

I hope Ms. Moore's family someday stumbles across our appreciation for her craftswomanship and how much her work is appreciated.

[floatingpickup]

That tailpiece looks 100% Gibson to me, but it seems to be slightly different from the standard Gibson models. The L4CES had an ebony insert and that one is all metal. It isn’t exactly like an L5 tp either, which had a silver insert. Don’t get me wrong… I think it’s a beautiful piece, and it will look great on your guitar. I just noticed that it is rather unique.
Keith

[213Cobra]

That tailpiece looks 100% Gibson to me, but it seems to be slightly different from the standard Gibson models. The L4CES had an ebony insert and that one is all metal. It isn’t exactly like an L5 tp either, which had a silver insert. Don’t get me wrong… I think it’s a beautiful piece, and it will look great on your guitar. I just noticed that it is rather unique.
Keith

It is from her Kalamazoo production period, 1980s, circa 1984. It seems to be a one-off with the matching brass insert, that made its way into her personal inventory, with the engraving a touch modified from standard, too. -Phil

[floatingpickup]

It is from her Kalamazoo production period, 1980s, circa 1984. It seems to be a one-off with the matching brass insert, that made its way into her personal inventory, with the engraving a touch modified from standard, too. -Phil

It looks fantastic. I like it better than the standard L4 or L5 tailpiece.
Keith

[pkirk]

Thanks for the story. Here's what her work looks like on my guitar

[Marty Grass]

More of her work on Aaron's instruments. (Aaron built the Gibson mandolins, at least the F5's. He brought pieces from the Gibson factory to his home and assembled them on his own time. He was paid per piece.)