Bookmark this page for frequent updates. (Please scroll down for additional guitars.)
Higuerilla and Port Orford Cedar
Cocobolo Rosewood and Engelmann Spruce
Brazilian Rosewood and Adirondack Spruce
Bookmark this page for frequent updates. (Please scroll down for additional guitars.)
East Indian Rosewood and Sitka Spruce
Bookmark this page for frequent updates. (Please scroll down for additional guitars.)
Pernambuco and Sitka Spruce
Brazilian Rosewood and European Spruce
Figured Honduran Mahogany and Bearclaw Sitka Spruce
Brazilian Rosewood and Cedar
Collaboration between Walter Lipton and Bill Tippin. Engraved inlay by Doug Unger.
Brazilian Rosewood and German Spruce
Cypress and Cedar
Brazilian Rosewood and Sitka Spruce
Koa and Spruce
Mahogany and Spruce
Brazilian Rosewood and Cedar
Ceylon Satinwood Back/Sides, Englemann Spruce Top, Alaskan Yellow Cedar Neck
Indian Rosewood and Sitka Spruce
Black Acacia and Cedar
Maple and Spruce
Maple and Spruce
Brazilian Rosewood and Adirondack Spruce
Brazilian Rosewood and Adirondack Spruce
Brazilian Rosewood and Adirondack Spruce
Brazilian Rosewood and Adirondack Spruce
Brazilian Rosewood and Adirondack Spruce
Macassar Ebony and Bearclaw Sitka Spruce
Steel Body with Gold Crystalline Finish. 1.5 Tricone Neck. 
Mahogany and Adirondack Spruce 
East Indian Rosewood and Spruce 
Padauk and Spruce
Figured Maple and Adirondack Spruce 
Granadillo and Adirondack Spruce
Sinker Honduras Mahogany and Tulip Magnolia
Tasmanian Blackwood and Lutz Spruce 
East Indian Rosewood and Carpathian Spruce 
Brazilian Kingwood and Sitka Spruce 
Cocobolo Rosewood and Bearclaw Sitka Spruce 
Bookmark this page for frequent updates. (Please scroll down for additional guitars.)
Brazilian Rosewood and Moonspruce
Flamed Maple and Spruce
East Indian Rosewood and Sitka Spruce
Magnetic Pickup with “C” Electronics
Cocobolo Rosewood and Bearclaw Sitka Spruce
Honduran Rosewood and Adirondack Spruce
Madagascar Rosewood and German Spruce
Koa and Flamed Maple
Pernambuco and Sitka Spruce
Brazilian Rosewood and European Spruce
Figured Honduran Mahogany and Bearclaw Sitka Spruce
Brazilian Rosewood and Cedar
Collaboration between Walter Lipton and Bill Tippin. Engraved inlay by Doug Unger.
Brazilian Rosewood and German Spruce
Cypress and Cedar
Brazilian Rosewood and Sitka Spruce
Koa and Spruce
Mahogany and Spruce
Brazilian Rosewood and Cedar
Ceylon Satinwood Back/Sides, Englemann Spruce Top, Alaskan Yellow Cedar Neck
Indian Rosewood and Sitka Spruce
Black Acacia and Cedar
Maple and Spruce
Maple and Spruce
Brazilian Rosewood and Adirondack Spruce
Brazilian Rosewood and Adirondack Spruce
Brazilian Rosewood and Adirondack Spruce
Brazilian Rosewood and Adirondack Spruce
Brazilian Rosewood and Adirondack Spruce
Macassar Ebony and Bearclaw Sitka Spruce
Steel Body with Gold Crystalline Finish. 1.5 Tricone Neck.
Mahogany and Adirondack Spruce
East Indian Rosewood and Spruce
Padauk and Spruce
Figured Maple and Adirondack Spruce
Granadillo and Adirondack Spruce
Sinker Honduras Mahogany and Tulip Magnolia
Tasmanian Blackwood and Lutz Spruce
East Indian Rosewood and Carpathian Spruce
Brazilian Kingwood and Sitka Spruce
Cocobolo Rosewood and Bearclaw Sitka Spruce
Clearly, luthiery requires a diverse set of finely honed skills, but it also requires a deep aesthetic understanding. Do you consider yourself more of an artist or a craftsman?
I definitely consider myself a craftsman with a very strong artistic sense. I had always been fond of arts of all kinds — decorative, interpretive, pre-modern, impressionist, surrealistic. I am fond of many types of art. But I’m also very fond of many types of crafts, pottery, jewelry and knife making, and furniture. This is the world of my imagination.
MICHAEL KELLER
When you’re starting to build a guitar and you’re trying to picture it in your visual mind, many artistic considerations come into play that go beyond crafting a fine sounding guitar. Different colors of wood, different colored shells, colored purflings, bindings and shapes, all become a pallet that is available to you to compose a beautiful looking instrument.
One must also realize ultimately you’re making a tool for a musician. No matter how beautiful or arty a guitar looks, if it doesn’t play well and sound great I don’t care how arty it is. I would much rather have a guitarist tell me, “I love the sound of the guitar”, rather than “the sound is OK but the inlays are great”. It’s really totally about the sound and playability.
Recently, flying back from a guitar festival I noticed one of the editors of a guitar magazine on the plane who had been at the show. We started talking, and he mentioned that he had played a lot of very expensive heavily inlaid guitars that didn’t play or sound very good. He said exactly what I was thinking from my own experiments at the festival. A lot of the guitars at the show were designed to be eye catching, but a lot of effort had not been put into making them play well. So the artistic side of guitar making is a field that one should embrace carefully, making sure the instrument sounds and plays well first. After that, as far as I’m concerned, anything goes.
Find an InstrumentLooking for something else? Join our DreamCatcher™. We’ll do our best to find it for you quickly…
(By sending this form you consent to receive emails from us. We will only send emails related to this request)
Players Say: "Great instruments abound at Dream Guitars, each one exquisite with its own personality and soulfulness."
If you are part of the 11 Step Guitar Recovery program (one more guitar and you’ll be cured), then you will literally be in a waking dream when you visit Paul’s shop.
I have bought and sold guitars (and banjos) with Paul and I really appreciate his team’s honesty and knowledge.
I live close by so I have to be extra careful ’cause all I need is just one more.