in the room
Invited players sit with instruments from the collection long enough for first impressions to wear off.
The Archtop Foundation
Brooklyn Guitar Feast 3
A private New York gathering where important guitars find serious players.
Invitation-only. Venue shared privately.
Hero guitar photo
the reason for the room
The case is not the point.
Brooklyn Guitar Feast was born from a useful impatience. The guitar world has too many important instruments sitting safely and too many serious players who would know exactly what to do with them.
The Archtop Foundation exists to close that gap by putting the instruments in front of players who can hear what is there.
Feast room photo
how the feast works
No podium. No showroom script. Just hands, ears, and guitars.
on the stand
They compare response, neck, acoustic voice, pickup behavior, balance, touch, and the less measurable pull of a particular guitar.
after the room clears
Their ranked preferences become practical evidence for the Foundation's lending process in the year ahead.
At the first two Feasts, inside a private New York room, the method was simple enough to trust: play, listen, compare notes, circle back, change your mind, then name the guitars that should leave storage and spend the year in a player's hands.
the bench and the blue
These names are not decoration. They are provenance.
The Blue Guitars began with a precise idea: premier builders interpreting the 18-inch archtop in the blue of Jimmy D'Aquisto's Centura Deluxe. The Feast inherits that seriousness without turning it into museum hush.
- D'Angelico
- D'Aquisto
- Monteleone
- Manzer
- Parker
- Gibson
- Martin
- Fender
- Yanuziello
- and others
The point is circulation. A great guitar is not finished by being collected. It becomes itself again when a player brings it back into use.
the foundation's wager
Access is part of stewardship.
That is the Foundation's wager, and the Feast is where it becomes practical. The violin world has long understood that great instruments can be placed with worthy artists who could never buy them outright.
The Archtop Foundation is helping build that bridge for guitars by treating access as a working discipline, not a slogan: the right player, the right instrument, the right use.
2023
Sadowsky
Frank Vignola
Archtop
2018
Connor
Steel String
Acoustic Flattop
1957
Fender
WhiteGuard Tele
Electric
2020
Ribbecke
Phoenix
Archtop
1998
Manzer
18" Absynthe
Archtop
2019
Parker
Sidekick
Archtop
2014
Manzer
Nylon #10428
Acoustic Flattop
1933
Gibson
L-00
Acoustic Flattop
2003
Manzer
17" Wildwood
Archtop
1994
Monteleone
Eclipse
Archtop
1992
Gibson
(Joe Pass)
Archtop
1996
Zeidler
18"
Archtop
1930
Gibson
L-5 (Harry West)
Archtop
1994
D'Aquisto
Centura #132
Archtop
1999
Rick Turner
Renaissance RS-6
Acoustic-Electric
1955
D'Angelico
New Yorker #1988
Archtop
1981
D'Aquisto
#112 (Janis Ian)
Acoustic Flattop
1978
D'Aquisto
Jazz Solid Body
Electric
1945
Martin
0-18
Acoustic Flattop
2013
Yanuziello
Short scale #17013E
Electric
2024
Cowbrand
Anglerfish
Electric
1994
Manzer
Baritone
Acoustic Flattop
1941
D'Angelico
Excel #1523
Archtop
1934
Gibson
Jumbo
Acoustic Flattop
1930
Gibson
L-5 (D'Angelico mod)
Archtop
1921
Martin
0-18K
Acoustic Flattop
2017
Sadowsky
Blue Jim Hall
Archtop
1982
D'Aquisto
Excel #1159
Archtop
1958
Gibson
Byrdland
Electric
2021
Creston Electric
Bass VI
Electric Bass
2019
Tyler Robbins
R1Ca
Acoustic Flattop
2024
D'Arcy
Little Zero
Archtop
1939
Epiphone
Deluxe (John Pisano)
Archtop
1996
Manzer
12-String
Archtop
1943
D'Angelico
Excel #1645
Archtop
1949
D'Angelico
Excel #1861 (Chuck Wayne)
Archtop
Guitars are meant to be played.
Brooklyn Guitar Feast 3 continues the work with more instruments in the room, more ears on the instruments, and the same plain conviction underneath it all: great guitars should not live as trophies.
Brooklyn Guitar Feast 3 continues the work.
For invitation inquiries, contact [placeholder].