The History of Zemaitis Guitars: From a London Workshop to Collectors' Icons
There are few names in British guitar making quite as distinctive as Zemaitis. Instantly recognisable for their engraved metal fronts, elaborate mother-of-pearl decoration and highly individual designs, original Zemaitis guitars have become some of the most desirable and collectable instruments to emerge from Britain. Behind them was Tony Zemaitis, a remarkable craftsman whose approach to guitar making was as individual as the instruments he produced.
Born in London in 1935 to Lithuanian parents, Tony trained as a cabinetmaker before turning his attention to guitar building during the 1950s. His early instruments were predominantly acoustic, made initially for himself and friends, but his reputation soon spread through London's folk and blues scene. By the 1960s, his guitars were finding their way into the hands of increasingly prominent musicians, including Eric Clapton, George Harrison, Jimi Hendrix and Donovan. Tony became particularly respected for his 12-string guitars, with Eric Clapton's enormous 12-string, famously known as "Ivan the Terrible", becoming one of his most celebrated creations.
Tony's background as a cabinetmaker was an important part of his approach. He was not simply interested in reproducing established guitar designs; he was constantly experimenting with construction, materials and electronics and was prepared to build an instrument around the individual requirements of a player. His talents as a craftsman extended beyond guitars too. Tony's furniture was of an exceptionally high standard, and examples of his work are held in prestigious locations including Buckingham Palace and Windsor Castle. That same attention to detail and individual craftsmanship became a defining feature of his guitars.
Tony never approached guitar making as a conventional manufacturing business. He was a craftsman who preferred to build individual instruments rather than produce guitars on a large scale. His willingness to experiment eventually led him towards electric guitars and one of the most significant developments in his career: the metal-front guitar. Tony himself recalled that a conversation with Eric Clapton helped spark the idea for the metal fronts, alongside the practical desire to reduce unwanted electrical interference. What began as an engineering solution ultimately became the defining visual characteristic of the Zemaitis guitar.
Working with engraver Danny O'Brien, Tony transformed the metal surface into a canvas for elaborate artwork, featuring dragons, skulls, mythical creatures, floral designs and intricate geometric patterns. He also experimented with the electronics of his instruments, including the use of built-in boosters on some guitars, again demonstrating his willingness to explore ideas that were outside the conventions of mainstream guitar manufacturing. The result was a guitar unlike anything being produced by the major manufacturers.
The instruments attracted the attention of some of the biggest names in British rock. Ronnie Wood became particularly associated with Zemaitis guitars during his time with The Faces and subsequently The Rolling Stones, helping to make the distinctive metal-front instruments instantly recognisable to a much wider audience. Keith Richards also became closely associated with Zemaitis, most famously through his five-string "Skull & Bones" guitar. Eric Clapton, George Harrison, Marc Bolan, Ronnie Lane and numerous other influential musicians also played Tony's instruments. These associations are an important part of why original Zemaitis guitars have become so significant to collectors: they are not simply rare instruments, but guitars connected directly to the history of British rock music.
Tony's creativity extended beyond the metal-front guitars. His mother-of-pearl front instruments were among his most elaborate creations, incorporating intricate designs that could make the guitars resemble works of art as much as musical instruments. Because Tony produced such a small number of guitars, and because each was often individually specified and decorated, no two original Zemaitis instruments are quite the same. This individuality is one of their greatest attractions today. Collectors are not simply searching for a particular model or year; they may be looking for a particular engraving, construction detail, ownership history or connection with a musician.
The collectability of Zemaitis guitars is not a recent development. By the 1980s, original instruments were already attracting serious attention from collectors, with earlier guitars commanding prices above their original cost. Their limited production, extraordinary craftsmanship, distinctive appearance and association with famous musicians created a combination that few other British guitars could match. As the years have passed, the number of original Tony Zemaitis instruments has naturally remained finite, making condition, originality and provenance increasingly important. A guitar accompanied by photographs, correspondence or documented ownership can carry a significance far beyond its physical specification.
Tony Zemaitis eventually retired around the turn of the millennium and sadly passed away in 2002, bringing an extraordinary period of individual British guitar making to an end. However, the Zemaitis name did not disappear. The licensed Zemaitis brand continues to be kept alive in Japan, with modern instruments produced through the Japanese operation associated with Kanda Shokai. The continuation draws upon Tony's original designs and surviving workshop information, ensuring that the distinctive Zemaitis concept remains available to modern musicians while the original British instruments become increasingly recognised as historical pieces in their own right.
Just as important as the continued production in Japan is the work being done to preserve the history of the original guitars. The Zemaitis Owners Club, headed by President Keith Smart, has become an important community for owners, collectors and enthusiasts. Keith is a long-standing contributor to Zemaitis publications around the world and has played a significant role in documenting Tony's instruments, their owners and the stories behind them. Through the Club and The Z Gazette, published by Keith, photographs, research, instrument histories and memories connected with Tony Zemaitis continue to be recorded and preserved.
The Owners Club has also played an important role in helping collectors establish the authenticity and history of original instruments. The Club has issued embossed certificates of authenticity for qualifying guitars, providing collectors with an additional piece of documentation and helping preserve a reliable historical record of these increasingly rare instruments. In a market where provenance and originality are becoming ever more important, this work is invaluable. The physical guitar may survive for generations, but without documentation, the story behind it can easily be lost.
Today, an original Tony Zemaitis represents much more than an old guitar. It is the surviving work of a highly individual British craftsman, a piece of rock 'n' roll history and, in many cases, a unique work of art. The combination of scarcity, craftsmanship, individuality and provenance has established these instruments as some of the most sought-after guitars in the world, treasured by musicians and collectors alike.