Models Included:

Bandmaster 5E7
Bandmaster 6G7
Bandmaster AC568
Bantam Bass CFA7003
Bassman
Bassman 10
Bassman 10 (75w)
Bassman 20
Bassman 70
Bassman 100
Bassman 135
Bassman 59 (Rev A)
Bassman 59 (Rev E)
Bassman TV Front
Bassman 5E6
Bassman 5E6-A
Bassman 5F6
Bassman 5F6-A
Bassman 6G6-A
Bassman 6G6-B
Bassman AA270
Bassman AA864
Bassman AB165
Bassman AC568
Blues Deluxe
BLUES DE VILLE & DE VILLE 212
BLUES JUNIOR (REV A)
BLUES JUNIOR (REV D)
CHAMP-AMP 5C1
CHAMP-AMP 5E1
VIBRO-CHAMP AA764
CONCERT 6G12
DELUXE TV FRONT
DELUXE 5C3
DELUXE 5D3
DELUXE 5D4
DELUXE 5E3
DELUXE 6G3
DELUXE REVERB-AMP AB763
DUAL SHOWMAN REVERB AA270
DUAL SHOWMAN REVERB AA769
HARVARD 5F10
HARVARD 6G10
PRINCETON TV FRONT
PRINCETON 5B2
PRINCETON 5C2
PRINCETON 5D2
PRINCETON 5E2
PRINCETON 5F2
PRINCETON 5F2-A
PRINCETON 6G2
PRINCETON AA964
PRINCETON REVERB AA1164
PRO-AMP 5C5
PRO-AMP 5D5
PRO-AMP 5E5
PRO-AMP 6G5
PRO-AMP 6G5-A
PRO-AMP AA763
PRO-AMP AB763
PRO REVERB AA165
PRO REVERB AA1069
REVERB 6G15
SHOWMAN 6G14-A
SHOWMAN AB763
STUDIO BASS
SUPER-AMP 5C4
SUPER-AMP 5D4
SUPER-AMP 5E4-A
SUPER-AMP 5F4
SUPER BASSMAN CFA7002
SUPER REVERB AA1069
TREMOLUX 5E9-A
TREMOLUX 5G9
TREMOLUX 6G9
TREMOLUX 6G9-A
TREMOLUX AA763
TREMOLUX AB763
TWIN-AMP 5C8
TWIN-AMP 5D8
TWIN-AMP 5E8
TWIN-AMP 5E8-A
TWIN-AMP 5F8
TWIN-AMP 5F8-A
TWIN-AMP 6G8
TWIN-AMP 6G8-A
TWIN REVERB AA270
TWIN REVERB AA769
TWIN-REVERB AB568
TWIN REVERB AB763
VIBRASONIC 5G13
VIBROVERB AB763
VIBROLUX 5E11
VIBROLUX 5F11
VIBROLUX 6G11
VIBROLUX AB763
VIBROLUX REVERB AA270
CBS 100w
TWIN REV/SUPER 75

Here is some company History, I found interesting:

The company began as Fender's Radio Service in late 1938 in Fullerton, California. As a qualified electronics technician, Leo Fender had been asked to repair not only radios, but phonograph players, home audio amplifiers, public address systems and musical instrument amplifiers. (At the time, most of these were just variations on a few simple vacuum-tube circuits.) All designs were based on research developed and released to the public domain by Western Electric in the '30s, and used vacuum tubes for amplification. The business also sidelined in carrying records for sale and the rental of self-designed-and-built PA systems. Leo became intrigued by design flaws in current musical instrument amplifiers, and he began custom-building a few amplifiers based on his own designs or modifications to designs.

By the early 1940s, he had partnered with another local electronics enthusiast named Clayton Orr "Doc" Kauffman, and together they formed a company named K & F Manufacturing Corp. to design, manufacture and sell electric instruments and amplifiers. Production began in 1945 with Hawaiian lap steel guitars (incorporating a patented pickup) and amplifiers, which were sold as sets. By the end of the year, Fender had become convinced that manufacturing was more profitable than repair, and he decided to concentrate on that business. Kauffman remained unconvinced, however, and they had amicably parted ways by early 1946. At that point Leo renamed the company the Fender Electric Instrument Company. The service shop remained open until 1951, although Leo Fender did not personally supervise it after 1947.

The first big series of amplifiers were built in 1948. These were known as tweed amps, because they were covered in the same kind of cloth used for luggage at the time. These amps varied in output from 3 watts to 75 watts. This period was one of innovation and changes; while Leo made a Tweed Princeton in 1948 for his Professional 8 string Lap Steel guitar (very short lived, as later he would focus on 6 string Student models) later the Princeton would become a push-pull class AB tube amp. In 1948 it was a single-ended Class A amplifier similar to the Fender Champ, with the output transformer mounted to the speaker frame and bereft of any negative feedback. Also, in 1964, the Tweed Champ amp would be reissued in black tolex in small numbers along with the newer model with the slant front panel and controls; the stacked plywood boxes Leo used often went uninventoried. In late 1963, he found a couple hundred Tweed Champ chassis boxes in these bins. He had had them chromed and printed in 1958; being frugal, he built them in black tolex with a chrome and black Champ nameplate, as he had money tied up in them already.

Fender moved to Tolex coverings for the brownface amps in 1960, with the exception of the Champ which kept its tweed until 1964. Fender also began using Oxford, Utah and CTS speakers interchangeably with the Jensens; generally the speaker that could be supplied most economically would be used. Jensens and Oxfords remained the most common during this period. By 1963 Fender amplifiers had a black Tolex covering, silver grille cloth, and black forward-facing control panel. The tremolo was changed to a simpler circuit based on an optical coupler and requiring only one tube. The amps still spanned the spectrum from 4 watts to 85, but the difference in volume was larger, due to the improved, clean tone of the 85w Twin.

Fender owed its early success not only to its founder and talented associates such as musician/product engineer Freddie Tavares but also to the efforts of sales chief, senior partner and marketing genius Don Randall. According to The Stratocaster Chronicles (a book by Tom Wheeler; Hal Leonard Pub., Milwaukee, WI; 2004, p. 108), Mr. Randall assembled what Mr. Fender's original partner Doc Kauffman called “a sales distributorship like nobody had ever seen in the world.” Randall worked closely with the immensely talented photographer/designer Bob Perine. Their catalogs and ads — such as the inspired "You Won't Part With Yours Either" campaign, which portrayed people surfing, skiing, skydiving, and climbing into jet planes, all while holding Jazzmasters and Stratocasters — elevated once-staid guitar merchandising to an art form. In Fender guitar literature of the 1960s, attractive, guitar-toting teenagers were posed with surfboards and Perine's classic Thunderbird convertible at local beachside settings, firmly integrating Fender into the surfin’/hot rod/sports car culture of Southern California celebrated by the Beach Boys, beach movies, and surf music. (The Stratocaster Chronicles, by Tom Wheeler; Hal Leonard Pub., Milwaukee, WI; 2004, p. 108). This early success is dramatically illustrated by the growth of Fender's manufacturing capacity