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This is a great original set, of the famed Handel tuners from the early 20th century. Silver wire and pearl inset. In good condition. One button has a slight chip. Good working order. Price: $495. -
This full-size violin, is a wonderful example of New England whaler culture of the 19th century. The violin itself is probably German made, early 1800’s, with maple back and sides. But the whale inlays (bone) on the fingerboard were no doubt done locally in New England. And the custom, hand made wood case, original to the instrument, also features a brass whale on the top. (Note, the brass handle on the case, is the exact kind used by CF Martin on their coffin cases for guitars in the mid-19th century.) The bridge, and tailpiece are modern. Bone inlays on the tuning pegs also. The instrument is fully set up and ready to play. Price: $2150. In its original wood case, with a brass whale inlay on top. -
Out of stock
This guitar is a masterfully crafted interpretation of the fabled Roy Smeck, a slope-shouldered Gibson acoustic from the 1930s, which pairs a 12-fret neck with a standard, slope shouldered body, in Brazilian rosewood. From Charlottesville, Virginia-based Rockbridge -- one of the country’s most intriguing and masterful boutique luthiers. In a custom Cedar Creek case. Read the full description below. If you're interested in this guitar, please call 512.922.8596 or contact us here. -
Alessi, Hauser style machine head tuners. More rare, deep silver plating. Hand made in Italy. Engraved with high detail. These are new, old stock. Made circa 2009, they have never been used or mounted on a guitar, and they come with the original mounting screws, and in their original wood presentation case. Synthetic ivory kidney shaped buttons (rare style). 35mm on center. Perfect, unused condition. Price: $895. -
Circa 1912 Mother of Pearl Inlaid Guitar The guitar is extensively inlayed with mother of pearl . The guitar was restored in 2001, work that included converting the instrument to X-bracing, reproduction ebony bridge, reproduction small maple bridge plate. It’s signed inside by the restorer, “B. Lehmann 2001” (Bernie Lehmann, well known luthier in New York.) The guitar has no stamps or labels, but it was probably made by George Bauer – because of many stylistic similarities. The guitar is set up and ready to play. As many guitars of this era, the tone is tilted toward very bright, glassy, brazilian rosewood trebles, not fuller bass. Solid Spruce top Solid Brazilian Rosewood back and sides MOP inlays, fretboard, rosette, and bindings X-braced Original tuners Width at lower bout: 13 1/2 inches Scale Length: 24 7/8 inches Nut Width: 1 ¾ inches V shaped neck .... no longer available.... -
Another instrument from Enos Hernandez of Mexico, one of the best luthiers to ever live in work in Mexico, circa 1970’s. This one is a flamenco Blanca, with the classic cypress back and sides. Like the other Enos Hernandez we have, this one also has a cedar top. The instrument is super light weight, as a Flamenco Blanca should be, and it’s bright and percussive and raspy as a good Blanca should be. There is a scratch (not a crack) on back of guitar (see photo). There are dot position markers – original to the guitar, i.e. not added later – on top edge of fretboard (frets 3,5,7,9 – see photo). Scale length: 660mm Available January 2018 Price: $2950 -
This is great example of Martin’s post war, 1950’s style 0 Ukulele. It has a few nicks and dings, but it’s 100% crack free. And it’s in its original case. It was made between 1957 and 1960 (as indicated by the tuners, and the lack of the “Made in U.S.A.”). Price: $995. -
Out of stock
Circa 1860, style 3 guitar built by renowned luthier, James Ashborn of Wolcottville, CT, for William Hall & Son music store. Brazilian rosewood back and sides; Adirondack top; double maple binding (on both back, and front); original coffin case. This guitar is is 100% original, including all original finish, and down to original ebony nut, and original bridge (and saddle) that has never been off the guitar. And it comes in its original wood coffin case, as it left the factory around 1860. This James Ashborn style 3 is rare, and unique because it has brazilian veneer on the neck (not the fretboard which is ebony, but the back of neck), original to the guitar. And, that is very rare for any style/number Ashborn. Also unique to Ashborn’s style 3: his trademark hand-made tuners, have ebony buttons (not rosewood buttons as on his style 1, and 2) And this is a superb sounding Ashborn, unrivaled in tone by any 1850’s/1860’s American guitar we’ve seen and played, including any Martin from that era. Ashborn varied a few details on his guitars (styles 1,2,3, 5), but he did not vary the size of the guitars. He made them all the same body and neck size (unlike Martin for example). They are all the same size. And almost all had spruce/Brazilian veneer on back and sides. As this does. • Nut width is 1 7/8 inches • Width at lower bout: 11 3/8 inches • Scale Length: 24 inches • the action is 4/32 inch on both sides, at 12th string – normal action for this kind of guitar • There are repaired cracks on top, and back of guitar. All professionally repaired. James Ashborn was born in England circa 1816 and came to New England in the late 1830s. Ashborn had his shop in Torrington, but soon after start-up, he began selling guitars to the New York distributor William Hall & Son, whose name appears inside the instruments. From Vintage Guitar magazine: “Ashborn’s design for the guitar was quite innovative for the early 19th century. Instead of making guitars fashioned after the typical parlor-style guitars, he made them in the Spanish style, by taking interior bracing cues from the Spanish while retaining the body of the English guitars. This included a fan brace pattern rather than the more common ladder pattern Ashborn guitars have a very complex dovetail V joint for attaching the head to the neck. The headstock was cut in roughly five steps, using some kind of tracing router, as suggested by the chatter marks on the inside ears of the pegbox. In addition to the complex head design, Ashborn made his own tuning machines in-house. They’re made of brass, very much like contemporary machines, with worm gears, cog gears, and rollers. … Ashborn’s shop was extremely advanced for its time, having a great deal of know-how and technology. Ashborn understood the need to have the technology as well as the skill, but more importantly he discovered a new way of making high-quality instruments that were affordable. He was able to create a factory environment where workers did what they were good at and, with practice, became very fast and consistent. With a new level of consistency in mass production, he created the path followed by other companies such as Martin, Gibson, and Taylor. Using designs ahead of his time, he was able to bring the sound and change to people who otherwise never would have been able to acquire an instrument of this quality.” .... No longer available....