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The grandson of Martin Guitar founder C. F. Martin, Sr., Frank Henry Martin suddenly found himself in control of the family business at the age of 22 when his father died in 1888 and left him unexpectedly in charge. The guitar market was still immature, and the young country was headed into an economic panic in the 1890's, but the young Frank Henry Martin quickly turned a traditional German business close to bankruptcy into a major force in the world of American music. Along with the young Frank Martin’s now legendary work ethic and marketing acumen, he is credited with personally revamping the Martin model line-up at the turn of the new century. Eschewing the trappings of an executive, he literally worked along side the shop craftsmen, day in and day out, six days a week. And he made the Style 18 the mainstay of the Martin catalog. This instrument is a living testament to that legacy– he personally signed this instrument, in cursive, under the top, on the fourth of February, 1907: “ 10381 2/4/07 F.H.M. ” Martin was still using Brazilian Rosewood for the back and sides for their 0-18 model in this 1907, and the tone of this instrument reflects all that is great about the combination of Brazilian back and sides, and Adirondack spruce (top), with a cedar neck, on the perennially great Size 0 Martin 12-fret, in all its Brazilian rosewood permutations through two centuries. This guitar is in remarkably original condition, and is completely crack-free. Just a few minor dings and superficial scratches. The finish is 100% original, with no touch-ups of any kind. The bar frets were replaced by us with period-correct bar frets–with material obtained from T.J. Thomson. (Several frets were missing, so we decided to replace all the frets.) Original ivory saddle, and bridge pins. Bridge has never been off the guitar. At some time in the past a neck set was done, so action is great, and the neck is straight. Original ebony nut is in the case. An ivory nut is installed on the guitar to accommodate silk & steel strings–which it does wonderfully. An Adirondack/Brazilian 12-fret 0-sized Martin over a century old yet in this kind of original condition, is very rare. -
One of the first Martin 3K Ukeleles ever made. This is possibly a prototype, one of the first, all hand-made Martin 3K Ukeleles, made probably before the official introduction of the model by Martin in 1919-1920. It has many signs that it was the one of the first ones:- Ebony fretboard is hand-cut
- Fretboard inlays are hand-cut
- There is an "A" on the back of headstock... could be a marking by the Martin craftsmen in-house to indicate a prototype.
- Several cracks on back (repaired)
- Two cracks on top (repaired)
- There is one missing brace, a back brace, inside. Since ukeleles are so small, that brace has no real structural importance, so we decided not to replace it
- The sound hole was at some point enlarged slightly, either at the factory, or later. Probably later– so we’ll call it the Tony Rice model… this modification does add loudness
- The finish is all original.
- Original striped nut
- 3 lines inlaid down center of fingerboard.
- 7 ply side binding
- Celluloid ornament on top, behind bridge (known as the "parend").
- Small pearl paired-diamond inlays at fret 5, 7, 9– hand-cut. With the “bowtie” at the 7th fret
- Kite-shaped celluloid ornament on front of headstock
- Original friction pegs
- Ebony fretboard
- C.F. Martin & Co. stamp on back of headstock.
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This big 12-fret Brazilian Rosewood pre-war Martin is properly set up for steel strings, with new replacement ebony pyramid bridge meticulously made to original specs, but compensated for steel string, perfect intonation. All braces original and in great shape. Original bridge plate. All original finish everywhere. This guitar has all the tone you'd expect from a pre-war 00 Brazilian Martin. It's had restoration work, all by us, recently, as follows. Hide glue used in all repairs/restoration.- Several cracks in sides, back, and top professionally repaired (5 or 6 cracks overall)
- Small hole drilled in top of headstock many decades ago (to hang the guitar on a wall presumably) has been expertly filled and finished with a piece of Brazilian rosewood veneer, on front, to match the veneer of the headstock.
- Neck set.
- New replacement ebony pyramid bridge meticulously made to original specs, but compensated to steel string intonation. Scratch marks in spruce top, on either side of bridge, filled and finished.
- All new, replacement Bar Frets
- To the thin maple, original bridge plate, we carefully added tiny maple ring/plugs, with hide glue, into the holes, to address bridge pins holes slightly enlarged over the years.
- Older repaired small crack in heel expertly touched up. It's 100% stable. (It appears to be a surface/finish crack.) It's very hard to see even up close, and impossible to photograph.
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Out of stock
The Larson Brothers of Chicago never marketed any guitar, throughout their long career, that was marked “Larson”. Their designs were branded by Maurer, Stahl, Prairie State, Stetson, and a few other guitar makers– but never “Larson”. They were also known for making many “off-catalog” guitars, i.e. guitars with combinations of features that varied from the Maurer, Stahl, etc, catalogs, and guitars that were not marked at all with a brand. This guitar is a Larson Bros creation that is not marked at all. It is a custom made instrument–but it has all the typical Larson hallmarks. The tone of this Larson is every bit as wonderful as the Maurer/Larson listed above, indeed it is quite similar, due to the same patented “built under tension” design, and X-bracing. This Larson does not have laminated braces (it’s well documented that laminated braces were only used on certain models–and their use was not related to level or price.) Every part of this guitar is original, including original finish. There are two repaired cracks on the back, and three small, repaired cracks on top.- Lower bout width: 12 5/8 inches
- Brazilian rosewood back and sides
- Ivory celluloid Bound fretboard
- Ivory celluloid Bound headstock
- Spruce top
- X braced
- Larson’s patented “built under tension” design
- Rosette: Abalone pearl and wood inlay bordering the sound hole
- Radiused ebony fingerboard, and Classic Larson Brothers’ “ebony below the binding”
- Engraved inlays on fretboard
- Original tuners
- Original ebony bridge
- Original bridge pins
- 1-7/8" wide nut
- 2 1/4" bridge string spacing
- 24.3" scale length
- One-piece mahogany neck, round C shaped neck profile.
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The Larson Brothers of Chicago never marketed any guitar, throughout their long career, that was marked “Larson”. Their designs were branded by Maurer, Stahl, Prarie State, Stetson, and a few other guitar makers– but never “Larson”. They were also known for making many “off-catalog” guitars, i.e. guitars with combinations of features that varied from the Maurer, Stahl, etc, catalogs, and guitars that were not marked at all with a brand. This guitar is a Larson Bros creation that is not marked at all. It is a custom made instrument–but it has all the typical Larson hallmarks. The tone of this Larson is every bit as wonderful as the Maurer/Larson listed above, indeed it is quite similar, due to the same patented “built under tension” design, and X-bracing. This Larson does not have laminated braces (it’s well documented that laminated braces were only used on certain models–and their use was not related to level or price.) Every part of this guitar is original, including original finish. There are two repaired cracks on the back, and three small, repaired cracks on top.- Lower bout width: 12 5/8 inches
- Brazilian rosewood back and sides
- Ivory celluloid Bound fretboard
- Ivory celluloid Bound headstock
- Spruce top
- X braced
- Larson’s patented “built under tension” design
- Rosette: Abalone pearl and wood inlay bordering the sound hole
- Radiused ebony fingerboard, and Classic Larson Brothers’ “ebony below the binding”
- Engraved inlays on fretboard
- Original tuners
- Original ebony bridge
- Original bridge pins
- 1-7/8" wide nut
- 2 1/4" bridge string spacing
- 24.3" scale length
- One-piece mahogany neck, round C shaped neck profile.
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This 1922 Bacon & Day Serenader, tenor banjo is in great original condition. The well-worn head can be easily replaced– we retained it for originality. The banjo shows little wear. And all the parts are original–Tailpiece, tuners, dowel, everything. This is a golden era B&D, not one of the later 30s/40's banjos that are more common. In this condition it is rare. And it comes in its original hard shell case. Price: $1695. -
This is a wonderful Martin 0-21, but with “the best of both worlds”: the light build of 1924– combined with 1930’s robust, “braced for steel” construction. It left the factory in 1924, but it went back to Martin in 1934 for a neck set, new belly bridge, and to get set up fully for steel strings. Details below.- All original finish
- Original 1934 bridge, and bridge plate from Martin Factory
- Original saddle
- Original “arrowhead” design tuners. The first Waverly tuners showed up in 1924/25 and remained until after the war. The arrowhead design, seen here on the tuner plates, showed up also in 1924, still with the shafts placed underneath the gears / string posts.
- Crack free (there is one cleat inside guitar, on upper bout, back. There is no visible crack that goes through wood to inside, just a tiny finish crack on outside. No doubt the Martin luthier place the cleat there in 1934 as a preventative measure (that worked).
- The combination of the original thin-profile neck, with the braced-for-steel modifications by Martin factory in 1934, make for a very robust guitar– you can play it hard and it holds up and projects like a 30’s Martin.
- Sold by Martin factory and shipped to Rudolph Wurlitzer Co. in Chicago on March 18, 1924. (This guitar does not have “Wulitzer” stamps, rather the normal CF Martin Stamps in all the correct places. This is consistent with Martin/Wurlitzer timetable in “Martin Guitars: A Technical Reference” by Johnston and Boak, 2009, p. 248.)
- June 20, 1933: the owner wrote to Martin that instrument needed a neck set and the bridge was “adrift”. Martin replied on June 23 that the normal guarantee would probably cover this work.
- Owner sent the guitar to Martin on July 3, 1934. Martin reported back to owner on July 16 that readjusting the neck and regluing the bridge would be covered by the warranty, Martin also offered a “new” bridge (meaning belly bridge) for $1.50. Martin also said that some binding could be reglued and repaired for $3.00.
- Work done at Martin, July 1934. The luthier at Martin replaced the bridge with a 1934 spec ebony belly bridge, and replaced the bridge plate with a perfect, tucked, small maple bridge plate. Martin luthier signs underside of spruce top: "7-25-1934”, and put his initials (“W.T.W.”), right by the edge of the X-brace to the top/upper bout. Of course, the back was taken off the guitar to do the above work. But being perfectly done at Martin factory in 1934, there are no visible signs of that– back binding is perfect.
- Total repair bill from Martin factory in 1934: $4.50. Paid by check, and Martin return ships the 0-21 to owner on August 15th, 1934.
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This historically significant Gibson L-1, 12-fret flat top guitar, is the earliest true Gibson flat top guitar on the market today. As well as the one in the best, original condition. And it is a rare example, exhibiting transitional features that place it just barely after the 1926 introduction– yet still a 1926 model (Factory order number: 8406)– but leaning toward a few subsequent, very early changes that would establish Gibson on the flat top scene that Martin had carved out so well. Introduced in '26 (there was already a L-1 archtop), the original Gibson L-1 flat top had a 13-1/2" body, wide V-neck, and H-bracing. The L-1 later achieved fame due to its association with the legendary bluesman Robert Johnson. Its rounded lower bout, combined with narrow waist, is distinctive. And its thin braces, thin finish, and thin woods give it a wonderful woody yet loud, cutting, bluesy tone that no 1930’s– much less more modern– Gibson or Martin could achieve. It is the transitional nature of this particular guitar, that is intriguing. The very first L-1 flat top, had an arched back (birch, or maple), and a pretty fat V-shaped neck. Other traits of the very first L-1 flat top: single bound top; maple back and sides; no truss rod; unbound ebony fingerboard; H pattern top bracing; “The Gibson” paint logo straight across peghead; light amber top finish; Sheraton brown finish on back and sides; single bound back. But this L-1, though very early, does not have arched back, but rather a true flat top-style back. And its neck is a great-playing C shape, not overly fat, and not a V shape. Furthermore, it has “A” bracing, not the standard H bracing. Finally, this guitar has a (original) ebony fretboard with virtually no radius. It’s a true “transition” example. It is notably not a hybrid put together from old L-1 archtop parts– as were the very first L-1 “flat tops” out of the gate in 1926. These are the traits of this early Gibson L-1 flat top:- Single bound, red spruce top, with amber stain
- Original ebony bridge; original cellulose bridge pins (unslotted)
- Maple back and sides (back is not arched), with Sheraton brown finish
- Mahogany neck, C-shaped
- Original, very thin maple bridge plate, tucked under braces, and extending all the way to the kerfing at the sides of the top, and tucked under the Kerfing
- No truss rod
- Unbound ebony fingerboard (not “ebonized”, but solid ebony)
- “The Gibson” paint logo straight across peghead
- Single bound (ivoroid) top
- Single bound (ivoroid) back
- H bracing (a slight variation of “A” bracing; with the apex at either side of the neck block– and the braces actually tuck beneath the neck block)
- Pearl dots on 5,7, and 9 frets
- Original three-on-a-plate tuners, with plastic tuner buttons
- Original frets
- Original ebony nut
- 13 5/8 inch, lower bout
- 24 1/2 inch scale (not the 25 inch scale that was soon settled on by Gibson for the L-1, soon after the introduction)
- Nut width: just shy of 1 7/8 inch
- Width of fretboard at 12th fret: 2 ¼ inch
- String spacing at nut: a hair over 1 ½ inch
- String spacing at bridge: 2 3/8 inch
- Three well-repaired top cracks (all, with the grain; and the amber finish on top is very forgiving, in terms of appearance, so cracks are hardly visible)
- One replaced tuner post
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A steel-string braced 00-18, with finely scalloped braces, and light as a feather. No wonder the tone is exquisite. This 12-fret gem, from the best era for Martin12-frets, resonates in your hands (say what you want about the 30’s, but the more lightly-built Martins of the 20’s become an extension of your body). The set up is low (4 to 5 64ths), so it plays like a dream. Original finish throughout. Mahogany back and sides. Adirondack spruce top. Ebony fingerboard. Original tuners/gear wheel below worm gear, ivoroid buttons. The instrument was acquired from one of North America’s top Martin restoration shops, Folkway Music, who reported: “This 00-18 went back to Martin in the late 80's for a neck reset, refret, re-bridge, and a new bridge plate. The back has one repaired crack, and there are two well repaired side cracks. Martin's repairs are well done, the new bar frets are nice and tall, and the bridge plate (maple) is only slightly oversized. The somewhat oversized pyramid bridge didn't look great when the guitar came in, so we re-profiled it here in shop and fitted a new bone saddle and vintage-correct bridge-pins.” This instrument will not disappoint. It has been correctly and meticulously restored by Martin, and by one of the world’s top Martin experts. It’s ready for decades of enjoyment. -
100% crack-free, structurally perfect, this 00-28 is gold standard for 12 fret, pre-war Martin Brazilian Rosewood tone. Refinished to exquisite standards some 40 years ago, this 00-28 has some of the most stunning Brazilian rosewood ever used by Martin. This is the most beautiful, best sounding "Herringbone" prewar 00-28 we've seen. And with mileage on the finish, at the Arlington Guitar Show last fall, several top vintage guitar dealers were not sure if this wasn't the original finish on the guitar, it's that good. It is braced for steel strings. It has held steel strings for years, and not only are there no cracks or stress issues, there is no bellying behind the bridge. And if that’s not enough, there is a letter from Mike Longworth, signed by Longworth and dated 1984, documenting the guitar, and suggesting the use of steel strings on it. Condition:- No cracks anywhere.... Not a hint of a crack
- original bridge plate, in great condition
- original tuners
- original ivory bridge pins (the replacement bridge was made to accommodate these great original ivory bridge pins)
- Bridge is a perfect Brazilian Rosewood replacement, done by us, with old growth Brazilian.
- Saddle, and nut, carved from ivory (sourced by us, pre-CITES)
- Three very tiny screw holes above endpin from a previous tailpiece added and removed decades ago, were expertly filled by Tony Nobles–difficult to see more than a few inches away
- All the bar frets replaced by us (with Bar fret material from TJ Thomson), so it plays like a dream, with that full, cascading Brazilian tone that you'll only get from a fine 00-28
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Take Martin’s best era for 12-fret guitars, add more scale length, and you get the best of both worlds–that’s what players say about the 000 sized 12-frets, if they can find one, from the mid to late 20’s. This was the biggest, loudest Martin made for steel strings in this era, with a 25.4 inch scale length, the same scale length as a 30’s D-45! (The 14-fret 000’s of the 30s and later have a shorter, 24.5 inch scale). In no other instrument will you get the resonance (from thin tops and back), combined with the long scale length. It’s a big pre-war Martin 12-fret. That’s why this instrument is a highly sought-after prewar Martin. This crack-free 000-18 has great provenance: acquired from and set up by one of the world’s top Martin experts (in Tuebingen, Germany). 1 7/8” nut. Mahogany back and sides. Adirondack spruce top. Ebony fingerboard. It has original tuners (gear wheel below worm gear, ivoroid buttons), parts, and all original finish. Restoration by TJ Thompson and Dana Bourgeois: correct replacement bridge (ebony pyramid) and bridge plate (maple), and frets replaced (bar frets). Center seam repaired and cleated and touched up (shellack). Neck has been reset. Neck is dead straight, bridge saddle is medium height (allows set up for both higher and lower action if needed in future). Low action, and set up for light or medium gauge strings. The tone could not be better: all the clear separation of the mids that is the hallmark of the 20’s style 18 twelve-fret, but with fuller, louder, rounder bass. One of the most sought-after Martin 12-frets, original finish, crack-free. Restored correctly, cared for, and set up by the world’s best luthiers and vintage Martin experts, and ready to enjoy. -
The Larson Brothers of Chicago began making steel string guitars earlier than did Martin, with their own ideas not tied to the past, and their designs are now considered by both players and collectors to be uniquely beautiful, wonderful for tone, and highly desirable. And they are much more rare guitars than Martin or Gibson– and more ornate than either Gibson or the always conservative Martin. Tone: think of a Martin Brazilian Rosewood 0-sized 12 fret from the 20’s, but add much more sustain. It vibrates in your hands, and because of Larson’s patented “built under tension” design, is thought of by players and collectors as being both unique and generating more sustain than you’ll get from any other guitar ever made. But the tone of Larsons (even the larger bodied-ones) is more treble-weighted than a Martin from the same era, so that this extra sustain does not result in a muddled sound– more like a magical shimmer and sustain that really brings out the mid- and treble-side Brazilian tone. Every part of this guitar is original. Guitar is crack-free. The bridge, never having been off the guitar, was at some point decades ago shaved slightly on top to lower the action. We have decided to keep this original bridge in place and not install a repro bridge–action is good, and the neck is straight. This particular model, is one of the very high end Larson models, with its Abalone trim, elaborate inlays on headstock and fretboard, and exquisite book-matched Brazilian rosewood back.- Year: 1926
- Model: 562
- Serial number: 31778
- This is the Maurer Larson Brothers “Standard size”: lower bout width: 12 3/4 inches
- Brazilian rosewood back and sides
- Spruce top
- Larson's “laminated” X braces. This is the patented Larson Brothers’ bracing, with each brace being Spruce/Rosewood/Spruce
- Larson’s patented “built under tension” design
- Trim: Abalone pearl and herringbone bordering the top and sound hole
- Torch-style pearl headstock inlay
- Radiused ebony fingerboard, and Classic Larson Brothers’ “ebony below the binding”
- Engraved inlays on fretboard
- Original Engraved Waverly tuners
- Original Ivory bridge pins
- 1-7/8" wide nut
- 2-5/16" bridge string spacing
- 24.5" scale length
- One-piece mahogany neck, round C shaped neck profile.