Gallery

  • Brand new, Lester Devoe Flamenco Blanca, custom made (details on request). Lester Devoe needs no introduction to the world’s top flamenco players. His reputation was established decades ago (and his new models are the best ever made, and in huge demand worldwide). His guitars are played by the world’s top performing and recording flamenco artists. This instrument, custom made with a unique Spanish Cypress to add a more robust treble response to the legendary deep, throaty, percussive bass response of the Devoe Blanca, will amaze.
    • Flamenco Blanca
    • 650mm scale length
    • Spanish cypress back and sides (custom, details on request)
    • European spruce top
    • Ebony fingerboard
    • Sloane tuners
    • Rosewood headstock veneer
    • Cedar neck
    • Nitrocellulose lacquer finish
    This is the only one of these custom Devoe Blanca’s (4 made) with this particular combination of wood and tonal specs, available in the U.S.
  • Another all-original pre-war Martin… but you have to go back a few more wars on this one- to just after the Civil War. This guitar even has its original coffin case–necessary in the days when Martin guitars were shipped out by railroad or wagon train. The figured Brazilian rosewood back and sides are unusual– in these decades of the 19th century (and through the middle of the 20th) Martin usually did not use this kind of figured, lovely Brazilian (they preferred the more straight-grained variety). On this guitar, for the sake of originality, we’ve kept its original saddle intact. The original ivory saddle is worn through at the strings, but still functions nicely.
    • Fan braced
    • Adirondack top
    • Ebonized “ice cream cone” style neck
    • Solid Brazilian rosewood back and sides
    • 100% original finish…. No overspray, touch-up, etc. anywhere…wonderful finish
    • Original ebony bridge, and bridge plate
    • Two cracks in spruce top; one is bridge to bottom of top; the other is from near bridge to soundhole; first one described is beneath an internal brace; second is 2mm adjacent to a different brace. Neither need attention and are left alone to preserve originality.
    • Characteristic, three Martin stamps: “CF Martin & Co, New York” ink stamped on neck block; “CF Martin & Co, New York” ink stamped on center strip inside; and “CF Martin New York”, stamped/pressed into brazilian rosewood back of guitar, up near the heel. (note: this guitar is not signed personally by factory foreman, etc, on underside of top…. This fact, and the other details, points to a circa 1870 date, not 1880s or 90’s).
    Label inside original coffin case reads: “L. Grunewalds… Piano, Organ, and Music House, New Orleans, La.” Louis Grunewald (1827-1915), of German birth, immigrated to New Orleans in 1852, performing as an organist in several Catholic churches in that city (Abel 2000, 268; derived from Boudreaux 1977, 72). In 1856 he opened his New Orleans music publishing business on Magazine Street.
  • Long-scale, 000 sized 12-fret Martins from the late 20’s are among the most sought-after prewar instruments. 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 one of the most highly sought-after prewar Martins– and increasingly very difficult to find. But it’s all about one thing: the tone, emanating from a large-bodied 12-fret that plays wonderfully, and loud, even with the most delicate fingerpicking. The bass response here is the best you will ever find in any prewar Martin 12-fret guitar. This wonderful 000-18 was set up restored and set up by none other than Gruhn Guitars in Nashville– to impeccable standards. Gruhn refinished the top, back and sides. Neck, fretboard, headstock, are all original finish. Gruhn also replaced the bridge with a perfectly correct ebony bridge. The guitar has its original bridgeplate. New, period-correct Bar frets were installed by Gruhn. 1 7/8” nut. Mahogany back and sides. Adirondack spruce top. Ebony fingerboard. It has original tuners (gear wheel below worm gear, ivoroid buttons). The top and back of the guitar are completely crack-free and perfect– with full thickness the same as the day they left the factory. And the totally crack-free top shows absolutely perfect form and shape, with no undue bellying behind the bridge. There are a couple of almost imperceptible side cracks that were addressed by Gruhn, almost impossible to see from the outside. One of the most sought-after prewar Martin 12-frets, restored correctly, and set up, by the world’s best. (Included: a signed, in-hand Appraisal of the guitar– by George Gruhn)
  • 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
    Every part of this guitar is original, except a new saddle, and the one replaced tuner post. Even the bridge pins are original. The neck was just set by us, perfectly. Intonation is perfect, all the way up to the high frets. Action: 3/32 over 4/32 inch (high E; low E, at 12 fret). This guitar is a rare example of the first true Gibson flat top, and is the earliest made on the market that is indeed a true Gibson flat top– not a hybrid Gibson archtop/flat top. If you acquire this guitar, you’ll have boasting rights to the first Gibson flat top still in existence. But that’s all for show. More than anything, this guitar plays beautifully. It’s hard to put down. Its tone is wonderful. It has clear, glassy trebles that only the combination of maple back and sides with the very thin build, can deliver. This is a guitar whose trebles and mids you will not find on any other instrument. It is a combination of that uncompromised, pure woody tone from the great 20’s flat tops, but with the clear, louder trebles and mids that are haunting, and fill the room, even with the lightest touch.
  • Very Nice Brazilian Rosewood D-28 dreadnaught.
    • All original finish, bridge, bridge plate, tuners
    • Newer saddle and nut, just installed to give perfect action, tone
    • Original Tortoise pickguard
    • Original small maple bridge plate, great condition
    • Typical small “pickguard crack” as almost vintage Martins with pickguards have. It was professionally closed/glued years ago, stable and no longer an issue. There is a 4 2/3 inch finish crack, with 2 inches or so of that just barely visible from inside– located from edge of lower bout up, about 3 inches to the treble side of the center seam… professionally closed/glued years ago, stable and not an issue now
    • Brazilian Rosewood back and sides: crack-free
    • 100% original finish, everywhere. No overspray or finish alterations of any kind. Minor dings and some minor pickwear around the soundhole.
    • Has never had a strap lug attached to the wood of the heel itself. There is a strap lug attached to the ivoroid heel cap.
    • Original frets are in great condition…  just a bit of wear, on frets 1-3/B string only
    • Action is great– low and fast and loud, and neck angle is fine. Plenty of saddle left.
    • Typical crazing of finish on top and back as seen on almost all mid-60s Martins (finish is all original, everywhere)
    A fine Brazilian rosewood D-28. Set up perfectly and ready to play. Tone is exceptional– for any decade vintage D-28. I’d put this D-28 up against any late 40’s or 50’s D-28 for tone, volume, and string separation.
  • Crack-free, and 100% original, down to the bridge pins, and the original Geib case. Just getting a neck set to make it play perfectly.
  • This ’63 000-18 has wonderful tone. It compares favorably to any post-war 000-18 we’ve played.
    • All original finish, everywhere
    • The guitar is crack-free. Not even a pickguard crack.
    • Original Brazilian Rosewood bridge, full height. It has never been off
    • original saddle as well
    • Original tuners (Grover)
    • Original Ivory nut
    • Original bridge plate… in perfect condition… in fact, there is not even the enlarged holes you so commonly see from the ball ends of strings working through… it’s a great original small Maple bridge plate…
    • Original endpin
    • There is some pick wear, and some typical crazing that 60’s Martins all have
    • Frets are in good shape. The first several positions show some wear… but not a lot… it does not need new frets.
  • A great sounding 00-18, from the era when 18’s were light as a feather and have the resonance that result in singular tone– and this one from the time when Martin had just moved away from the pyramid bridge and to the belly bridge.
    • Original finish (with a bit of overspray, only on the area below the soundhole (typical light overspray where there was pick wear)
    • Has just had neck set, here, perfect job
    • Has just been refret, with period correct Bar frets obtained from TJ Thompson
    • New, exact duplicate bridge made (it had its original belly bridge, but it had a crack and we preferred to replace the bridge with a perfect reproduction ebony belly bridge. New bridge, is on exact, correct footprint of original bridge
    • the top of the guitar is crack-free
    • the back of the guitar is crack-free
    • Repaired side cracks, on both treble and bass sides
    It’s set up perfectly, actually with low action and no buzzing anywhere, and is one of the best sounding late 20’s belly bridge 18’s we’ve played.
  • This extraordinary guitar, completed by C.T. Beitel in June of 1894, is signed and dated by him on the underside of the top. The guitar is in remarkably original condition. And it plays wonderfully. C.T. Beitel (Clemence T. Beitel, 1869-1916) was closely associated with C.F. Martin & Co. in the 1890’s. The Beitels are well known to have been closely associated with the Martin family in these years, both personally (including through marriage) and in the Martin guitar business. According to some correspondence and background research from family members obtained with this guitar, C.T. Beitel was the first American-born person to serve an apprenticeship at Martin Guitars. C.T. Beitel was a cousin to C.A. Zoebisch– who was of course the famous Martin guitar distributor and sometimes-partner of C.F. Martin & Co. in this period.   Although this guitar is strikingly faithful to Martin specs, this is most likely one of C.T. Beitel’s guitars made by him to market separately from Martin. It is documented that at least one of the Beitel family had an ongoing guitar making and marketing business in the late 1890’s. Is this Beitel guitar one of the first made under the “Beitel” name? Certainly. Are there others remaining today? There are none known of by us–making this a rare and highly collectible guitar. Similar to a Martin 2-27… but not exactly. More like a cross between a 2-27, a “28” style–because of the wonderful Herringbone purfling/binding on the top– and a 30’s or higher style with its very fancy Jerome tuners.
    • No “Martin” stamps anywhere
    • “C.T. Beitel” paper label on neck block (Martin stamp beneath the label? Uncertain)
    • Signed and dated on underside of top: “C.T. Beitel, 6/94, Easton” (i.e. Easton, PA)
    • X-braced top
    • All original finish; no touch-ups etc
    • Pearl inlay around sound hole
    • Herringbone purfling around top
    • Real Ivory binding, top, and back
    • Bound Ivory neck
    • Ebony bridge
    • Ebony fretboard (bound in Ivory)
    • Original Maple bridge plate
    • Size: a just bit bigger at lower bout than a Martin “2” size: 12 1/4 inches
    • Scale length: 24 3/4 inches
    • Body length: 18 3/8 inches
    • String spacing at bridge: 2 3/8 inches - Nut width: 1 7/8 inches
    • Body depth at bottom of guitar: 4 inches
    • Top: Adirondack Spruce
    • Back and sides: solid Brazilian Rosewood
    • Neck: Cedar
    • Headstock: Brazilian Rosewood veneer
    • Tuners: original, German-made Jerome tuners, with fancy flower engraving, and oval shaped Ivory tuner buttons. These tuners are typically found only on the highest model Martin guitars of those years
    • Tuner buttons: Ivory, oval-shaped
    This guitar has very very similar construction, design, and look/feel of a 1890’s Martin, including shape, X-bracing, headstock, pearl inlay, binding, Herringbone, internal braces, bridge, purfling, etc. We do not believe any neck set has ever been done to the guitar. Bridge has never been off. Neck is straight, and action is low/medium. Original bridge plate. All original finish. It plays amazingly well, with robust tone, and some of the best treble Brazilian rosewood ringing tone we have ever heard. (Amazingly accurate intonation: The original saddle is gone. Some previous owner had a great, ingeniously compensated saddle made and installed, so that the intonation of this guitar is excellent– while retaining its original bridge including the original saddle slot on the bridge.) There are three cracks on the top of the guitar. One is close to the center seam, and runs from bridge to the lower edge. The other top cracks are smaller, on the treble side of the top. There are two hairline, finish cracks on back (not visible on inside). Minor pick wear, beneath the sound hole. Tone and playability: superb. Wonderful tone, more full tone than a typical Martin 2-27. The trebles especially are bell-like and clear.
  • Very few modern luthiers have captured that Larson Brothers sustain and what I call “shimmer” with a new build. This guitar, built by the master luthier Hans Brentrup in late 2009, has it in spades. We’ve never played anything but a 30’s Larson Bros’ that has the sustain this guitar has. Hans’ unique tone bars do what only the Larson tone bar system did– get the body of the guitar to sustain and impart that wonderful shimmer to the trebles especially.
    • Brazilian Rosewood back and sides
    • Engelmann spruce top
    • 000 size
    • 25.34 scale length
    • Easily accommodates Medium or Heavy strings
    • Hybrid ladder laminated bracing with Carbon fiber “Tone tubes”
    • Mahogany neck
    • Slotted headstock
    • Golden Age tuners
    • Ebony fingerboard with MOP dots
    • Pyramid bridge
    • Tortoise body binding
    • Lacquer finish
    With the top grade Brazilian upcharge, this is a $8K guitar, from the maker. This instrument is in almost mint condition. No dings, no cracks or hint of cracks– just the very slightest signs of use (what you might find in a brand new guitar that’s been in a showroom a few weeks).
  • Signed by Martin factory foreman, underside of top: “Dec. 8, 1893”, this 0-28 is in wonderful original condition.
    • Instrument is 100% original: finish, bridge, ivory nut, ivory saddle, ivory bridge pins, bar frets
    • Brazilian Rosewood Back and Sides
    • Adirondack Spruce top
    • Shows very little wear
    • Scalloped braces (X-braced)
    • Original maple bridge plate in perfect condition
    • Original French-polish shellac finish throughout
    • 13.5" wide at lower bout, and 4.25" deep at the endpin
    • 24.9" scale length
    • 1-7/8" wide nut
    • Soft-V neck profile
    • A couple small top cracks, professionally repaired and not an issue. Two finish checks/cracks, that due not go through wood, on back
    Plays beautifully, with either silk and steel strings, or the stings I prefer on an instrument like this– Savarez Alliance Composite strings.
  • The Larson Brothers need little introduction to the world’s top players and collectors, and they are very different instruments from the Martin and Gibson instruments that dominated the 1920’s and 30’s by their shear numbers. Larson instruments are rising in value rapidly, as they never produced the kind of volume that Martin much less Gibson produced in those decades, and they are now recognized for their magnificent workmanship and tone. The now legendary Chicago-based Larson brothers, August and Carl, did not make instruments with a “Larson” label. All of their instruments were branded and marketed for Stahl, Maurer, Prairie State, Euphonon, Dyer, Bruno, and a few more. Yet every one of their instruments has their unmistakable trademarks. And their unmistakable tone. This exquisitely beautiful, 100% original Larson Mandolin was made at the very height of the Larson legacy– when they were making their finest instruments. It has all of the Larson trademarks that set apart the best Larsons, including “built under tension” design, and Larson’s classic “ebony under the binding” on the neck. Every part of this instrument is 100% original. And its crack-free– save for two tiny dryness finish cracks near center of back, of about two inches each.
    • 100% original finish, everywhere
    • Scale length: 13 inches
    • Nut width: 1 1/8 inches
    • Serial number: 38764
    This particular model, is one of the high end Larson models, a presentation grade instrument, with its Abalone trim, elaborate inlays on headstock, and fretboard, and exquisite Brazilian rosewood. Tone: think of the best Brazilian rosewood instruments, but add more sustain. It vibrates in your hands, and the tone, because of Larson’s patented “built under tension” design, is thought of by players and collectors as being both unique and delivering probably the most sustain you’ll get from any instrument. If you’ve never played a Larson brothers mandolin or guitar, be prepared to be shocked by the brilliant, shimmering tone, the sustain that goes on and on, and the harmonic overtones– that nothing but a Larson achieves. This Larson-built mandolin is identical to the one in the famous Hank Risan collection, the Museum of the Musical Instrument (www.themomi.org). The MOMI houses one of the best collections of twentieth century American instruments– and their collection of Larson brothers instruments is the best collection in the world, choosing only the best examples. The Larson/Stahl mandolin in that collection, identical to this one save a slightly different bridge, can be seen at: http://www.themomi.org/museum/roaring20s/c.1930_Stahl_Mandolin.html