- 650mm scale length
- Nut: 52mm
- Neck width at nut: 52mm
- 80 year old Brazilian Rosewood (pre-CITES) back and sides (Quartersawn).
- European spruce top
- Cedar neck
- Brazilian Rosewood headstock overlay, and bridge
- Brazilian Rosewood body binding, top and back
- Ebony fingerboard
- Sloane tuners
- Nitrocellulose lacquer finish
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This new, custom made Lester Devoe Flamenco Negra is amasterpiece, from one of the world’s top luthiers. Lester Devoe needs nointroduction to the world’s great Flamenco players. The late, legendary Sabicasplayed a Devoe– and converted some of the great Flamenco players in Spain tothe fold. Paco De Lucia, and Vicente Amigo, among others, play Devoe Flamencoguitars. Paco De Lucia began playing a Devoe Negra guitar years ago– and thereare many Paco De Lucia recordings and feature films where Paco plays a DevoeFlamenco guitar.) This is the second custom guitar, that Lester has made for uswith select, old growth, quartersawn AAAAA Brazilian rosewood. Signed by LesterDevoe, 2012 (March). -
When Martin entered into its “Golden Age” for the flat top guitar, the jazz guitar was evolving on a parallel and equally important track. And in Europe, especially France, they had their own ideas about guitar making, and produced some brilliant guitars in this era–including of course the wonderful Selmer gypsy jazz guitar. The brothers Gerome were among the best luthiers in Mirecourt, France, a city famous in Europe for producing the finest gypsy and jazz guitars, in the 20s, 30s, and 40s. This all original, gypsy style guitar has maple back and sides, to give that high, twangy tone, just what you want in a django-style guitar. This one has loud piercing trebles–the treble strings are louder and more piercing than any guitar of any kind I have ever heard. Only maple produces that loud sharp treble. The volume of this instrument is striking, and there is almost a “reverb”, resonant quality to the tone. Solid spruce top. Black & white checkerboard marquetry binding on top, and rosette. It has a very thick rosewood fingerboard (over 4/10 inches/10.5mm thick!) Maple neck. Nut just shy of 1 7/8 inch. Wonderful bakelite buttons on the tuners. And it would not be a genuine gypsy jazz classic, if it did not have the hallmarks of this style: the original “floating bridge”–not an “adjustable brigde” for height, but a floating rosewood bridge that is not glued to the top, but held on by string tension (the “wings” of the bridge are glued to the top in this configuration). (You can of course change the intonation with this set-up.) The other feature that is a must, is the “zero fret”, i.e. there is a fret (the “zero” fret) right in front of the nut. 14-5/8 inch wide at lower bout. All original finish. A couple of small cracks on top. Top center seam repair. Original T-frets show wear, but still work fine. No buzzing. Action is good. Takes loop-end strings (available from many sources–Savarez Argentine strings are great on this instrument). -
Late 1970s, but in almost unplayed condition. Bluegrass banjo players seek out these 70’s Whyte Eagles, known for their tone and craftsmanship. It was a pretty short window of only about five years, when these banjos were made with this kind of craftsmanship. They blow away most any banjo made and marketed (from any country) in the 60s, 70s and 80s– and they show no logos on headstock– just beautiful mother of pearl. It’s the No. 4310 “Whyte Eagle”. Based on late 1920’s Vega Griffin (Tubaphone #9) style inlays, with engraved, carved heel. Sunburst finish maple banjo, Gibson-style 2 piece flange, full height 20 hole archtop tone ring, dual coordinator rods, flamed maple resonator, maple neck, chrome finish. Neck is butterfly with ebony strip on back of neck, down the center. Just set up, with new tailpiece, and new head, by Dave Trexle and ready to play: loud, clear, and bright. With original hard shell case. -
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)
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This model is something of a sleeper on the Golden Era Martin guitar market, because there are just not that many pre-1939 00-17s available. There are quite a few war-time and post-war 00-17s, but a 00-17 with full pre-war specs, forward shifted X-bracing, and 1 3/4 inch nut, is hard to come by–and they have all the great qualities of 00-sized Golden Era Martins that cost twice or three times the price on the vintage market–for now, as these great pre-war 00-17s will catch up quickly. The tone and volume of this 00-17 is astounding: full, amazingly bright, and with impressive volume. 1-3/4 inch nut width. Crack-free except for a well-repaired crack on bass side, about 2 inches long, that's difficult to see even up close. No cracks at all on top, or back. All original finish. Original bridge plate. This model has of course a mahogany top as well as mahogany back and sides. And with that dark look and original gloss finish that really sets this Golden Age Martin apart in its own class. Neck has the typically slightly beefier profile that's the hallmark of the best 30's 14-fret Martins. Neck was set by us. Replaced, period-correct Brazilian rosewood bridge. Original ebony nut. All new T-frets installed by us. Original tuners. -
A pre-decal Uke from Martin. Style 0, with no body binding. Well worn, but 100% crack free. -
This guitar is the last known guitar in existence, made by Louis Schmidt, the famous contemporary and one-time colleague to the founder of Martin Guitars, the original C.F. Martin. As such, it is a rare example of early American guitar making. And it’s signed by the maker, on the underside of the Adirondack top: Louis Schmidt Wakefield Westchester Cy NY July 9th 1859 U.S. Louis Schmidt worked side by side with CF Martin in the early years. Perhaps the most common misconception about early American guitar history is that C. F. Martin spent his first years in America earning a living as a solitary luthier in his New York workshop. Pay ledgers reveal that as early as 1834 he was paying luthiers to help him make his guitars. Two of these men, Heinrich Schatz and Louis Schmidt, left Martin's employ to make guitars on their own, and each succeeded as top builders. This instrument:- Similar features to circa 1860 Martin 17 style... but different purfling, binding, and slightly different body shape
- All original finish
- Brazilian rosewood back and sides (solid); Adirondack top
- In its original coffin case
- 11 3/8 inches wide at lower bout (a bit larger than a Martin 2 1/2)
- Body: 3 7/8 inches deep
- Original mahogany bridge plate (goes almost all the way across the width of the top, slotted under all the braces)
- Fan bracing pattern
- Plays beautifully. Good bass tone. Action is perfect.
- Ebony Bridge has been off at some point, and reglued on. With a lack of similar guitars on the market, it’s not known if this 19th century bridge on the instrument is the original bridge.
- One repaired crack on top, from bridge to bottom binding; One repaired crack on back. One small crack on top, either top edge of soundhole.
- Original Jerome tuners, reverse gear, working perfectly
- Maple and rosewood purfling/binding on top (no binding on back)
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Nothing sounds like a 30’s Gibson L-00. No longer a sleeper on the vintage guitar market–they are sought after by working musicians the world over¬–they are still under-rated on the collector market. These mid-size Gibsons are incredibly resonant. There is nothing like them, from Gibson, and the mid-size Adirondack spruce over mahogany Martins from the mid to late 30’s command more than twice the price. This L-00 from 1938 has the best tone of any of the 30’s L-00’s we’ve seen. You won’t believe its presence. Acquired by us from the family of the original owner in Austin, Texas, this guitar is a great example of the era when Gibson still had a production jump on Martin, and even its lower cost guitars were winning the marketing war at the trailing end of the depression. This L-00 had a re-spray of its burst in the early 60’s, so while not the original finish, it’s got the right look and feel of the 30’s, and plenty of mileage to make it more than convincing. The top and sides are completely crack-free, and there are only two small cracks on the back. One is not through the wood, and the other was expertly addressed by Tony Nobles with a small cleat. Tony also made a new perfect reproduction Brazilian Rosewood bridge. The bridge plate is original and in great condition. Original firestripe pickguard. Original nut. The non-original tuners on the instrument when we acquired it were replaced by us with klusons from the period. Tony also installed new T-frets. While we tend to specialize in vintage Martins, this one might change my mind. -
Exquisite, and a joy to play (… the top level, largest guitar that Martin made at the turn of the 20th century– with tone that shows off what Frank Henry Martin was proud of when he personally signed the inside of this instrument in April, 1903…) -
This fine Brazilian Rosewood 12-fret Martin is a joy to play, and it’s properly set up for steel strings. The grandson of C. F. Martin, Sr., Frank Henry Martin oversaw the Martin business from 1880 until well into twentieth century, and was responsible for the creation of the Style 0. I’m sure he loved this guitar–he personally signed the instrument, in cursive, under the top: “# 10082 Oct. 17th, 1905 F.H.M.” This 0-21 combines the exquisite tone of a 100 year old Martin, with some wonderful restoration. Guitar was refinished, probably decades ago, and it is a beautiful, French polish finish that has all the earmarks of an original finish. You can see the pores and saw marks in the Brazilian rosewood. No heavy-handed finish here, it’s a natural finish that lets the grain and color of the wood come through. And the tone, too, that sweet tone you can only get from Brazilian this old. The ebony pyramid bridge is a replacement, and features a compensated saddle, so intonation is dead on. (The bridge plate is the original small maple plate, in perfect condition.) Original tuners. Crack-free top and sides. There is only one very small crack, on the back, about 3 inches long, professionally repaired. The neck was set recently by Tony Nobles, and the original bar frets dressed. It plays, and sounds, like a late 20’s 12-fret Brazilian rosewood Martin. -
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 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