Gallery

  • 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.
  • 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.
  • 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)
  • 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.
  • 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.
  • In the 1920’s and early 30's, the Hawaiian craze was in full bloom, and ukulele production was crucial to Martin’s success in this period. This is a wonderful, extremely well-preserved example of one of the most ornate of the Martin ukuleles, still in its original Geib case. Although Martin ukes built after 1916 carried no serial number, it’s possible to generally date them by stylistic elements. This Martin Style 3 is from the best era, the golden era, from about 1925 to 1930. Martin style 3 was first made in 1918. Martin Style 3, soprano (standard) specs:
    • Mahogany body
    • 7 layer top binding
    • 3 layer back binding
    • Ebony fretboard
    • 5 layer soundhole ring
    • Celluloid ornament on top, behind bridge (known as the "parend", or “shield”)
    • Bar frets
    • Small pearl paired-diamond inlays at fret 5, 7, and 9
    • Three lines inlaid down center of fingerboard
    • Nickel plated pegs (introduced in 1923)
    • CF Martin & Co, stamped on back of peghead, and inside-back (Martin logo was not put on front of peghead until 1932)
    This Martin Style 3 ukulele is in unbelievable original condition. It is 100% original. Aside from one naturally occurring dryness crack on the back (repaired), and some very light pick marks by the sound hole that you can only see in the right angle of light, this ukulele shows almost no signs of use. It even has its original ivory saddle, at full height like it left the factory. The tone is all that you would expect from one of the best, high-end Martin instruments of the golden era.
  • If there is a better-preserved Martin guitar from 1937, we have not seen it. This instrument is as an almost time-capsule condition 0-17H, still in its original case. And of course with its original Hawaiian set up. Many people convert these pre-war Martin Hawaiian set up guitars, to “Spanish” style, i.e. regular steel-string flat top set up. And that is certainly an option for whoever acquires this instrument. But this example, is just too nice, and too original for us to want to convert it. And the tone is exquisite (On request, we’ll send you a link to a video/audio clip of one of this country’s best, most famous dobro/pedal steel players playing slide on this great Martin 0-17H, right here in our shop.) All mahogany of course: mahogany back, sides, and top. Brazilian rosewood bridge, and fretboard. The guitar has no play wear. We won’t call it pristine– even under-the bed-guitars that have not really been played, have a few nicks from just being in the case and moved around a couple of times in 70+ years. But it’s as close to perfect as you’ll find in any 1930’s Martin. The neck is straight as an arrow, showing no bowing at all. No cracks of any kind. All original parts, period– down to the nut, bridge pins, and ivory saddle. The guitar is 12 fret to the body, unlike the regular 0-17’s from this period that were 14-fret.
  • Out of stock
    If there is a mid-60’s Brazilian Rosewood D-35 in better original condition out there than this one– it would have to be new. About as close to mint as you can get, this guitar shows little wear. And the Brazilian on back and sides– wonderful specimens, not the “figured” stuff you see on many later 60’s Martins. Not a crack, or hint of crack, anywhere (no, not even the typical “pickguard” crack). Original bridge, tuners, etc. Original frets show almost no wear. All original finish everywhere–and note that the finish does not have any of that “crazing” you often see on the original finishes of mid-60’s Martins. It has never had strap lugs attached. It has the more desirable original tortoise pickguard (Martin changed to black pickguards, later in 1967). Original small maple bridge plate, in original condition. The tone of this guitar, is wonderful. Ringing trebles like the very best brazilian Martin dread’s. And a bass response that shows why Martin brought out this model, in 1965, as an even higher-end model (and with lighter bracing) than the D-28. There are few tiny dings near the edge of the lower bout, on top (too small to photograph well). But a D-35 in better condition than this one would have to be off the factory floor. Action is perfect. Neck straight. Ready to play.
  • This is a prime example of why the pre-war, scalloped brace Martins made in 1943 in particular are the best sounding Martins ever: the ebony truss rod in the neck (instead of a metal truss rod– due to wartime metal rationing), the even more finely scalloped tone bars, and lack of metal tuner post bushings, all contribute to the lightness of build, and the robust tone, resonance and sustain you won’t find on any other Martin (not even the mid-30’s Martins). This guitar, seemingly light as a feather, plays like a dream, and is particularly resonant, and wonderful, for fingerpicking. (Martins from this year, often have a thinner finish, as does this one, which also contributes to its almost Shaker-like simplicity and beauty.) All original finish still in great shape. It has just had a new, Brazilian rosewood bridge made (from 100 year old, old-growth Brazilian rosewood, to the exact shape and footprint of the original which had a crack and was better replaced) by Tony Nobles (original bridge will ship, in the case). The bridge is hide-glued on, naturally. Aside from the typical B-string area “pickguard crack”, now well repaired and a non-issue, the top of the guitar is crack free. There is one well-repaired crack on the back. There was an old input jack right below the end pin, now filled expertly by Nobles (but no evidence of any pickups etc inside the guitar).
    • Original bridge plate, in fine condition. Original Frets.
    • Original tuners (it looks like at one point there were other tuners on the guitar… with a few old screw holes filled.)
    • Has never had strap lug attached to heel
    • Top shows no “bellying”. Natural shape and slight arch is textbook perfect.
    It’s just had a neck set, along with the new bridge, and action is perfect. It’s ready to be enjoyed for decades more.
  • An all-original Martin from the finest era in the company’s history, this 0-18 is unsurpassed for Martin 12-fret Adirondack spruce over Mahogany tone. What can you add about a 1930 Martin, that is 100% original, down to the original bridge pins, and original ivory saddle This example is from the time when Martin had just started using belly bridges, and the ebony belly bridge on this guitar still has its original ivory saddle. And this guitar is 100% crack-free. Period. The instrument features the original bridge (full height), original tuners, original ivory saddle, original nut, and original maple bridge plate (the bridge plate shows almost no wear from ball ends–almost unheard of in a prewar Martin). All original finish– everywhere. Some honest playwear and various minor nicks and dings give the wonderfully aged and naturally honey-hued Adirondack top character. The top shows perfect form, with no bellying behind the bridge, etc. One of the things that makes Martin’s from these year so great-sounding: Martin was still using a thin ebony rod inside the neck, not a metal bar. So the instrument is more free to resonate, from tuners, right down to the bridge. And resonate this one does, with a strong bass especially that puts many many large size guitars to shame. 1-7/8 inch nut. The neck has just been set, by us, retaining the original Bar frets
  • A chance to own a great sounding, great playing Brazilian Rosewood D-28, at a fraction of the cost of an all-original example. This D-28 has had some work, and a few issues, but it’s all repaired and ready to play. And the tone is incredible– tone you won’t find in any other mid-50’s D-28. This guitar, has just been gone over head to end pin, repaired, restored, and set up, by two of the top luthiers/repairmen in Texas, and it’s good to go for decades. The bridge is perfect. Saddle is perfect height. Action is great– low but no buzzing. It won’t need a thing. Ready to play. The tone: the scalloped braces add roundness and clarity to the basses (A and D string in particular) and a bit more “ring” to the trebles. Don’t try this at home– a scalloped braced mid 50’s D-28, but the result, set up by two of this country’s top luthiers, is a great sounding brazilian Martin dread, whose tone you won’t find in any Martin north of 1944– certainly not at this price. Here’s the report:
    • sometime decades ago, the top braces were scalloped
    • probably as a result of a minor impact at the end pin (guitar dropped), there were cracks in the sides, and a slight crack to the neck block. So a previous luthier, long before we acquired the guitar, put in 4 small wood dowels, through the sides–near the heel, into the block (see photos). All is stable. Not the prettiest solution, but it works well.
    • Small crack in heel, repaired and stable
    • Original finish, on Sitka Spruce top; Oversprayed back, sides, and neck (but back of neck finish has worn, giving a natural, comfortable feel)
    • A bit of damage to one corner of the headstock. But there are no cracks in headstock.
    • Pickup jack installed years ago at end pin; no pickup inside; Also, an old pickup jack on bass side of guitar, filled.
    • Some pickwear loss, bottom edge of soundhole
    • Top of guitar has no serious cracks. No "B string" pickguard crack. Tiny crack along the treble edge of the pick guard. A couple more finish type of cracks that do not go through the wood to inside.
    • Several side cracks, all addressed.
    • Back of guitar has no cracks through the wood. A couple of finish cracks.
    The good news: recently, the following work was done on the guitar, making it 100% stable, and ready to play:
    • neck set, by John Allison
    • Refret, by John Allison
    • New, 100% period correct, ebony bridge, made and installed by John Allison. Bridge is made to the exact specs, footprint, etc, of an original 1956 Martin bridge. A small area of finish around an older oversized bridge was addressed by John (you can see this in the photos).
    • New, period correct Maple bridge plate, installed by Tony Nobles
    • Old pickup jack on bass side of guitar, filled by Tony Nobles.
    • The wonderful, original gold-plated Kluson waffle-back tuners, are original, and work perfectly.
    • Original pickguard
    • Original Martin logo on headstock
  • 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)
    According to all known writings and records about Louis Schmidt in existence prior to the discovery of this guitar, Schmidt was supposed to have "disappeared from the scene in 1858”. This newly surfaced guitar, the last one we know of from his hand, proves otherwise, and is a great example, still in its original case, of the work of this well known and important early American luthier.
  • This is a new Allison Brazilian Rosewood dreadnought. Austin-based John Allison was a key part of the Collings Guitar team for years. John is now one of the most sought-after independent makers of fine instruments in the southwest. His guitars are carried by a number of top dealers in the U.S… and we’ve just snagged this brand new, wonderful Brazilian– a custom order guitar. Allison’s attention to detail is astounding. You just have to see and play this great brazilian. Right off the bench, it’s loud and beguiling, and it will only get better over time.  
    • Top: Adirondack Spruce
    • Back, and Sides: Brazilian Rosewood
    • Bracing: Scalloped X, Adirondack
    • Neck: Mahogany
    • Finish: Nitrocellulose lacquer
    • Herringbone purfling
    • Ivoroid binding
    • Fretboard: Ebony
    • Bridge: Ebony
    • Peghead veneer: Ebony
    • Scale Length: 25.5 inches
    • Nut Width: 1 11/16 inches
    • Tuners: Waverly
    Brazilian Rosewood is getting harder and harder to find, for new guitars. Brazilian dreadnought Allisons are few and far between.
  • We  called it the “Tony Rice” prewar 000-18. Is it the "tony rice" style slightly enlarged soundhole (done decades ago). All original finish.
  • A rare, wonderfully-preserved, 1854 Schmidt & Maul. It’s signed and dated inside: Louis Schmidt Tompkinsville   Staten Island New York  388 Broadway August 18th  1854 U. S.
    • Adirondack top
    • Ebonized “ice cream cone” style neck
    • solid brazilian rosewood back and sides
    • fan braced
    • marquetry Purfling around top, with Maple binding
    • Maple binding, back
    • Width at lower bout: 11 ½ inches
    • 100% original finish. No overspray, touch-up, etc. anywhere…wonderful finish
    • Not a crack on top, or sides. One small dryness crack on back, near the edge binding on treble side
    • Original bridge plate, in great condition
    • Reproduction, correct, Ebony bridge
    • Bar frets replaced with period correct Bar frets from TJ Thompson
  • A wonderfully balanced and resonant Martin 00-28G, with some of the most beautiful Brazilian rosewood you’ll see on any Martin guitar, and in wonderful, crack-free, original condition. The Martin “G” is very different from the “C”. The “C” has the Martin 12 fret body. The “G” model used the 14-fret style body shape, but with the 12 fret neck, slotted headstock, and 25.4 inch scale. The 00-28G was first produced by Martin in 1936, and was discontinued in 1962, when Martin went to all “C” style for nylon string guitars. The 00-28G was Martin’s top of line model for nylon strings, from 1936, to 1962… and this guitar is the best example available on the market. The condition on this instrument is superb. No cracks anywhere, and very little wear at all... it's almost perfect. All original, tuners, nut, bridge, saddle, etc. Neck is perfect, has never been set, and shows perfect set up and action.
  • Out of stock
    1855-1860 Martin “transitional”1-21. A very rare and exquisite large size Martin from the pre-1867 era. “Large size” Martin from the 1850’s, because the Size 1, and 0, were the only “large” size Martins in those years. And there is currently not a single other size 1 or 0 size pre-1867 Martin guitar on the market. This is considered by the top U.S. experts who vetted this instrument as an early, rare "transitional" 1-21, based on the fact that it does not have all the later, standardized, 1860’s and on “21” attributes– specifically, backstrip and endwedge on this instrument are not typical of “price-list” era 21’s (after the publishing of the first Martin price lists, establishing features of the different models, in the 1860’s) This 1-21 has:
    • Diamond marquetry backstrip (not found on later, 1860’s 1-21s)
    • Marquetry endwedge (not found on later, 1860’s 1-21s) (Wood end wedge and herringbone backstrip were the standard features of the 1860’s and after 1-21’s)
    • X-braced. All braces are 100% original. No internal repairs to braces.
    • Slot head
    • Ebonized neck (maple neck, ebonized, i.e. painted black). This is another transitional feature: black neck was replaced by cedar on Style 21 by the time the Martin price list was first printed.
    • Single "tone bar" brace behind the bridge plate
    • Ice cream cone-shaped heel (1860’s 1-21’s had cedar neck, with Spanish style heel not ice cream cone heel)
    • Three "CF Martin New-York" stamps: one inside center strip; the second on neck block (this stamp is upside down, as it should be); the third on back of guitar (near heel), the third stamp transversing the backstrip on the back of the guitar near the heel.
    • Solid Brazilian Rosewood back and sides
    • All original finish, everywhere; no touch-ups, overspray, etc, of any kind ever done
    • Brazilian rosewood back shows beautiful sawmarks
    • Bridge, more than a century old, is probably a replacement bridge… but on the original bridge footprint
    • Original ivory nut
    • Original bridge plate (mahogany)
    • No back cracks, or side cracks; one top crack, repaired
    • Tuners are modern replacements, vintage style, in original slot holes
    • Original frets
    This instrument plays beautifully, with a richness of bass especially that is remarkable for a 19th century Martin. Action is perfect. Ready to play and enjoy, as one of the few examples of a large pre-1867 Martin– and with rare features that make it highly collectible.
  • A wonderfully preserved, crack free 12 fret 000-28 Martin, with gorgeous Brazilian rosewood back and sides. The tone of this instrument is wonderful. It stands up to many high end Spanish made classical guitars of the period for Brazilian rosewood warmth. While intentionally not built for concert hall volume, the bass tone and clarity of the trebles on large-bodied Martin nylon strings guitars with Brazilian back and sides is unsurpassed. This instrument is very well set up to play on stage, plugged in, and to record, if desired. It has great high end Gilbert tuners, with black housing, abalone dot and snakewood buttons. (Original tuners, in perfect condition, are in the case, so you can easily replace the originals if desired.) This instrument has an excellent custom engineered stereo pickup system, installed without altering the guitar: The pickup is the undersaddle type, supplied by EMG. The separate mic element is assembled in a foam mounting block with cable, endpin jack, custom made for this guitar. It is unobtrusive in its mounting. Jack is mounted in the endpin hole, so there are no extra holes in the guitar. The output jack is stereo, TRS (Tip wired to pickup, Ring wired to mic, and Sleeve is ground.) The addition of the internal mic adds a realism and depth that no pickup by itself can capture. The EMG pickup is excellent compared to most others in terms of exhibiting less of that harsh piezo sound. The result is a guitar that plays beautifully amplified, or on its own. The Martin “C” has the old elongated Martin 12 fret body. It was offered in the 00-16C, 00-18C and 000-28C in 1962. 1966 saw the last 000-28C. There were not many nylon string, 000-sized 28 models made, and fewer still with the quality of Brazilian rosewood this one has. And the condition on this instrument is stunning. No cracks anywhere, and very little wear at all.
  • Another wonderful instrument with top grade Brazilian Rosewood back and sides. The Brazilian rosewood on this in instrument is more figured on the sides, and the back shows wonderful bookmatched figuring. This is an all-original guitar. There are no cracks that go through the wood. There are several finish/superficial cracks in the finish, one on the top near the bottom/endpin area, and one on the back. And a bit of crazing in the top finish. Set-up and playability is great. Wonderful full tonal range up and down the fretboard.
  • This Brazilian Rosewood D-28 dreadnaught from one of Martin’s finest eras, is special. Its structural integrity, and originality, are rare. And it’s one of the last Martin D-28’s made when Martin still used hide glue for guitar construction. This is a one-owner guitar, still in its original case. When we acquired it, it had not been played for years. Its original bridge, had a split in it, and had come loose from the top. Thus, it sat unplayed in its case for years. But all the wood beneath the bridge was pristine, perfect. So John Allison just made and installed a new exact reproduction bridge, from dark African ebony. It’s perfect, using the exact footprint of the original. The new bridge was attached with hide glue. And we used the original bridge pins.
    • Guitar is 100% crack-free (no, not even a pickguard crack)
    • 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
    • Perfect condition maple bridge plate
    • Original frets are in great condition
    • Action is great, with just the right amount of saddle, and neck angle is perfect
    A fine, Brazilian rosewood D-28, from the era when Martin still used hide glue for guitar construction… It’s a bluegrass canon, and it won’t last long.
  • A wonderful, completely crack-free LG-2. The neck was recently set by Mark Erlewine, the frets dressed, and a new saddle installed ... beautifully set up by ME. 1-11/16 inch nut. Mahogany back and sides. Spruce top. Low action, with no buzzing. Nice sustain, and volume.
  • 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).
  • 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.
  • Signed by Martin factory foreman, underside of top: “6/1886”, this 0-28 is in stunning original condition. 1886 is the last year of the original factory in Nazareth, before Martin built the new factory addition in 1887. It is also the last year before they installed mechanized steam-run equipment to bend sides. So this wonderful 0-28, is one of the last of the totally hand-crafted Martins, built without mechanized equipment, and signed as such, 1886. Instrument is 100% original: finish, bridge, ivory nut, ivory saddle, ivory pins, bar frets, everything.
    • Crack-free
    • repaired center seam on top
    • Shows very little wear
    • Scalloped braces (X-braced)
    • original maple bridge plate
    • 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.
    Small section of binding and purfling missing from the lower back/side margin, was just seamlessly repaired by Folkway Music, one of North America’s finest Martin restoration shops. On underside of ivory saddle, and also, inside the saddle slot, engraved: "XXVII" This indicates that the saddle is the original to the guitar… It was most likely the way that Martin craftsmen kept matched parts together during the building process. The guitar has been fitted by Folkway with a new saddle, compensated for silk and steel (original ivory saddle in the case), so the intonation is great. Sticklers for correct set-up and skeptics about putting steel strings on a 19 century Martin, Folkway did not decide it could accommodate silk and steel strings, both structurally and with correct intonation, until after careful hands-on study. It can, they said, beautifully.
  • This big booming dreadnaught from one of Martin’s finest eras has everything you’d expect in volume, but it also has that wonderful sustain and ringing treble, and warm round bass, that only an almost-50-year-old Brazilian Rosewood Martin dreadnaught brings. All original throughout. Small 3 inch finish crack on lower back, stable. Typical B-string/pickguard crack, difficult to see, from bridge to beneath guard. Great original finish with minor dings and some minor pickwear around the soundhole. Ivory nut, full, original bridge and perfect condition maple bridge plate. The frets are in great condition. Rosewood fingerboard shows slight wear, nothing out of the ordinary. Frets are fine, showing minimal wear. Beautiful tortoiseshell binding in great condition, no separation anywhere. Inside of guitar shows all braces perfect–very clean and dust-free inside. Strap lug on heel and endpin. The neck was just set by Tony Nobles, and the action is low, with no buzzing. You can play it hard. It was fitted with a new bone saddle with the neck set (the original ivory saddle is in the case). Brazilian rosewood D-size Martins, from the era when Martin still used hide glue for guitar construction, are highly sought-after. This one, in this condition, will go quickly.
  • It’s rare to find a Golden Era Martin in this condition. This wonderful, completely crack-free 14-fret guitar from the 30’s is a gem. It’s one of the very first Martins of any style to have all three: 14 frets clear of body+Martin decal on the front of the peghead+Martin stamp the back of the peghead. Mahogany top, back and sides, of course, and it has the great, resonant feel and tone of a very lightly built 12-fret, but with more volume, in a 14-fret package. Strong bass response. 1 3/4 inch nut. Original finish, everywhere; no cracks anywhere. Original tuners. Original full-height bridge and maple bridge plate. Original bridge pins, and nut. The neck was recently set, so there is a new bone saddle, and the action is nice and low. Original bar frets. Some slight wear below the pick guard (not a hint of a crack or even any shrinking of the edges of the pick guard), and a variety of minor dings– but this completely crack-free guitar from the Martin Golden era is a gem.
  • Martin established the X-brace as the standard in American guitars, but that was never pre-ordained, or set in stone. The fan-bracing of the Spanish guitar has equally appealing qualities, and is a century-plus long standard that continues to dominate the design of the classical and flamenco guitar. Not an “Estudio” (student) model, this is the top of line model, 1a Ramirez flamenco. If you’ve never played one of these exquisite cypress Ramirez flamenco guitars–you’ll be surprised at the tone. Spanish cypress back and sides. Cedar top. First of all, the guitar is so light. It floats in your hands, yet it’s tight as a drum. It’s one of the lightest guitars you will ever play (due to the lightness of the wood, and also to the use of tuning pegs–so that the head and neck of the guitar are not pulled down by gravity, allowing the head to float effortlessly at about eye level. And the raspy bass is unbelievable. It’s all about that percussive tone and throaty bass. Conventional wisdom says rosewood for a “classical” guitar, for sustain; and cypress for a flamenco guitar, for the percussive, throaty quality, and more volume. Action is low, as it should be for flamenco. And that wonderful wide nut (2-1/8 inch), you’ve got so much room to move on this beautiful ebony fingerboard. Original finish. As with almost all these old Ramirez flamencos with the tap plate on top, there are shallow, thin hairline cracks where the top edge, and bottom edge, of the tap plate (clear plastic) meets the top (similar to the small cracks you get on an old martin, due to the guard being glued to the top). There is also a six-inch long hairline finish crack on the top above and parallel to the fingerboard (does not go through the wood), and a 3-inch long hairline finish crack below the fingerboard. A few dings here and there, but finish is that original, beautiful high polish reddish-amber.
  • Mint condition. Period. Exceptional Larrivee 12-fret parlor guitar with a straight grained Sitka Spruce top and beautifully figured Brazilian Rosewood back & sides. Part of a very limited run of guitars built of high grade old stock Brazilian rosewood. Abalone rosette and tortoise shell pickguard. Ebony bridge w/ compensated saddle. Mahogany neck w/ microdot inlays, ivoroid bound ebony fingerboard, 1-3/4" nut, 24-1/4" scale, 13-1/4" lower bout, Larrivee logo peghead inlay, chrome tuners w/ebony buttons.
  • (No serial number or FON, these years often do not have one.) This completely crack-free, Script logo LG-2 is a jewel. A lot of players say the script logo Gibsons from right after the war are better sounding and better-built guitars than the Banner Gibsons. All of the good things about Banners, but with better craftsmanship. All original finish, everywhere. Mahogany back and sides. Spruce top. Not a crack anywhere. 1-3/4" nut. The bridge is an excellent quality rosewood replacement. Original maple plate. Original tuners. Replaced nut and saddle. Rosewood fingerboard shows moderate wear on first couple of frets. Some of that wonderful Gibson 40’s crazing to the finish, but not at all out of hand. Various pick marks, and dings. Original tuners, bridge, plate. Piezo pickup was skillfully de-installed, and endpin jack removed and plugged. One of the finest Script logo LG-2s you’ll find.
  • The instrument features the original ebony bridge (full height), original tuners, original ivory saddle and nut, original maple bridge plate. Ebony fretboard. Bar frets. Thin, Soft-V neck. Finish is original. There is some overspray on the top, which is confined mainly to below the soundhole (over about the same size area, as what a pickguard would cover–but it never had a pickguard), and a bit below the bridge, and very very light on other areas of the top. Apparently a previous owner wanted to address the pick/finger wear and a repaired crack below the bridge. It's generally unobtrusive, no effect on the color of the top, and not noticeable from a few feet. Also, some light overspray on back and sides. As overspray goes, it has minimal effect on the appearance. Neck, and head have no overspray at all. There is one crack on the instrument from the bridge to the bottom of the guitar, but it's well repaired (it's about a half-inch from the center seam, below the bridge). Also about a 2 1/2 inch shallow crack/finish crack near where the fretboard meets the top (about 1/8 inch from the fretboard), on low-E side (does not go through–It is not visible on underside of top). There is a small indentation on the side rosewood (about one inch in area, on the side/lower, stable.) 1-7/8 inch nut. Action is 3/32 inch high E string/12th fret. 4/32 low E string… just right to get that full, cascading Brazilian tone from this fine 0-21.
  • 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.
    With this meticulous restoration, the guitar is now a wonderful player, and with all original finish.
  • Probably the best year ever for 14-fret 00-18s. In the Golden Age of 14-fret Martins from the early 30's until the late 30's, only in 1936 did Martin use Brazilian rosewood (as opposed to ebony) for the fretboard and bridges of 18's, so its tone is considered by many to be the best in the 14 fret, 1-3/4 inch nut era. The guitar is crack-free on the top and back. Just one repaired crack on the treble side.The repair is well done and almost impossible to see from the outside (older repair has muslin cloth on inside-luthiers agree that these older cloth patches inside a vintage Martin should be left in place). Original tuners. Original bridge plate. Original nut. Replaced T-frets by us. Replacement bridge-very dark Brazilian rosewood bridge made to original specs in our shop, and ivory saddle. The neck has that wonderful mid-thirties slightly fatter profile. Neck set by us. And the tone is the best example of a Golden Era 00-18 you'll find anywhere. Light overspray (no refinishing) on back and sides (not top, neck or head).
  • 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.
  • We converted this Golden Era 12-fret Koa Martin from the original Hawaiian setup ourselves, so it's perfect. The instrument does not have a crack anywhere. All original finish. Original Ebony bridge, converted from the tall Hawaiian set-up to a normal 30's set-up. Same with the ebony nut. All new, period-perfect Bar Frets. We radiused the ebony fretboard to 30's Martin specs. Neck was set and action is perfect. 1-7/8 inch nut width. Original tuners. Original bridge plate. Minor nicks and dings on top and back, but with the all original finish and crack-free, it's a rare specimen. Nothing compares in tone to an all-Koa Golden Age Martin. Koa blends the midrange of mahogany with the top end of maple-or, in the case of a fine 30's Koa Martin- hints of Brazilian rosewood. This fine 0-18K has all you would want from a Koa Martin, with the clearest, bell-like treble string tone imaginable.
  • The last of the Mohicans, made within a few months before Martin stopped using Brazilian Rosewood on its instruments. Some guitars feel dead right the minute you pick them up. This is on of those. First and foremost, the tone of this instrument is unsurpassed for the bell-like trebles that only come from Brazilian Rosewood. The tone of this guitar, I would hold up to most mid-40’s D-28’s I’ve played. Playability, and set-up: it could not be better, and it’s got that 60’s combination of low action, great tuning speed and accuracy from the Grovers, and superb intonation all the way to the wee frets. More than anything, this guitar stands out for its low action combined with robust tone. Amazingly, the string height at the 12th fret: Just a hair over 2/32” at the high E; and 3/32 at the low E. It plays in our left hand like a dream, fast and fluid… yet the tone is full with no buzzing anywhere. I personally have never played a Martin dreadnought from any period that is so effortless to play, so easy on the left hand and so fast and yet so full of Brazilian tone. BTW, light gauge strings only? No way… I’ve got it strung with medium gauge, and it plays like butter in your left hand. Condition:
    • all original: finish; frets bridge, bridge plate, saddle. (Bridge pins could be replacements, hard to tell, but they are right.)
    • The bridge looks like it has never been off
    • Neck has never been set
    • There is minor pickwear, with some moderate wear around the soundhole.
    • No cracks on top; two, almost indiscernible cracks on back, that have been addressed–glued (no cleats). You have to look very hard to see these two back cracks, they are hairline cracks, each about 6 inches long.. but they are not visible from more than a few inches away, and impossible to photograph.
    • Minor nicks and dings, most are visible in photos
    • No strap lugs ever added
    • Original end pin
    • Throw away the book on this one… This is one of the best Brazilian rosewood Dreadnought Martins you’ll play, period, in fine original condition.
  • Vustom made Lester Devoe Flamenco Negra, a one-of-a-kind, Brazilian Rosewood guitar, from one of the world’s top luthiers. Lester Devoe needs no introduction to the world’s great Flamenco players. The late, legendary Sabicas played a Devoe– and converted some of the great Flamenco players in Spain to the fold. Paco De Lucia, and Vicente Amigo, among others, play Devoe Flamenco guitars. (I personally delivered a Devoe Flamenco Blanca guitar to Paco De Lucia in Spain in late 2010– Paco likes his Devoe’s hand-delivered. Paco De Lucia began playing a Devoe Negra guitar years ago– and there are many Paco De Lucia recordings and feature films where Paco plays a Devoe Flamenco guitar.) And it’s rare that Lester makes a Negra with Brazilian rosewood of this age and quality.
    • 650mm scale length
    • Nut: 52mm
    • Neck width at nut: 52mm
    • String Spacing at nut: 44mm
    • 80 year old Brazilian Rosewood (pre-CITES) back and sides (Quartersawn).
    • European spruce top, with some beautiful and understated “"hazelfichte" (what Americans call bear claw).
    • Custom, flamed Spanish Cedar neck
    • Brazilian Rosewood headstock overlay, and bridge
    • Brazilian Rosewood body binding, top and back
    • Ebony fingerboard
    • Sloane tuners
    • Austere yet elegant Santos style black and white rosette, that Devoe uses only rarely, on top custom models
    • Nitrocellulose lacquer finish
    There was only one of these guitars made, with this combination of wood. It’s a rare custom instrument from this maker, and the tone is glorious– with the trebles only old Brazilian Rosewood delivers. But this is a Flamenco guitar– made by one of the best– so there is not too much “sustain”– that would disqualify it from being a great Flamenco, where a fast “decay” of the trebles emphasizes the percussive quality of the guitar. Only a master luthier can make a Negra that captures the best qualities of Brazilian, making those bass notes both crisp and growly, while assuring that the trebles ring with Brazilian bell-like clarity.