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Read the full description below. If you're interested in this guitar, please call 512.922.8596 or contact us here. -
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
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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. -
Rare set of Seidel Tuners. Seidel tuners, made in Germany in the 19th century, were CF Martin’s tuner of choice for his high-end guitars. You can see these tuners on some rare 1860 – 1880’s Martins– but they are very rare to encounter not married to a guitar. German silver backplates; floral pattern decorations, hand-engraved, The original buttons are of genuine bone. Good working order. Price: $1295. -
Martin has refined their “Authentic” series 1930’s recreations. When the first D-28A came out a about 5 years ago, it was Brazilian rosewood, with a price tag north of $20K. So when Martin decided to produce a Madagascar rosewood version, it was very welcome. In fact Martin learned from the earlier “Authentic” models and this guitar, one of the very first D-28 Authentics’s made with Madagascar rosewood, is a best of the breed– a recreation of the original 1937 D-28 model but now offered with Madagascar rosewood back and sides. And this instrument has a particularly good set of Madagascar.- It’s in virtually unplayed, mint condition.
- Forward shifted hand-scalloped X-bracing
- Fingerboard Width At Nut: 1 3/4''
- Mahogany Blocks/Dovetail Neck Joint - Hide Glue
- Top: Solid Adirondack Spruce
- Top Braces: Solid Adirondack Spruce 5/16''
- Back Material: Solid Madagascar Rosewood
- Back Purfling: 28 Style Zig-Zag (Authentic)
- Side Material: Solid Madagascar Rosewood
- Neck Shape: Authentic 1937 Barrel & Heel
- Scale Length: 25.4''
- Bridge String Spacing: 2-5/16''
- Saddle: 16'' Radius/Long Bone
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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.
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A rare, 100% original pre-war Martin. Not a crack anywhere. And though it of course has the 1-11/16 inch nut, it plays remarkably like the wider nut mid-30's 000-18's due to the generous (original) string spacing at the nut. Original finish. Neck has never been re-set. Original Ebony nut, ivory saddle, full height original bridge. Original tuners. Original plastic tuner buttons in great condition (no shrinkage). Lack of tuner ferrels of course (because of war-time metal shortages). Brazilian rosewood bridge, fingerboard, and peghead veneer. Scalloped braces. Original bridge plate. Frets show minor/normal wear. It shows light/normal pick wear around the soundhole (nothing anywhere near down to bare wood). Other minor superficial scratches on back, and sides. Bass tone and volume is impressive-the characteristic of war-time "pre-war" Martins, that featured more deeply scalloped braces. Many believe these more deeply scalloped braces found only in these years give them better tone than the mid-30s Martins. It does need a standard neck set. It's not egregiously out of set, action is a bit high at 12th fret. But due the originality of the instrument, original ivory saddle still hide glued-in, etc., we believe the buyer would want to set the neck to their liking. (We would be happy to set the neck for the new owner if desired, at no additional charge, after purchase.) The tone: gold standard pre-war 000-18. Loud, dark, crisp, and clear. -
Out of stock
A rare and amazingly original English, Tunbridge ware fretless 7 string banjo. Circa 1850-60. This instrument is 100% original, and even the tailpiece is the original brass tailpiece. This banjo is also rare in that it has original geared tuning machines, not pegs like other examples from the period. The Tunbridge ware banjo is almost impossible to find in this condition and stage of originality. And Tunbridge’s are rare, period. The history? After Joel Sweeney – born to a farming family in Appomattox, Virginia and claimed to have learned to play the banjo from local African population, and the earliest known person to have played the banjo on stage – embarked on a European tour that included stops in London and Edinburgh. He played there for several months, and raised awareness of the instrument in England. As in the U.S., banjos began to be made by local craftsmen – they were still hand made and came in all shapes and sizes, with 5, 6, 7 and even 12 strings, and with one or more drone strings, sometimes on both sides of the neck. Only a few, best ones, such as this instrument, had an amazing amount of work put into them, none more so than those made by a very few firms centered around Tunbridge Wells in Kent, where the local craftsmen specialized in producing a particular form of Treen ware, made from up to 180 different colored woods. Holly, cherry, plum, yew, sycamore, and even imported lignum vitae were all used. The technique was to bind short lengths together and glue them into bundles so when viewed end on, a pattern or picture could be seen. Instrument length: 34 inches. With a 12 inch pot. Eight tensioners and shoes, all original. Original, rare circa 1850 German brass machine tuners (one bent shaft– but still operates perfectly). Original brass tailpiece. Fingerboard, and pot, consisting of inlaid woods as geometric patterns. All the inlays are intact. $2450. In a modern case. -
This is a superb sounding 5 string banjo. Quoting George Gruhn in “The Vintage Catalogue”– “During the banjo boom of the 1920s, many musicians considered Bacon & Day to be the finest banjo maker of the time. Their instruments were prized for their exceptional volume and cutting power, as well as for their beautiful craftsmanship… we can only speculate what might have happened if Earl Scruggs, Don Reno, or some other well-known bluegrass player had used a Bacon & Day model.” • Bacon & Day Super, 5-string Banjo (Style A) Serial number: 25892 (early 1928) • Resonator, stamped on inside (in nickel-laminated maple): Bacon Banjo Co., Inc. Groton, CT. U.S.A. Dec. 20th, 1927 • Conversion, 5 string neck (original neck was probably a tenor or plectrum); Presumably, this neck is newer than the banjo– yet the advanced MOP fret markers are as found on the earliest versions of B&D Super banjos. We assume this neck was built by one of the very best U.S. “conversion” builders – with a re-use of the original MOP inlay at the peghead plus the dowel stick. Maple neck, with steel reinforcing rod. Fretboard is beautiful jet-black ebony; multi-layer neck bindings. • 22 frets • Scale length: 27 inches • Extended Maple resonator– nickel laminated on inside • Original flat Tulip-hole flange (not the “add-on” round-hole resonator of earlier years). • Original, top of the line Type III Silver Bell tone ring (No Hole tone ring) original to the instrument (this is the most sought-after, advanced tone ring, introduced early 1927). • Original 2 band Grover geared tuning pegs • Fults tailpiece, and included a variety of Fults tone pins. Bob Fults made the best tailpieces available. And his tone pins let you tweak the tone of your banjo. There are several interchangeable Fults pins included here– ivory, ebony, lead, sterling silver, brass, and copper. Plus a "tone lock". (Bob Fults recently retired, and these highly sought after Fults tailpieces and pins are no longer available.) In its original hard shell case. Price: $3950. -
This fine and early example of the French guitar was made in Mirecourt, France, around 1800 to 1810. And sold through the famous Parisian dealer Koliker. It is a rare early example, as indicated by its rectangular bridge that does not have a separate saddle, but uses the top edge of the ebony rectangle as the saddle (this feature places it circa 1800, not like the more common 1820-1840 French guitars that have a more modern style bridge including a regular saddle). But for all its rarity, and exoticism to modern eyes, the most salient feature of this guitar is that it plays wonderfully. This is no museum piece to hang on a wall or shelf. This guitar is to play and enjoy. It plays beautifully, with all frets in tune. With no buzzing... I have had guitars from the 1960’s that do not play as well, in tune, and sound as well as this one. Even the action is perfect. The guitar has a wonderful tone, with a sweetness and brightness from the maple, and full bass response.- All original finish on the guitar
- Flamed solid Maple back and sides
- Spruce top, with no finish on the spruce… this is a characteristic of guitars from this time and place. While the back and sides of the guitar were French polished, the spruce top was left as natural wood, with no finish.
- One of the friction pegs is a modern replacement
- The two dark splices on the soundboard are later, but still 19th century, restorations, done as decorative flourishes.
- Scale length: 64.3 cm
- Length of body: 43.3 cm
- Koliker, Luthier Rue Croix-des-Petits Champs No. 24 A. Paris
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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
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Another original, new, beautiful Custom Tele from master luthier Tony Nobles, based in Wimberly Texas. (Tony has crafted custom guitars for artists ranging in style from Joe Walsh to Alejandro Escovedo.) This guitar was custom made to our specs. And it’s one of one– the only one made with these features. Body: Figured Walnut top over adler Custom high end Musikraft quilted maple neck Width at the Nut: 1-11/16" Width at the Heel: 2-3/16 (55.56mm) Number of Frets: 21 Fret Type: Medium 6105 Finger Board Radius: 10" Body: natural, nitro lacquer finish Back of neck: natural, no finish Front of headstock: natural, nitro lacquer finish Bridge: Hannes by Schaller Non-Tremolo Bridge, #GTH RU-BLACK RUTHENIUM Tuners: Sperzel Trimlok Locking Guitar Tuners 6-in-line Trim-Lok Black Pickups: Harmonic Design "Vintage Plus" bridge and neck pickups