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    Whyte Eagle 5 String Banjo very early production

    Rare Alvarez Whyte Eagle 5 string Banjo very early production

     

    Early 1970s, but in remarkably original condition. And this instrument is from the first, early production– so it has the maple 3-ply rim. This should not be compared to later production Whyte Eagles in the 70's – this is a very rare early one with unique features, described below, and great tone.

    This banjo design is based on:
    • neck/head/inlays: based on the high end Fairbanks Whyte Ladye of the early 20th century– one of the most beautiful designs in banjo history
    • the pot assembly is modeled closely on the Gibson TB3, archtop of the 1930's. In fact it's a remarkable recreation of that design (and sound) – a more faithful recreation that many Gibson post-war versions.

    Bluegrass banjo players seek out the 70’s Alvarez 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 model 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.

    It’s extremely rare to find a Whyte Eagle from this very early period (serial number is 1776), when they first came out and the company bent over backwards to produce an instrument with zero compromise, from the inlays to the maple rim. The early features that are not on the later 70's Whyte Eagles, are – in addition to the 3-ply maple rim (not the 10-ply rim of almost all other Whyte Eagles) – the smaller star on the front of headstock (later models had a larger star), no “Alvarez” logo just the eagle inlay, and a darker sunburst on the resonator and also on the back of the neck.

    Flamed maple resonator (sunburst back, with some of milkiness to the original finish)

    Maple butterfly neck

    Hand-carved heel

    Mother of pearl inlays

    Original tuners

    Grover bridge

    1 3/16 nut

    Scale: 26 ¼ inches

    20 hole archtop tone ring

    11 inch head

    With original hard shell case. Price $1850.

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  • Wayne Henderson – The American Guitar, and So Much More

    This week, to honor the just-announced winners of the 2018 Wayne Henderson Guitar Festival, we call out not an individual guitar, but rather one of the greatest American luthiers working today– and especially that luthier’s (and great player’s) work for youth in his area. We’re speaking of course of Wayne Henderson, and his legendary Festival. Every June Wayne Henderson hosts on of the most culturally important music festivals in the U.S., at the amphitheater in Grayson Highlands State Park near Henderson’s home and shop in Rugby, Virginia. The guitar- and generally music-loving attendees hear great music while supporting scholarships for young musicians in the area. And at the heart of the festival is the guitar competition. Click here to see the just-announced winners. And here’s a look at Fretboard Journal’s visit to the festival– and to Wayne Henderson’s luthier’s shop– a few years back. Click here for the article. .
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  • Vintage Handel Mandolin Tuners

    This is a great original set, of the famed Handel tuners from the early 20th century. Silver wire and pearl inset. In good condition. One button has a slight chip. Good working order. Price: $495.
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  • Tony Nobles Custom Tele

    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
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  • Tony Nobles Coney Island Custom Tele

    Tony Nobles "Coney Island Custom" Tele Guitar Master luthier Tony Nobles, based in Wimberly, Texas, needs little introduction. He’s been crafting custom guitars for years, quietly, without much hype, for artists ranging in style from Joe Walsh to Alejandro Escovedo. This guitar is fun, unique (it’s one of one), and draws on the DNA of some interesting sources. Starting with: the fretboard is made from rosewood salvaged from the actual Coney Island Boardwalk when they rebuilt it a few years ago. So it's a piece of history. Cut to chase on this unique guitar:
    • Top: bookmatched Maple; Natural Maple top binding
    • Nitrocelulose lacquer finish
    • Musikraft neck, maple, with rosewood fretboard made from salvaged wood from the actual Coney Island Boardwalk (when they tore down the old boardwalk for reconstruction, and the wood was preserved by architects/preservationists)
    • 25.5" Scale
    • 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"
    • Back of neck: natural, no finish
    • Front of headstock, blue to match body
    • Bridge: Schaller, imported from Germany, chrome
    • Tuners: Sperzel Trimlok Locking Guitar Tuners 6-in-line Trim-Lok SATIN CHROME
    • Volume and tone knobs: brushed satin chrome
    • Pickups: Harmonic Design "54 special" for the bridge pickup; and Harmonic Design "MiniStrat" for the neck pickup
    ... no longer available ...
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  • Thomas Blackshear Classical Guitar, 1943 Hauser model Brazilian Rosewood

    Tom Blackshear is a living legend in the classical and flamenco guitar worlds. He’s been building from his shop in Texas for decades, with an international client base and international prestige, and his older guitars especially are hard to find and in great demand (and rarely come to market. (There is currently one at Dream Guitars. This guitar was built in 1987, and was based on Jeffrey Elliott’s “1943 Hauser” plan. The tone is robust, and clear, with bright brazilian trebles, and the kind of nice string separation and clarity that an old German spruce top gives. The instrument:
    • Tom Blackshear classical guitar, serial # 184, built in 1987; signed on label by the builder; also signed in pencil, on underside of top
    • model: based on Jeffrey Elliott’s “1943 Hauser” plan
    • Brazilian Rosewood back and sides
    • German spruce top
    • Brazilian Rosewood bridge
    • Ebony fretboard
    • Scale length: 660
    In spring 2015, in consultation with Tom Blackshear who inspected the instrument in person at his shop and advised on details, the guitar was sent to New York-based master luthier David LaPlante, one of the top finish experts in the country. LaPlante did a French polish refresh on the top, back and sides. There had been a flamenco style clear tap plate installed by a previous owner, and that tap plate was removed, then LaPlante did the French polish refresh and the some addressing of minor tap-plate edge-shadows and various nicks. (note, neck, headstock were not touched and retain their original French polish). The result is a beautiful, thin, French polish that shows off the German spruce top and the Brazilian back and sides. Amazingly, this guitar is paired with its original sound hole cut-out from the builder from 1987! What a nice touch. See the attached photo showing the original cutout, with Blackshear’s original handwritten notes from the 1987 build right on the wood. Price: $4950. In a hard shell case.
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  • Out of stock
    Rockbridge Custom Slope Shoulder Rosewood Gibson J-35

    Rockbridge Custom Slope Shoulder Gibson J-35 Style

    Another masterpiece from Charlottesville, Virginia-based Rockbridge Guitars. The slope shouldered dreadnought is faithful to the great Gibson J-35 of the late 1930’s, plus more: old-growth Brazilian Rosewood, with remarkable landscaping. Big big tone, volume, projection. Great sustain, ringing trebles, and yes most importantly string separation. Ebony fretboard. In a custom Cedar Creek case. Read the full description below. If you're interested in this guitar, please call 512.922.8596 or contact us here. ... no longer available ...
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  • Out of stock

    Rockbridge Custom Roy Smeck Model

    This guitar is a masterfully crafted interpretation of the fabled Roy Smeck, a slope-shouldered Gibson acoustic from the 1930s, which pairs a 12-fret neck with a standard, slope shouldered body, in Brazilian rosewood. From Charlottesville, Virginia-based Rockbridge -- one of the country’s most intriguing and masterful boutique luthiers. In a custom Cedar Creek case. Read the full description below. If you're interested in this guitar, please call 512.922.8596 or contact us here.  
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  • Rare Whyte Eagle 5 string Banjo very early production

    Early 1970s, but in remarkably original condition. And this instrument is from the first, early production– so it has the maple 3-ply rim. This should not be compared to later production Whyte Eagles– this is a very rare early one with unique features, and great tone. This banjo design is based on: • neck/head/inlays: based on the high end Fairbanks Whyte Ladye of the early 20th century– one of the most beautiful designs in banjo history • the pot assembly is modeled closely on the Gibson TB3, archtop of the 1930's. In fact it's a remarkable recreation of that design (and sound) – a more faithful recreation that many Gibson post-war versions. Bluegrass banjo players seek out the 70’s Alvarez 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. It’s extremely rare to find a Whyte Eagle from this very early period (serial number 1672), when they first came out and the company bent over backwards to produce an instrument with zero compromise, from the inlays to the maple rim. The early features that are not on the later 70's Whyte Eagles, are– in addition to the 3-ply maple rim (not the 10-ply rim of almost all other Whyte Eagles)– the smaller star on the front of headstock (later models had a larger star), no “Alvarez” logo just the eagle inlay, and a darker sunburst on the resonator and also on the back of the neck. Flamed maple resonator (sunburst back, with a touch of milkiness to the original finish) Maple butterfly neck Hand-carved heel Mother of pearl inlays Original tuners Grover bridge 1 3/16 nut Scale: 26 ¼ inches 20 hole archtop tone ring 11 inch head ... no longer available ...
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  • Rare Jerome tuners for Martin 19th century guitar 1840’s 1850’s

    Even more rare, early Jerome’s, made in France. Circa 1840 -1850. Unusual design. Missing one post/worm gear. Damage to one worm gear bracket. Price: $795.
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  • Out of stock

    Rare 1850’s Martin 1-21

    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.
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  • Rare 1840’s Guiot Guitar, Panormo

    More rare than a Panormo guitar, this original, wonderfully preserved and sonorous guitar is from the London-based J. Guiot, circa 1846– and it’s a cousin if not a sibling of a Panormo, in style, appointments, and provenance. The headstock and neck volute of this instrument, as well as the bridge, exactly match that of two known Guiot guitars of the period (see links below). It’s possible that this guitar was made in the workshop of Panormo by Guiot while he worked there, and it is in fact Panormo in style, exactly– but likely it’s one of the very rare-on-the-market Guiot guitars made after Guiot established an independent workshop in the 1840’s. Either way, we guarantee it as a Guiot, and the value of Guiots– being very rare– are in line with Panormos. This guitar is in remarkable original condition, with none of the kinds of damage, major repairs, or structural issues found on nearly all surviving instruments of the period. And even more importantly, it plays wonderfully as well. We simply adjusted the nut a bit, and leveled the original frets, and it plays like it was recently made– but with a sound that only an 1840’s, London-made Spanish style guitar can produce. The intonation is great. Action is fine– not too high. Listen to the sound/video clip of this guitar being played, by clicking here. (Note: the video is labeled “Panormo” because the instrument was thought to be a Panormo when the recording was made. The guitar being played on the video is indeed this instrument). The guitar has a couple of repaired back cracks, and one well repaired top crack– amazingly little for a guitar this age. The features of this instrument: All original finish Spruce top Brazilian Rosewood back and sides Original Baker Tuners Original pin bridge, that has never been off the guitar Original frets Fan braced, 5 fan braces Scale length: 25 inches (63.5 cm) Lower bout: 11 3/8 inch (29.3 cm) Upper bout: 8 ¾ inches String spacing at bridge: 2 ½ inches Nut: 47 cm String spacing at nut: 1 ¾ inches Depth of sides (bottom): 4 inches (10cm) Depth of sides (top): 3 ½ Body length: 17 ¾ J. Guiot and A. Guiot were some of the luthiers who left France between 1830 and 1850, to work in London– and like Panormo, the Guiots made guitars in the Spanish style. Panormo had adopted a more Spanish style of guitar building in large part due to the urging of Fernando Sor– and that style that would soon overtake the French style, and eventually dominate in the new world as well (i.e. CF Martin’s adoption of the Spanish style of guitar making circa 1844 onward). The well known American composer and performer Madame Sydney Pratten was an ardent proponent of– and player of– the Guiot guitars in the mid-19th century. Reference: two Guiot instruments with the exact headstock and neck volute, and bridge (and also fret markers on 5, 7, and 9 position on the 1846 instrument): • Terz guitar, made by Guiot, Panormo model, London, made 1846– click here to view • J. Guiot, Panormo school guitar, made 1844 – click here to view. The instrument is in a modern hard shell case. Price: $6950.
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  • Rare 1860 – 1880 Seidel Tuners (for Martin)

    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.
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  • Pre-war Kluson tuners Amber Buttons 1930’s – on Hold

    Pre-war Kluson tuners from the 1930's. Amber buttons. These are rare tuners that came on some of the nice Gibsons of the era, such as a few Gibson J35's. Good working condition. Price: $295. – on Hold
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  • Pierre Marcard Guitar, France, circa 1850

    Pierre Marcard, well-known luthier in France, 1794-1867. This guitar is from about 1845–1850. Signed with the maker’s stamp/signature on inside, back (see photo). • All original: finish, bridge, frets, endpin, everything • Spruce top • Ebony bridge • Finely decorated mother of pearl rosette • Brazilian rosewood/maple laminate back • Solid Brazilian rosewood sides (note this is rare: solid, it was an upgrade from the standard practice of the day to do laminate sides as well. • Scale length: 632mm • Nut width: 46mm You can see a sound/video clip of this guitar being played, here: https://www.youtube.com/watch?v=Ryf25bMcmt4   Condition: Amazing original condition. • Similar to other fine guitars of that era, from Lacote and others, the "finish" on the top of the guitar – still all original finish and unmolested – is super thin. Those master French luthiers thought that less finish on top, was better. • No cracks on top, back, sides • A few tiny and superficial surface “cracks” on a few sections of binding • Bridge, all original, has never been off the instrument. Saddle looks original. The bridge does have a few cracks in the ebony, parallel to the length of the bridge. We have left them as is, for originality (a luthier might fill in the tiny gaps with ebony paste – the structure/integrity of the bridge is good.) • The bridge pins look original to the guitar, but hard to verify that. • Action of the guitar is good, consistent with mid nineteenth century standards. • Tone of the guitar, is excellent. Good projection for this sized instrument. Playability is very good– with good intonation even at high registers. Price: $8250. Will ship in a modern hard shell case.
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  • Nobles Custom Resonator Guitar

    This stunningly beautiful, one-of-a-kind custom built resonator (from 2006, in beautiful crack-free condition and with only light wear) is from Tony Nobles, well-known luthier, and maker of instruments for Joe Walsh, Billy Gibbons and many other artists. The art deco ornamentation compliments an incredibly well built instrument, with meticulous attention to detail. Listen to/watch the video clip where guitar master Redd Volkaert put this instrument through some interesting jazz and blues paces.
    • Spun-aluminum Quartermane biscuit-style cone (single-cone resonator)
    • Solid curly maple, back top, and sides, with light tobaccoburst nitrocellulose lacquer finish
    • Art deco coverplate, soundholes, and tailpiece of antiqued brass with a metal mesh covering
    • Maple binding on body
    • Custom torch inlay on headstock
    • Curly maple neck
    • Waverly tuners
    • Scale: 24.4 inches
    • Nut width: 1 7/8 inch
    • String spacing at nut: 1 18/32
    • Bridge spacing: 2 1/8
    • Lower Bout: 14 1/2
    • Upper bout: 9 1/2
    • Body depth at bottom: 3 ¾ inches
    • Body depth at neck joint: 3-20/32
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  • Masaru Kohno No. 30 Classical Guitar, Brazilian Rosewood

    When this concert guitar was made in 1976, it was the top model offered by the master luthier Masaru Kohno– when he was at the very height of his career. There is some confusion out there as to which Kohno was the “top” concert model at any given date in height of Masaru Kohno’s career– from the early 70’s to the late-80s’. No confusion here– as there is correspondence (from August 2011) directly from Masaki Sakurai to us, regarding this guitar. Masaki Sakurai (nephew of Masaru Kohno, who in fact worked along side Masaru Kohno when this instrument was made in 1976, and now of course runs the “Sakurai/Kohno” shop, since the death of Masaru Kohno in 1998) confirms that this guitar was the top model available from Kohno in mid-1976. (Don’t be confused– a later, for example 1980 No. 30 Kohno is not a top Kohno model from that year. By 1980, the top model was a No. 50.) The confusion arises because Kohno had, in the early 70s until the late 80’s the custom of making his model numbers correspond to the guitars’ price in Japanese Yen. Hence, this guitar, a “No. 30”, in mid-1976, was priced at 300,000 Japanese Yen, and was the top model (a very expensive guitar in 1976). The confusion arises because as the inflation-prone 70’s continued, everyone adjusted prices upward. When inflation kept advancing, Kohno model numbers were something of a moving target, and the “top model” number changed upwards over time. Over time the top model moved up to No. 30 (this guitar), and then later No. 50 (starting in 1977). Kohno finally stopped using numbers in the 80’s and then called the top model the “Professional J”, and on, with more variations of “Professional”.) In any case this guitar, was the top model made, when it came from the Kohno shop (correspondence from Masaki Sakurai confirming this, will be supplied). But the real proof is in the playing. This instrument stands along with the best brazilian rosewood/spruce concert guitars from any maker, anywhere, any period. Crystal clear brazilian trebles. Wonderful resonance, combined with superior string separation.
    • Hand-signed on label by Masaru Kohno, and dated 1976
    • Solid European spruce top
    • Solid Brazilian rosewood back and sides
    • 660mm scale length
    • Nut: 52mm
    • Mahogany neck with 2 ebony supporting strips
    • Ebony fretboard
    • Gold engraved Gotoh tuners
    • One repaired crack on back of guitar
    • Crack-free top and sides. There are various nicks, dings, and scratches.
    • Finish is naturally worn off, through playing, on the center section of the back of the neck– giving it a very fast feel in the left hand.
    Note on Kohno playability: While short scale lengths are in vogue today, many “vintage” guitars from the great makers (Ramirez for instance with their typical 665mm or even longer scale length guitars in this era) especially from the late 60’s, 70’s, and 80’s, are longer scale. This guitar is a comfortable scale at 660mm, and it’s important to note: the original Kohno design, that is continued even in today's models, was intentionally different from the high-end Spanish concert guitars of the day which had high action and beefy necks. From the Kohno factory the action was set low on guitars. The necks were moderately thin in profile and shaped for very fluid playability. So at 660mm scale length, with its slim profile neck, this is an easy-playing Kohno.
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  • Martin prewar 1920’s Concert Ukulele C-1

    A beautiful example of one of the rarest prewar Martin ukuleles. This is a prewar Martin C-1. (All Concert Model ukuleles from Martin– with the exception of few special orders– were style 1). Officially called the Concert model ukulele, it’s larger than the many soprano size ukes. It’s very rare to find a prewar C-1 on the market– and much rarer still to find a pre-1933. This instrument was made between 1925 and 1933– because of the Martin stamp on the back of the headstock and the lack of the (post-1933) Martin decal on the front of the headstock. This is currently the only Martin C-1 from the late 1920’s on the market. And the tone and playability are perfect. Louder, and more bell like tone than a Martin Style 1 soprano uke. Martin concert ukuleles are the same body size as taropatch (1918-1932) but with four strings only. While the taropatch had been offered with four strings since its introduction, the new concert model was different in that it had a narrower neck and a standard soprano-size bridge. It was added to the standard catalog that year and by 1927 it was outselling all taropatch models combined. Concerts ukuleles are tuned the same as the sopranos but because of the larger body have a deeper and richer sound, and a slightly longer, easier to play scale length of 14 3/4". The Concert Ukulele from Martin–while rare to find a prewar example– is considered the ideal size for players– larger than the tiny soprano but not too big like the Martin Tenor uke. This one has a rich, beautiful tone, and it’s almost unplayed condition. The action is perfect. There is one small crack on top–but it’s essentially “cleated” by the orignal bridde plate and does not need addressing, and a smaller finish crack that does not go through to the inside). The braces and all else inside: pristine. And it even comes in its original canvas case. Like most Martin ukes, the mahogany bridge had some wear on the string slots. So we created a new, replacement, 100% historically correct replacement bridge. Original patent tuners Original ebony nut Brazilian rosewood fretboard Style 1: all mahogany, with brazilian binding on top Total length: 23 ¼ inches Body length: 11 inches Body width upper bout: 5 ¾ inches Body width lower bout: 7 5/8 inches Scale length: 14 ¾ inches   Price: with original case. $2150.
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  • Martin 2-21 Guitar, made in 1886

    In this period, the Martin factory foreman often wrote the date of manufacture, before the guitar left the factory, hand-written in pencil on the underside of the top. This one has hand-written inside "5 / 1886". It’s a nice touch to a great Martin – and the size 2 is a great size, it’s a larger guitar than the more common size 2 ½ from this era.

    Exquisite tone from this guitar. See and hear this guitar being played:

     

    All careful work has been done on this guitar, including a perfect ebony bridge by T.J. Thompson, and it won’t need anything else. It’s an ideal guitar for the player who wants the best Martin tone and playability – a tonal gem from the 19th century Martin factory in Nazareth.

     • Slot head, with original geared tuners

    • Spruce top over Brazilian Rosewood back and sides.

    • All original finish, with the exception of some minor touch up in the bridge area.

    • Perfect reproduction ebony, pyramid bridge by T.J. Thompson.

    Some touch-up in the bridge area of the spruce when the bridge was fitted.

    • Fan braced – as are most of the best sounding Martins from this era.

    • Original thin maple bridge plate, that has had some minor pin hole attention, by us, to ensure stability and protection from ball ends.

    • Original ebony fretboard; Original bar frets. Frets have some wear, but we left them, for originality, and they play fast and low and smooth.

    • Spanish heel (not the ice cream cone heel of the less expensive Martins of the era).

    • Soft V neck

    • End pin is original, tab end of the pin has come off but the shaft remains

    • One inch area in the rosette, repaired (see photos)

    • Three tiny holes near end pin are remnant of a tailpiece used at some point in the previous century

    • One crack on top, just below the low E string (see photos). About 4 1/2 inches long. This crack has been glued, and is tight (no cleat due to proximity to a brace).

    • Scale length: 24.5 inches

    • Width at lower bout: 12 inches

    • Nut width: 1 13/16 inch

    The guitar has had a recent neck set (by us), so the action is great, and lower than what a lot of folks try to get away with on a 19th century Martin. This guitar does not have “classical guitar action.” The great Martins from this era were not then and they should not today be considered “classical guitars”. They are parlor guitars, and the best examples have the Martin sound we know and love, with a “classical” sound if we consider that sound from the 19th century not today.

    No excuses on the action, tone, and playability on this guitar. Strung with Savarez Alliance strings. It plays so easily, with perfect intonation all the way up the fretboard, and the sound is stellar.

    It ships in a modern hard shell case.

    Price: $6,750. – plus shipping

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  • Martin 1920’s Style 3 Ukulele

    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.
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  • Lester Devoe Flamenco Blanca, New

    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.
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  • Lester Devoe Brazilian Rosewood Flamenco Negra Guitar

    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).
    • 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
    Tone is superb, the tone only old growth Brazilian imparts. To hear an audio clip (audio/video clip) of this guitar, click on the icon below the photo on left. In this clip, Michael Gratovichplays Joaquin Turina's Sonata op. 61 (Third Movement), on a Granados guitar(first 1/3 of this clip), and a Lester Devoe Flamenco Negra guitar (the last2/3 of this clip). We specifically chose this guitarist, and this piece ofmusic, to demonstrate how the Devoe Brazilian Rosewood Negra captures thenuances of more delicate passages, not just the bolder more flamenco-like runs.Recorded in stereo with Miktek C5 Small Diaphram Condensor Microphones (MatchedPair).
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  • Lester Devoe Brazilian Rosewood Flamenco Negra Guitar

    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.
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  • Koliker, Paris, Early French Guitar, 1800 – 1810

    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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