- Cedar top
- Depth at lower bout: 4 3/16 inches
- Width of neck at nut: 2 inches
- Body length: 19 3/4
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Out of stock
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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.
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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.
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Out of stock
It’s beyond rare to find a guitar from the early Martin – Coupa - Schmidt – Maul – Schatz era in this state of preservation. And one this large. This rare model Schmidt & Maul guitar – by the original C.F. Martin's most famous colleagues and contemporaries– is signed and dated, October 18th, 1852, and is in its original coffin case. And best of all– it plays wonderfully, with low action. A unique piece of American guitar history– not for hanging on the wall but to play. The instrument is signed on the underside of the top: Louis Schmidt Tompkinsville Staten Island New York 388 Broadway October 18th 1852 U.S. This higher end, Spanish neck/heel (not ice-cream cone) Schmidt & Maul is bigger than all the Schmidt & Maul, Schmidt, or George Maul guitars that have come up for sale in the past decades (and not many of any kind have come up for sale). It’s a bit larger than a size 2 Martin, with a width at lower bout of 12 3/16 inches.(Every other Schmidt & Maul that has come to market has been a smaller guitar.) The guitar is braced inside (all original) with an early X-bracing variation similar to the 1953 Schmidt & Maul featured on p. 213 of the book “Inventing the American Guitar– The Pre-Civil War Innovations of C.F. Martin and His Contemporaries” edited by Robert Shaw and Peter Szego. (Hal Leonard Books, 2013). Like the 1853 guitar illustrated in that book, this guitar has bracing on top and back that is very close to the guitar that CF Martin and Schatz made for Madame de Goni. With all original finish, original ebony bridge, and original Jerome tuners– it’s in remarkable condition. To get the best of both worlds– historically authenticity and playability– the guitar has just had a recent neck set, original bridge reglue, and other minor work including new saddle, by one of the country’s top luthiers and authorities for early Martin and early American guitars– Steve Kovacik. All work was done by Steve to historically correct preservation standards after extensive examination and consultation. (Note, in the photo: the picture of the signature inside the guitar: the two cleats are not later repairs– rather they are two center seam-stabilizing cleats put in by the original luthiers in 1852.) Amazingly, this guitar plays in tune up and down the fretboard. Thank the original luthiers at 388 Broadway for that– they had the foresight to add slight compensation (not angled saddle compensation but cheating the saddle back a bit) to the bridge/saddle. Not even CF Martin did that in those years). And thanks to Steve Kovacik for setting this instrument up with low action not ballpark “19th century” action. The Adirondack top is crack-free. Crack-free sides. There are two almost imperceptible cracks on the back– you have to look hard to see them, both addressed by Steve Kovacik.- “Schmidt & Maul New York” stamps on neck block, and center strip inside guitar
- X-braced, all original braces inside
- Spanish foot construction
- Radiused Ebony fretboard
- All historically correct bar fret replacement by Steve Kovacik (not too high, and not too thick– correct size bar frets were used, properly finished)
- Original bridge plate, in fine condition
- Original Jerome tuners and buttons
- Original nut, and saddle, in case. New nut and saddle by Steve Kovacik
- Rosette: shares a feature with early Martins– a variant of the "tooth" rosette– a three ring rosette with green "tooth" inner ring, and small "rope" outer rings
- Marquetry Purfling around top, + Maple binding
- Back purfling (backstrip): see Martin Guitars: A Technical Reference, p. 13: this is a “Pre-1867 style 34” Martin style purfling
- Maple binding, back
- Solid Adirondack top
- Solid brazilian rosewood back and sides
- Cedar, Spanish style neck and heel
- Width at lower bout: 12 3/16 inches
- Body length: 18 ¼ inches
- Nut width: 1 15/16 inches
- String spacing at bridge: 2 5/16
- Scale length: 24 ½ inches (But there is a slight compensation: 12th fret to the saddle– Schmidt and Maul added a touch of compensation !
- Original scooped-back ebony bridge
- 100% original finish. No overspray, touch-up, etc. anywhere…wonderful finish
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Out of stock
The Larson Brothers of Chicago never marketed any guitar, throughout their long career, that was marked “Larson”. Their designs were branded by Maurer, Stahl, Prairie State, Stetson, and a few other guitar makers– but never “Larson”. They were also known for making many “off-catalog” guitars, i.e. guitars with combinations of features that varied from the Maurer, Stahl, etc, catalogs, and guitars that were not marked at all with a brand. This guitar is a Larson Bros creation that is not marked at all. It is a custom made instrument–but it has all the typical Larson hallmarks. The tone of this Larson is every bit as wonderful as the Maurer/Larson listed above, indeed it is quite similar, due to the same patented “built under tension” design, and X-bracing. This Larson does not have laminated braces (it’s well documented that laminated braces were only used on certain models–and their use was not related to level or price.) Every part of this guitar is original, including original finish. There are two repaired cracks on the back, and three small, repaired cracks on top.- Lower bout width: 12 5/8 inches
- Brazilian rosewood back and sides
- Ivory celluloid Bound fretboard
- Ivory celluloid Bound headstock
- Spruce top
- X braced
- Larson’s patented “built under tension” design
- Rosette: Abalone pearl and wood inlay bordering the sound hole
- Radiused ebony fingerboard, and Classic Larson Brothers’ “ebony below the binding”
- Engraved inlays on fretboard
- Original tuners
- Original ebony bridge
- Original bridge pins
- 1-7/8" wide nut
- 2 1/4" bridge string spacing
- 24.3" scale length
- One-piece mahogany neck, round C shaped neck profile.
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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) -
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.
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6:1 ratio pre war Grovers, mid-1930's. As used on Martin pre-war dreadoaught guitars. Oval buttons, bevelled edges on the baseplate. Just one button has some missing chrome on one side (see photos). With bushings, and mounting screws. No bent shafts. Good working condition. Price: $795. -
Another fine Kohno classical guitar from Masaru Kohno. This one combines a cedar top with Indian rosewood back and sides for a warm, clear tone. The best sounding Kohno 15 (or 20 for that matter) we’ve had.- Cedar Top
- Indian Rosewood Back and sides
- Ebony Fretboard
- Deluxe Fustero tuners, with pearloid buttons
- Scale length: 660mm
- Nut: 52mm
- Condition is good. Several repaired cracks, all well-repaired:
- treble side, about 1/4 inch off fretboard: 3 2/3 inch
- bass side, 1 1/4 inch off fretboard: 4 ¼ inch
- 1/4 inch bass side of center seam, between bridge and soundhole: 4 inches
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We called it the “Tony Rice” prewar 000-18. Is it the "tony rice" style slightly enlarged soundhole (done decades ago). All original finish. -
The Larson Brothers of Chicago began making steel string guitars earlier than did Martin, with their own ideas not tied to the past, and their designs are now considered by both players and collectors to be uniquely beautiful, wonderful for tone, and highly desirable. And they are much more rare guitars than Martin or Gibson– and more ornate than either Gibson or the always conservative Martin. Tone: think of a Martin Brazilian Rosewood 0-sized 12 fret from the 20’s, but add much more sustain. It vibrates in your hands, and because of Larson’s patented “built under tension” design, is thought of by players and collectors as being both unique and generating more sustain than you’ll get from any other guitar ever made. But the tone of Larsons (even the larger bodied-ones) is more treble-weighted than a Martin from the same era, so that this extra sustain does not result in a muddled sound– more like a magical shimmer and sustain that really brings out the mid- and treble-side Brazilian tone. Every part of this guitar is original. Guitar is crack-free. The bridge, never having been off the guitar, was at some point decades ago shaved slightly on top to lower the action. We have decided to keep this original bridge in place and not install a repro bridge–action is good, and the neck is straight. This particular model, is one of the very high end Larson models, with its Abalone trim, elaborate inlays on headstock and fretboard, and exquisite book-matched Brazilian rosewood back.- Year: 1926
- Model: 562
- Serial number: 31778
- This is the Maurer Larson Brothers “Standard size”: lower bout width: 12 3/4 inches
- Brazilian rosewood back and sides
- Spruce top
- Larson's “laminated” X braces. This is the patented Larson Brothers’ bracing, with each brace being Spruce/Rosewood/Spruce
- Larson’s patented “built under tension” design
- Trim: Abalone pearl and herringbone bordering the top and sound hole
- Torch-style pearl headstock inlay
- Radiused ebony fingerboard, and Classic Larson Brothers’ “ebony below the binding”
- Engraved inlays on fretboard
- Original Engraved Waverly tuners
- Original Ivory bridge pins
- 1-7/8" wide nut
- 2-5/16" bridge string spacing
- 24.5" scale length
- One-piece mahogany neck, round C shaped neck profile.
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Late 1970s, but in almost unplayed condition. Bluegrass banjo players seek out these 70’s Whyte Eagles, known for their tone and craftsmanship. It was a pretty short window of only about five years, when these banjos were made with this kind of craftsmanship. They blow away most any banjo made and marketed (from any country) in the 60s, 70s and 80s– and they show no logos on headstock– just beautiful mother of pearl. It’s the No. 4310 “Whyte Eagle”. Based on late 1920’s Vega Griffin (Tubaphone #9) style inlays, with engraved, carved heel. Sunburst finish maple banjo, Gibson-style 2 piece flange, full height 20 hole archtop tone ring, dual coordinator rods, flamed maple resonator, maple neck, chrome finish. Neck is butterfly with ebony strip on back of neck, down the center. Just set up, with new tailpiece, and new head, by Dave Trexle and ready to play: loud, clear, and bright. With original hard shell case.