This extraordinary guitar, completed by C.T. Beitel in June of 1894, is signed and dated by him on the underside of the top. The guitar is in remarkably original condition. And it plays wonderfully.
C.T. Beitel (Clemence T. Beitel, 1869-1916) was closely associated with C.F. Martin & Co. in the 1890’s. The Beitels are well known to have been closely associated with the Martin family in these years, both personally (including through marriage) and in the Martin guitar business. According to some correspondence and background research from family members obtained with this guitar, C.T. Beitel was the first American-born person to serve an apprenticeship at Martin Guitars. C.T. Beitel was a cousin to C.A. Zoebisch– who was of course the famous Martin guitar distributor and sometimes-partner of C.F. Martin & Co. in this period.
Although this guitar is strikingly faithful to Martin specs, this is most likely one of C.T. Beitel’s guitars made by him to market separately from Martin. It is documented that at least one of the Beitel family had an ongoing guitar making and marketing business in the late 1890’s. Is this Beitel guitar one of the first made under the “Beitel” name? Certainly. Are there others remaining today? There are none known of by us–making this a rare and highly collectible guitar.
Similar to a Martin 2-27… but not exactly. More like a cross between a 2-27, a “28” style–because of the wonderful Herringbone purfling/binding on the top– and a 30’s or higher style with its very fancy Jerome tuners.
- No “Martin” stamps anywhere
- “C.T. Beitel” paper label on neck block (Martin stamp beneath the label? Uncertain)
- Signed and dated on underside of top: “C.T. Beitel, 6/94, Easton” (i.e. Easton, PA)
- X-braced top
- All original finish; no touch-ups etc
- Pearl inlay around sound hole
- Herringbone purfling around top
- Real Ivory binding, top, and back
- Bound Ivory neck
- Ebony bridge
- Ebony fretboard (bound in Ivory)
- Original Maple bridge plate
- Size: a just bit bigger at lower bout than a Martin “2” size: 12 1/4 inches
- Scale length: 24 3/4 inches
- Body length: 18 3/8 inches
- String spacing at bridge: 2 3/8 inches - Nut width: 1 7/8 inches
- Body depth at bottom of guitar: 4 inches
- Top: Adirondack Spruce
- Back and sides: solid Brazilian Rosewood
- Neck: Cedar
- Headstock: Brazilian Rosewood veneer
- Tuners: original, German-made Jerome tuners, with fancy flower engraving, and oval shaped Ivory tuner buttons. These tuners are typically found only on the highest model Martin guitars of those years
- Tuner buttons: Ivory, oval-shaped
This guitar has very very similar construction, design, and look/feel of a 1890’s Martin, including shape, X-bracing, headstock, pearl inlay, binding, Herringbone, internal braces, bridge, purfling, etc. We do not believe any neck set has ever been done to the guitar. Bridge has never been off. Neck is straight, and action is low/medium. Original bridge plate. All original finish. It plays amazingly well, with robust tone, and some of the best treble Brazilian rosewood ringing tone we have ever heard. (Amazingly accurate intonation: The original saddle is gone. Some previous owner had a great, ingeniously compensated saddle made and installed, so that the intonation of this guitar is excellent– while retaining its original bridge including the original saddle slot on the bridge.) There are three cracks on the top of the guitar. One is close to the center seam, and runs from bridge to the lower edge. The other top cracks are smaller, on the treble side of the top. There are two hairline, finish cracks on back (not visible on inside). Minor pick wear, beneath the sound hole.
Tone and playability: superb. Wonderful tone, more full tone than a typical Martin 2-27. The trebles especially are bell-like and clear.
This extraordinary guitar, completed by C.T. Beitel in June of 1894, is signed and dated by him on the underside of the top. The guitar is in remarkably original condition. And it plays wonderfully. C.T. Beitel (Clemence T. Beitel, 1869-1916) was closely associated with C.F. Martin & Co. in the 1890’s. The Beitels are well known to have been closely associated with the Martin family in these years, both personally (including through marriage) and in the Martin guitar business. According to some correspondence and background research from family members obtained with this guitar, C.T. Beitel was the first American-born person to serve an apprenticeship at Martin Guitars. C.T. Beitel was a cousin to C.A. Zoebisch– who was of course the famous Martin guitar distributor and sometimes-partner of C.F. Martin & Co. in this period. Although this guitar is strikingly faithful to Martin specs, this is most likely one of C.T. Beitel’s guitars made by him to market separately from Martin. It is documented that at least one of the Beitel family had an ongoing guitar making and marketing business in the late 1890’s. Is this Beitel guitar one of the first made under the “Beitel” name? Certainly. Are there others remaining today? There are none known of by us–making this a rare and highly collectible guitar. Similar to a Martin 2-27… but not exactly. More like a cross between a 2-27, a “28” style–because of the wonderful Herringbone purfling/binding on the top– and a 30’s or higher style with its very fancy Jerome tuners.
(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.
This is a superb sounding 5 string banjo. Original nickel plating. • 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 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. Fretboard is a very comfortable 1 3/8 inches wide at the nut, 1 7/8 wide where fretboard meets body. • Nickel plated • 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 Silver Bell 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 Lifton case. $3750.