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This guitar is probably among the first twenty Martins made in 1939 after the change in nut width on 14-fret models from 1 3/4" to 1 11/16", so yes it is 1 11/16. It has all original finish. Original tuners. Original maple bridge plate. It has multiple repaired cracks on top and sides (no cracks on back). Extensive play wear. New, but perfect, historically correct reproduction Ebony bridge. -
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 -
1963 and 1964 were the best years for the legendary early 60's Gibson SG. And 63-64 saw the transition from the Les Paul model to the "Solid Guitar" or SG. Only in 63 and 64 did Gibson use a particularly wide neck on the SG, and that's why players love SG's from these two seminal years. This '64 SG is something of a transition model from the last of the double cutaway Les Paul/SG's to the SG Standard-it carries the Les Paul truss rod cover (original to the guitar), and it features the great lyre vibrola (nickel). This 1964 SG, with all original finish, and original parts (including Patent # humbuckers), is a wonderful instrument with the right amount of honest wear to make it fit like a glove, and play like a dream in your left hand with that wonderful ample neck. -
This full-size violin, is a wonderful example of New England whaler culture of the 19th century. The violin itself is probably German made, early 1800’s, with maple back and sides. But the whale inlays (bone) on the fingerboard were no doubt done locally in New England. And the custom, hand made wood case, original to the instrument, also features a brass whale on the top. (Note, the brass handle on the case, is the exact kind used by CF Martin on their coffin cases for guitars in the mid-19th century.) The bridge, and tailpiece are modern. Bone inlays on the tuning pegs also. The instrument is fully set up and ready to play. Price: $2150. In its original wood case, with a brass whale inlay on top. -
Out of stock
1957 Martin D-18 Guitar with Original Red Spruce Top Read the full description below. If you're interested in this guitar, please call 512.922.8596 or contact us here. -
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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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. -
Out of stock
Impossible to mistake this guitar for a “1937 Authentic” or some such “recreation”. This 000-18 left the Martin factory in Nazareth, in 1937, indeed. And it’s been well-played since. More importantly, the tone is stellar– all you would expect from this style, this year, and more. Its bass response is similar to the best prewar D-18s. And it has the unmistakable string separation that only prewar Martins have. This instrument was in the family of its original owner until we obtained it. The original owner was Leroy Jenkins, a blind country artist in the 1950’s, in Texas, on the Dude label. -
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
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Crack-free, and 100% original, down to the bridge pins, and the original Geib case. Just getting a neck set to make it play perfectly. -
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). -
Alessi, Hauser style machine head tuners. More rare, deep silver plating. Hand made in Italy. Engraved with high detail. These are new, old stock. Made circa 2009, they have never been used or mounted on a guitar, and they come with the original mounting screws, and in their original wood presentation case. Synthetic ivory kidney shaped buttons (rare style). 35mm on center. Perfect, unused condition. Price: $895.