-
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 ... -
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. -
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 -
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. -
Another instrument from Enos Hernandez of Mexico, one of the best luthiers to ever live in work in Mexico, circa 1970’s. This one is a flamenco Blanca, with the classic cypress back and sides. Like the other Enos Hernandez we have, this one also has a cedar top. The instrument is super light weight, as a Flamenco Blanca should be, and it’s bright and percussive and raspy as a good Blanca should be. There is a scratch (not a crack) on back of guitar (see photo). There are dot position markers – original to the guitar, i.e. not added later – on top edge of fretboard (frets 3,5,7,9 – see photo). Scale length: 660mm Available January 2018 Price: $2950 -
The 5-21 Martins, with their Brazilian Rosewood back and sides and Adirondack spruce tops, are known for putting out an astounding amount of sound. This tenor guitar, style 5-21T, does that in spades. Measuring 11-3/8" across, with its X braced top and light build, the instrument has an amazing amount of tone. Though Martin offered size 5 models ranging from style 15 through the elaborately ornamented style 45, the only ones made in any significant quantity prior to World War II were the style 17, 18, and 21 in six-string guitars and styles 17, 18, and 21 tenors, as well as some style 15 post-war size 5 tenors. Features of this instrument:- Recent neck set, and leveling of original bar frets, action is very good
- Original Grover tuning machines, working well
- Nut width of 1 1/4"
- Scale length: 22.5"
- 1 3/8" string spacing at the saddle
- Had an added tailpiece at once point (3 tiny screw holes near end pin
- No top cracks
- One repaired 11" crack on the bottom lower bout side
- One 6" repaired crack on the upper bout back under the herring bone center inlay,
- One 4” repaired crack on the lower bout back towards the bottom
- A small hole at the center of the rear headstock– probably at some point for a nail to hang the instrument on a wall
- Neck has a comfortable V shape, leaning toward a U profile
-
This is not your father’s J-55. And it’s not a $20K guitar. It is a wonderful player. This is an original 1939 Gibson Jumbo 55, also called the “J-55”, serial # EA5652. It is the rare, stair step headstock model, only made for a brief window in the late 30’s. It delivers the trademark, large body, prewar, long scale Gibson tone, like no other. It plays beautifully, with original bridge, frets, braces. This guitar has of course the original, Mustache bridge, and more rare– the stair step headstock. Original bridge plate. Original binding including on fretboard. Original pearl logo on the headstock (with original finish). The pickguard is a nitro cellulose reproduction meticulously crafted in our shop. It has the long scale, 25 ½ inches, that makes this model so great. And a little-known original feature of this rare model is that it has a 1 11/16 nut width, that combined with the low action makes it effortless to play, and with tone that cannot be equaled in any postwar Gibson. The intonation is spot-on, and the intonation and fretting/action are great even at the high fret positions. It was refinished in a deep Gibsonesque red, decades ago– and that makes this guitar the most affordable true 1939, stairstep headstock J-55 you will ever find. (Top thickness is fine, there was no thinning in the past). The tone is superb. And the action is superb– low and fast without sacrificing tone or volume at all. -
The grandson of Martin Guitar founder C. F. Martin, Sr., Frank Henry Martin suddenly found himself in control of the family business at the age of 22 when his father died in 1888 and left him unexpectedly in charge. The guitar market was still immature, and the young country was headed into an economic panic in the 1890's, but the young Frank Henry Martin quickly turned a traditional German business close to bankruptcy into a major force in the world of American music. Along with the young Frank Martin’s now legendary work ethic and marketing acumen, he is credited with personally revamping the Martin model line-up at the turn of the new century. Eschewing the trappings of an executive, he literally worked along side the shop craftsmen, day in and day out, six days a week. And he made the Style 18 the mainstay of the Martin catalog. This instrument is a living testament to that legacy– he personally signed this instrument, in cursive, under the top, on the fourth of February, 1907: “ 10381 2/4/07 F.H.M. ” Martin was still using Brazilian Rosewood for the back and sides for their 0-18 model in this 1907, and the tone of this instrument reflects all that is great about the combination of Brazilian back and sides, and Adirondack spruce (top), with a cedar neck, on the perennially great Size 0 Martin 12-fret, in all its Brazilian rosewood permutations through two centuries. This guitar is in remarkably original condition, and is completely crack-free. Just a few minor dings and superficial scratches. The finish is 100% original, with no touch-ups of any kind. The bar frets were replaced by us with period-correct bar frets–with material obtained from T.J. Thomson. (Several frets were missing, so we decided to replace all the frets.) Original ivory saddle, and bridge pins. Bridge has never been off the guitar. At some time in the past a neck set was done, so action is great, and the neck is straight. Original ebony nut is in the case. An ivory nut is installed on the guitar to accommodate silk & steel strings–which it does wonderfully. An Adirondack/Brazilian 12-fret 0-sized Martin over a century old yet in this kind of original condition, is very rare. -
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.
-
The Larson Brothers of Chicago never marketed any guitar, throughout their long career, that was marked “Larson”. Their designs were branded by Maurer, Stahl, Prarie 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.
-
Nothing sounds like a 30’s Gibson L-00. No longer a sleeper on the vintage guitar market–they are sought after by working musicians the world over¬–they are still under-rated on the collector market. These mid-size Gibsons are incredibly resonant. There is nothing like them, from Gibson, and the mid-size Adirondack spruce over mahogany Martins from the mid to late 30’s command more than twice the price. This L-00 from 1938 has the best tone of any of the 30’s L-00’s we’ve seen. You won’t believe its presence. Acquired by us from the family of the original owner in Austin, Texas, this guitar is a great example of the era when Gibson still had a production jump on Martin, and even its lower cost guitars were winning the marketing war at the trailing end of the depression. This L-00 had a re-spray of its burst in the early 60’s, so while not the original finish, it’s got the right look and feel of the 30’s, and plenty of mileage to make it more than convincing. The top and sides are completely crack-free, and there are only two small cracks on the back. One is not through the wood, and the other was expertly addressed by Tony Nobles with a small cleat. Tony also made a new perfect reproduction Brazilian Rosewood bridge. The bridge plate is original and in great condition. Original firestripe pickguard. Original nut. The non-original tuners on the instrument when we acquired it were replaced by us with klusons from the period. Tony also installed new T-frets. While we tend to specialize in vintage Martins, this one might change my mind. -
Another Gibson L-00, with great tone and volume, and all original finish. The top and sides are completely crack-free, and there are several small dryness cracks on the back. The bridge is original, and has never been off the guitar. We just set the neck, and installed a new bone saddle. The bridge plate is original and in perfect condition. Original firestripe pickguard. Original nut. Original frets.