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Circa 1860 parlor guitar style 1 built by well known luthier, James Ashborn of Wolcottville, CT, for William hall & son music store. Brazilian rosewood back and sides; Adirondack top; maple binding. This guitar is crack free save for a couple of minor finish cracks on back, and is 100% original, including all original finish, and down to original nut, original bridge (and saddle) that has never been off the guitar, and original bridge pins. From a just-published article in Vintage Guitar magazine: “Ashborn's design for the guitar was quite innovative for the early 19th century. Instead of making guitars fashioned after the typical parlor-style guitars, he made them in the Spanish style, by taking interior bracing cues from the Spanish while retaining the body of the English guitars. This included a fan brace pattern rather than the more common ladder pattern Ashborn guitars have a very complex dovetail V joint for attaching the head to the neck. The headstock was cut in roughly five steps, using some kind of tracing router, as suggested by the chatter marks on the inside ears of the pegbox. In addition to the complex head design, Ashborn made his own tuning machines in-house. They're made of brass, very much like contemporary machines, with worm gears, cog gears, and rollers. … Ashborn's shop was extremely advanced for its time, having a great deal of know-how and technology. Ashborn understood the need to have the technology as well as the skill, but more importantly he discovered a new way of making high-quality instruments that were affordable. He was able to create a factory environment where workers did what they were good at and, with practice, became very fast and consistent. With a new level of consistency in mass production, he created the path followed by other companies such as Martin, Gibson, and Taylor. Using designs ahead of his time, he was able to bring the sound and change to people who otherwise never would have been able to acquire an instrument of this quality.” This beautiful all-original and crack-free Ashborn guitar is one of the best-preserved examples in existence. -
Another wonderful instrument with top grade Brazilian Rosewood back and sides. The Brazilian rosewood on this in instrument is more figured on the sides, and the back shows wonderful bookmatched figuring. This is an all-original guitar. There are no cracks that go through the wood. There are several finish/superficial cracks in the finish, one on the top near the bottom/endpin area, and one on the back. And a bit of crazing in the top finish. Set-up and playability is great. Wonderful full tonal range up and down the fretboard. -
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. -
Read the full description below. If you're interested in this guitar, please call 512.922.8596 or contact us here. -
A great sounding 00-18, from the era when 18’s were light as a feather and have the resonance that result in singular tone– and this one from the time when Martin had just moved away from the pyramid bridge and to the belly bridge.- Original finish (with a bit of overspray, only on the area below the soundhole (typical light overspray where there was pick wear)
- Has just had neck set, here, perfect job
- Has just been refret, with period correct Bar frets obtained from TJ Thompson
- New, exact duplicate bridge made (it had its original belly bridge, but it had a crack and we preferred to replace the bridge with a perfect reproduction ebony belly bridge. New bridge, is on exact, correct footprint of original bridge
- the top of the guitar is crack-free
- the back of the guitar is crack-free
- Repaired side cracks, on both treble and bass sides
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The instrument features the original ebony bridge (full height), original tuners, original ivory saddle and nut, original maple bridge plate. Ebony fretboard. Bar frets. Thin, Soft-V neck. Finish is original. There is some overspray on the top, which is confined mainly to below the soundhole (over about the same size area, as what a pickguard would cover–but it never had a pickguard), and a bit below the bridge, and very very light on other areas of the top. Apparently a previous owner wanted to address the pick/finger wear and a repaired crack below the bridge. It's generally unobtrusive, no effect on the color of the top, and not noticeable from a few feet. Also, some light overspray on back and sides. As overspray goes, it has minimal effect on the appearance. Neck, and head have no overspray at all. There is one crack on the instrument from the bridge to the bottom of the guitar, but it's well repaired (it's about a half-inch from the center seam, below the bridge). Also about a 2 1/2 inch shallow crack/finish crack near where the fretboard meets the top (about 1/8 inch from the fretboard), on low-E side (does not go through–It is not visible on underside of top). There is a small indentation on the side rosewood (about one inch in area, on the side/lower, stable.) 1-7/8 inch nut. Action is 3/32 inch high E string/12th fret. 4/32 low E string… just right to get that full, cascading Brazilian tone from this fine 0-21. -
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. -
Martin has refined their “Authentic” series 1930’s recreations. When the first D-28A came out a about 5 years ago, it was Brazilian rosewood, with a price tag north of $20K. So when Martin decided to produce a Madagascar rosewood version, it was very welcome. In fact Martin learned from the earlier “Authentic” models and this guitar, one of the very first D-28 Authentics’s made with Madagascar rosewood, is a best of the breed– a recreation of the original 1937 D-28 model but now offered with Madagascar rosewood back and sides. And this instrument has a particularly good set of Madagascar.- It’s in virtually unplayed, mint condition.
- Forward shifted hand-scalloped X-bracing
- Fingerboard Width At Nut: 1 3/4''
- Mahogany Blocks/Dovetail Neck Joint - Hide Glue
- Top: Solid Adirondack Spruce
- Top Braces: Solid Adirondack Spruce 5/16''
- Back Material: Solid Madagascar Rosewood
- Back Purfling: 28 Style Zig-Zag (Authentic)
- Side Material: Solid Madagascar Rosewood
- Neck Shape: Authentic 1937 Barrel & Heel
- Scale Length: 25.4''
- Bridge String Spacing: 2-5/16''
- Saddle: 16'' Radius/Long Bone
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This is a prime example of why the pre-war, scalloped brace Martins made in 1943 in particular are the best sounding Martins ever: the ebony truss rod in the neck (instead of a metal truss rod– due to wartime metal rationing), the even more finely scalloped tone bars, and lack of metal tuner post bushings, all contribute to the lightness of build, and the robust tone, resonance and sustain you won’t find on any other Martin (not even the mid-30’s Martins). This guitar, seemingly light as a feather, plays like a dream, and is particularly resonant, and wonderful, for fingerpicking. (Martins from this year, often have a thinner finish, as does this one, which also contributes to its almost Shaker-like simplicity and beauty.) All original finish still in great shape. It has just had a new, Brazilian rosewood bridge made (from 100 year old, old-growth Brazilian rosewood, to the exact shape and footprint of the original which had a crack and was better replaced) by Tony Nobles (original bridge will ship, in the case). The bridge is hide-glued on, naturally. Aside from the typical B-string area “pickguard crack”, now well repaired and a non-issue, the top of the guitar is crack free. There is one well-repaired crack on the back. There was an old input jack right below the end pin, now filled expertly by Nobles (but no evidence of any pickups etc inside the guitar).- Original bridge plate, in fine condition. Original Frets.
- Original tuners (it looks like at one point there were other tuners on the guitar… with a few old screw holes filled.)
- Has never had strap lug attached to heel
- Top shows no “bellying”. Natural shape and slight arch is textbook perfect.
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A rare, 100% original pre-war Martin. Not a crack anywhere. And though it of course has the 1-11/16 inch nut, it plays remarkably like the wider nut mid-30's 000-18's due to the generous (original) string spacing at the nut. Original finish. Neck has never been re-set. Original Ebony nut, ivory saddle, full height original bridge. Original tuners. Original plastic tuner buttons in great condition (no shrinkage). Lack of tuner ferrels of course (because of war-time metal shortages). Brazilian rosewood bridge, fingerboard, and peghead veneer. Scalloped braces. Original bridge plate. Frets show minor/normal wear. It shows light/normal pick wear around the soundhole (nothing anywhere near down to bare wood). Other minor superficial scratches on back, and sides. Bass tone and volume is impressive-the characteristic of war-time "pre-war" Martins, that featured more deeply scalloped braces. Many believe these more deeply scalloped braces found only in these years give them better tone than the mid-30s Martins. It does need a standard neck set. It's not egregiously out of set, action is a bit high at 12th fret. But due the originality of the instrument, original ivory saddle still hide glued-in, etc., we believe the buyer would want to set the neck to their liking. (We would be happy to set the neck for the new owner if desired, at no additional charge, after purchase.) The tone: gold standard pre-war 000-18. Loud, dark, crisp, and clear. -
Out of stock
A rare and amazingly original English, Tunbridge ware fretless 7 string banjo. Circa 1850-60. This instrument is 100% original, and even the tailpiece is the original brass tailpiece. This banjo is also rare in that it has original geared tuning machines, not pegs like other examples from the period. The Tunbridge ware banjo is almost impossible to find in this condition and stage of originality. And Tunbridge’s are rare, period. The history? After Joel Sweeney – born to a farming family in Appomattox, Virginia and claimed to have learned to play the banjo from local African population, and the earliest known person to have played the banjo on stage – embarked on a European tour that included stops in London and Edinburgh. He played there for several months, and raised awareness of the instrument in England. As in the U.S., banjos began to be made by local craftsmen – they were still hand made and came in all shapes and sizes, with 5, 6, 7 and even 12 strings, and with one or more drone strings, sometimes on both sides of the neck. Only a few, best ones, such as this instrument, had an amazing amount of work put into them, none more so than those made by a very few firms centered around Tunbridge Wells in Kent, where the local craftsmen specialized in producing a particular form of Treen ware, made from up to 180 different colored woods. Holly, cherry, plum, yew, sycamore, and even imported lignum vitae were all used. The technique was to bind short lengths together and glue them into bundles so when viewed end on, a pattern or picture could be seen. Instrument length: 34 inches. With a 12 inch pot. Eight tensioners and shoes, all original. Original, rare circa 1850 German brass machine tuners (one bent shaft– but still operates perfectly). Original brass tailpiece. Fingerboard, and pot, consisting of inlaid woods as geometric patterns. All the inlays are intact. $2450. In a modern case. -
This is a superb sounding 5 string banjo. Quoting George Gruhn in “The Vintage Catalogue”– “During the banjo boom of the 1920s, many musicians considered Bacon & Day to be the finest banjo maker of the time. Their instruments were prized for their exceptional volume and cutting power, as well as for their beautiful craftsmanship… we can only speculate what might have happened if Earl Scruggs, Don Reno, or some other well-known bluegrass player had used a Bacon & Day model.” • 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 very 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. • 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 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 case. Price: $3950. -
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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This Brazilian Rosewood D-28 dreadnaught from one of Martin’s finest eras, is special. Its structural integrity, and originality, are rare. And it’s one of the last Martin D-28’s made when Martin still used hide glue for guitar construction. This is a one-owner guitar, still in its original case. When we acquired it, it had not been played for years. Its original bridge, had a split in it, and had come loose from the top. Thus, it sat unplayed in its case for years. But all the wood beneath the bridge was pristine, perfect. So John Allison just made and installed a new exact reproduction bridge, from dark African ebony. It’s perfect, using the exact footprint of the original. The new bridge was attached with hide glue. And we used the original bridge pins.- Guitar is 100% crack-free (no, not even a pickguard crack)
- 100% original finish, everywhere. No overspray or finish alterations of any kind. Minor dings and some minor pickwear around the soundhole.
- Has never had a strap lug attached
- Perfect condition maple bridge plate
- Original frets are in great condition
- Action is great, with just the right amount of saddle, and neck angle is perfect
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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 -
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 ’63 000-18 has wonderful tone. It compares favorably to any post-war 000-18 we’ve played.- All original finish, everywhere
- The guitar is crack-free. Not even a pickguard crack.
- Original Brazilian Rosewood bridge, full height. It has never been off
- original saddle as well
- Original tuners (Grover)
- Original Ivory nut
- Original bridge plate… in perfect condition… in fact, there is not even the enlarged holes you so commonly see from the ball ends of strings working through… it’s a great original small Maple bridge plate…
- Original endpin
- There is some pick wear, and some typical crazing that 60’s Martins all have
- Frets are in good shape. The first several positions show some wear… but not a lot… it does not need new frets.
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This big 12-fret Brazilian Rosewood pre-war Martin is properly set up for steel strings, with new replacement ebony pyramid bridge meticulously made to original specs, but compensated for steel string, perfect intonation. All braces original and in great shape. Original bridge plate. All original finish everywhere. This guitar has all the tone you'd expect from a pre-war 00 Brazilian Martin. It's had restoration work, all by us, recently, as follows. Hide glue used in all repairs/restoration.- Several cracks in sides, back, and top professionally repaired (5 or 6 cracks overall)
- Small hole drilled in top of headstock many decades ago (to hang the guitar on a wall presumably) has been expertly filled and finished with a piece of Brazilian rosewood veneer, on front, to match the veneer of the headstock.
- Neck set.
- New replacement ebony pyramid bridge meticulously made to original specs, but compensated to steel string intonation. Scratch marks in spruce top, on either side of bridge, filled and finished.
- All new, replacement Bar Frets
- To the thin maple, original bridge plate, we carefully added tiny maple ring/plugs, with hide glue, into the holes, to address bridge pins holes slightly enlarged over the years.
- Older repaired small crack in heel expertly touched up. It's 100% stable. (It appears to be a surface/finish crack.) It's very hard to see even up close, and impossible to photograph.
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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. -
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.