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Pre-war Kluson tuners from the 1930's. Amber buttons. These are rare tuners that came on some of the nice Gibsons of the era, such as a few Gibson J35's. Good working condition. Price: $295. – on Hold -
Stuart Mossman was one the country’s top luthiers in the 1970s and 80s– working in the tradition of the great American Dreadnought. According to an article in Vintage Guitar magazine: Stuart Mossman “…. began making guitars in 1965 and through his early efforts concentrated on experimenting with bracing of the tops. He spent four years building 40 or 50 prototypes in his garage at home. By the end of the decade, sensing a niche in the market for high quality handmade acoustics, he had incorporated S. L. Mossman Guitars in Winfield, Kansas and moved into facilities at Strother's Field outside of town. Mossman had noticed what was happening with major acoustic guitar manufacturers at the time. The folk music boom had pushed demand for acoustic instruments to an all-time high and while Gibson, Martin and Guild were increasing production, imports from the Pacific rim countries were beginning to exploit the lower end of the market. Mossman was concerned with what he saw as an erosion in materials, design, and craftsmanship in the construction of the traditional flattop acoustic guitar, particularly among the larger manufacturers as they rushed to meet the strong demand. Using only top-quality woods, a proprietary bracing structure, and old-world building techniques, Mossman guitars entered series production in 1970. ‘We were the first of the small manufacturers to make it as a larger company', Stuart Mossman recalls…” The original 70’s Mossman dreadnoughts are very well built, with attention to detail, and craftsmanship unsurpassed in this period. One of the hallmarks of the Mossman guitar is that each instruments has a paper label inside, with the serial number (that included the year date) and model. And the label was always signed or initialed by the craftsmen building that guitar (this one includes Stu Mossman’s initials: SLM). The Flint Hills model featured East Indian Rosewood back and sides, spruce top, ebony fretboard and bridge, and a unique inlay around the soundhole. This example is all original, and is in fine condition, with no cracks. Original West German Schaler tuners. It has an under-saddle pickup installed, and an input jack in the end pin. Tone is fine, and loud, reminiscent of a 60’s Martin– but with a little more punch in the mids and trebles– a perfect bluegrass instrument. -
Out of stock
1855-1860 Martin “transitional”1-21. A very rare and exquisite large size Martin from the pre-1867 era. “Large size” Martin from the 1850’s, because the Size 1, and 0, were the only “large” size Martins in those years. And there is currently not a single other size 1 or 0 size pre-1867 Martin guitar on the market. This is considered by the top U.S. experts who vetted this instrument as an early, rare "transitional" 1-21, based on the fact that it does not have all the later, standardized, 1860’s and on “21” attributes– specifically, backstrip and endwedge on this instrument are not typical of “price-list” era 21’s (after the publishing of the first Martin price lists, establishing features of the different models, in the 1860’s) This 1-21 has:- Diamond marquetry backstrip (not found on later, 1860’s 1-21s)
- Marquetry endwedge (not found on later, 1860’s 1-21s) (Wood end wedge and herringbone backstrip were the standard features of the 1860’s and after 1-21’s)
- X-braced. All braces are 100% original. No internal repairs to braces.
- Slot head
- Ebonized neck (maple neck, ebonized, i.e. painted black). This is another transitional feature: black neck was replaced by cedar on Style 21 by the time the Martin price list was first printed.
- Single "tone bar" brace behind the bridge plate
- Ice cream cone-shaped heel (1860’s 1-21’s had cedar neck, with Spanish style heel not ice cream cone heel)
- Three "CF Martin New-York" stamps: one inside center strip; the second on neck block (this stamp is upside down, as it should be); the third on back of guitar (near heel), the third stamp transversing the backstrip on the back of the guitar near the heel.
- Solid Brazilian Rosewood back and sides
- All original finish, everywhere; no touch-ups, overspray, etc, of any kind ever done
- Brazilian rosewood back shows beautiful sawmarks
- Bridge, more than a century old, is probably a replacement bridge… but on the original bridge footprint
- Original ivory nut
- Original bridge plate (mahogany)
- No back cracks, or side cracks; one top crack, repaired
- Tuners are modern replacements, vintage style, in original slot holes
- Original frets
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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
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Read the full description below. If you're interested in this guitar, please call 512.922.8596 or contact us here. -
Very few modern luthiers have captured that Larson Brothers sustain and what I call “shimmer” with a new build. This guitar, built by the master luthier Hans Brentrup in late 2009, has it in spades. We’ve never played anything but a 30’s Larson Bros’ that has the sustain this guitar has. Hans’ unique tone bars do what only the Larson tone bar system did– get the body of the guitar to sustain and impart that wonderful shimmer to the trebles especially.- Brazilian Rosewood back and sides
- Engelmann spruce top
- 000 size
- 25.34 scale length
- Easily accommodates Medium or Heavy strings
- Hybrid ladder laminated bracing with Carbon fiber “Tone tubes”
- Mahogany neck
- Slotted headstock
- Golden Age tuners
- Ebony fingerboard with MOP dots
- Pyramid bridge
- Tortoise body binding
- Lacquer finish
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Mint condition. Period. Exceptional Larrivee 12-fret parlor guitar with a straight grained Sitka Spruce top and beautifully figured Brazilian Rosewood back & sides. Part of a very limited run of guitars built of high grade old stock Brazilian rosewood. Abalone rosette and tortoise shell pickguard. Ebony bridge w/ compensated saddle. Mahogany neck w/ microdot inlays, ivoroid bound ebony fingerboard, 1-3/4" nut, 24-1/4" scale, 13-1/4" lower bout, Larrivee logo peghead inlay, chrome tuners w/ebony buttons. -
This rare 1926 example of Bacon & Day’s Super, Plectrum banjo is in wonderful condition– collectors quality, but it plays wonderfully. And this is the rare “Super” model A, gold plated. (All original, and with matching serial number on rim and dowel stick.) Original soft pedal stamped "Pat. Pend. B.&D. Soft Pedal." The original gold plating is in great condition, showing extremely little tarnishing, and no thin spots. In fact the banjo shows very little playwear at all. Original plectrum neck, original armrest– in fact all parts are original. Produced in the golden age of Bacon & Day (B&D) production, this banjo was made in Groton, CT. Although the earliest Bacon banjos were produced by various makers for Bacon from 1906-1920, the company’s best era began in 1922 when David Day left the Vega company to partner with Fred Bacon who had begun crafting his instruments in-house in 1920. The B&D banjos produced in this era are of considerably higher quality and are the sought after models by both players and collectors. The photos tell the story. 26 inch scale length. 22 fret plectrum 11″ rim In a recent hard shell case. ... no longer available ... -
This week, to honor the just-announced winners of the 2018 Wayne Henderson Guitar Festival, we call out not an individual guitar, but rather one of the greatest American luthiers working today– and especially that luthier’s (and great player’s) work for youth in his area. We’re speaking of course of Wayne Henderson, and his legendary Festival. Every June Wayne Henderson hosts on of the most culturally important music festivals in the U.S., at the amphitheater in Grayson Highlands State Park near Henderson’s home and shop in Rugby, Virginia. The guitar- and generally music-loving attendees hear great music while supporting scholarships for young musicians in the area. And at the heart of the festival is the guitar competition. Click here to see the just-announced winners. And here’s a look at Fretboard Journal’s visit to the festival– and to Wayne Henderson’s luthier’s shop– a few years back. Click here for the article. . -
If there is a better-preserved Martin guitar from 1937, we have not seen it. This instrument is as an almost time-capsule condition 0-17H, still in its original case. And of course with its original Hawaiian set up. Many people convert these pre-war Martin Hawaiian set up guitars, to “Spanish” style, i.e. regular steel-string flat top set up. And that is certainly an option for whoever acquires this instrument. But this example, is just too nice, and too original for us to want to convert it. And the tone is exquisite (On request, we’ll send you a link to a video/audio clip of one of this country’s best, most famous dobro/pedal steel players playing slide on this great Martin 0-17H, right here in our shop.) All mahogany of course: mahogany back, sides, and top. Brazilian rosewood bridge, and fretboard. The guitar has no play wear. We won’t call it pristine– even under-the bed-guitars that have not really been played, have a few nicks from just being in the case and moved around a couple of times in 70+ years. But it’s as close to perfect as you’ll find in any 1930’s Martin. The neck is straight as an arrow, showing no bowing at all. No cracks of any kind. All original parts, period– down to the nut, bridge pins, and ivory saddle. The guitar is 12 fret to the body, unlike the regular 0-17’s from this period that were 14-fret. -
Take Martin’s best era for 12-fret guitars, add more scale length, and you get the best of both worlds–that’s what players say about the 000 sized 12-frets, if they can find one, from the mid to late 20’s. 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 a highly sought-after prewar Martin. This crack-free 000-18 has great provenance: acquired from and set up by one of the world’s top Martin experts (in Tuebingen, Germany). 1 7/8” nut. Mahogany back and sides. Adirondack spruce top. Ebony fingerboard. It has original tuners (gear wheel below worm gear, ivoroid buttons), parts, and all original finish. Restoration by TJ Thompson and Dana Bourgeois: correct replacement bridge (ebony pyramid) and bridge plate (maple), and frets replaced (bar frets). Center seam repaired and cleated and touched up (shellack). Neck has been reset. Neck is dead straight, bridge saddle is medium height (allows set up for both higher and lower action if needed in future). Low action, and set up for light or medium gauge strings. The tone could not be better: all the clear separation of the mids that is the hallmark of the 20’s style 18 twelve-fret, but with fuller, louder, rounder bass. One of the most sought-after Martin 12-frets, original finish, crack-free. Restored correctly, cared for, and set up by the world’s best luthiers and vintage Martin experts, and ready to enjoy. -
Full size, Charles Fetique violin (French, early 20th century – circa 1930), with original label inside. This is a rich, sonorous instrument. A deep, round tone, that – like all good violins – does not make you work overly hard to attain. It has a darker, lush, round tone that professional players love – and great projection. We recently A-B'd this instrument against $5k+ violins in the area, and there was no comparison, this instrument was louder, more full, more round and full in the bass notes, and all around a stellar performer. This violin would be a great student violin upgrade – for that aspiring violinist who is ready to graduate to, and enjoy, a better instrument than what's typically available in the $4-5K range, at a very attractive price. And, the buyer will have the confidence of both a Letter of Expertise, and a professional appraisal: • Certificate: Jean-Jacques Rampal, Paris, 2014. (This is the letter of expertise, on this violin, from one of the top experts on French Violins, in Paris, France). And: • Written, professional appraisal of the violin, done from personal inspection, from one of the top violin shops/experts in Texas (Jay R. Rury Violins, Dallas), with a valuation of $3,500.00 Both the above documents will be included with the sale. The violin is in excellent condition. There are no sound post, or bass bar cracks. It was professionally set up to play, by Blackerby Violin in Austin. In a modern Tonerelli case. Price: $3250.