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When this concert guitar was made in 1976, it was the top model offered by the master luthier Masaru Kohno– when he was at the very height of his career. There is some confusion out there as to which Kohno was the “top” concert model at any given date in height of Masaru Kohno’s career– from the early 70’s to the late-80s’. No confusion here– as there is correspondence (from August 2011) directly from Masaki Sakurai to us, regarding this guitar. Masaki Sakurai (nephew of Masaru Kohno, who in fact worked along side Masaru Kohno when this instrument was made in 1976, and now of course runs the “Sakurai/Kohno” shop, since the death of Masaru Kohno in 1998) confirms that this guitar was the top model available from Kohno in mid-1976. (Don’t be confused– a later, for example 1980 No. 30 Kohno is not a top Kohno model from that year. By 1980, the top model was a No. 50.) The confusion arises because Kohno had, in the early 70s until the late 80’s the custom of making his model numbers correspond to the guitars’ price in Japanese Yen. Hence, this guitar, a “No. 30”, in mid-1976, was priced at 300,000 Japanese Yen, and was the top model (a very expensive guitar in 1976). The confusion arises because as the inflation-prone 70’s continued, everyone adjusted prices upward. When inflation kept advancing, Kohno model numbers were something of a moving target, and the “top model” number changed upwards over time. Over time the top model moved up to No. 30 (this guitar), and then later No. 50 (starting in 1977). Kohno finally stopped using numbers in the 80’s and then called the top model the “Professional J”, and on, with more variations of “Professional”.) In any case this guitar, was the top model made, when it came from the Kohno shop (correspondence from Masaki Sakurai confirming this, will be supplied). But the real proof is in the playing. This instrument stands along with the best brazilian rosewood/spruce concert guitars from any maker, anywhere, any period. Crystal clear brazilian trebles. Wonderful resonance, combined with superior string separation.

• Hand-signed on label by Masaru Kohno, and dated 1976
• Solid European spruce top
• Solid Brazilian rosewood back and sides
• 660mm scale length
• Nut: 52mm
• Mahogany neck with 2 ebony supporting strips
• Ebony fretboard
• Gold engraved Gotoh tuners
• One repaired crack on back of guitar
• Crack-free top and sides. There are various nicks, dings, and scratches.
• Finish is naturally worn off, through playing, on the center section of the back of the neck– giving it a very fast feel in the left hand.

Note on Kohno playability: While short scale lengths are in vogue today, many “vintage” guitars from the great makers (Ramirez for instance with their typical 665mm or even longer scale length guitars in this era) especially from the late 60’s, 70’s, and 80’s, are longer scale. This guitar is a comfortable scale at 660mm, and it’s important to note: the original Kohno design, that is continued even in today's models, was intentionally different from the high-end Spanish concert guitars of the day which had high action and beefy necks. From the Kohno factory the action was set low on guitars. The necks were moderately thin in profile and shaped for very fluid playability. So at 660mm scale length, with its slim profile neck, this is an easy-playing Kohno.

Exquisite, and a joy to play (… the top level, largest guitar that Martin made at the turn of the 20th century– with tone that shows off what Frank Henry Martin was proud of when he personally signed the inside of this instrument in April, 1903…)

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

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.

Crack-free, and superb tone. One of the finest sounding large bodied Gibsons we’ve ever heard.

This is a wonderful Martin 0-21, but with “the best of both worlds”: the light build of 1924– combined with 1930’s robust, “braced for steel” construction. It left the factory in 1924, but it went back to Martin in 1934 for a neck set, new belly bridge, and to get set up fully for steel strings. Details below.

• All original finish
• Original 1934 bridge, and bridge plate from Martin Factory
• Original saddle
• Original “arrowhead” design tuners. The first Waverly tuners showed up in 1924/25 and remained until after the war. The arrowhead design, seen here on the tuner plates, showed up also in 1924, still with the shafts placed underneath the gears / string posts.
• Crack free (there is one cleat inside guitar, on upper bout, back. There is no visible crack that goes through wood to inside, just a tiny finish crack on outside. No doubt the Martin luthier place the cleat there in 1934 as a preventative measure (that worked).
• The combination of the original thin-profile neck, with the braced-for-steel modifications by Martin factory in 1934, make for a very robust guitar– you can play it hard and it holds up and projects like a 30’s Martin.
• Sold by Martin factory and shipped to Rudolph Wurlitzer Co. in Chicago on March 18, 1924. (This guitar does not have “Wulitzer” stamps, rather the normal CF Martin Stamps in all the correct places. This is consistent with Martin/Wurlitzer timetable in “Martin Guitars: A Technical Reference” by Johnston and Boak, 2009, p. 248.)
• June 20, 1933: the owner wrote to Martin that instrument needed a neck set and the bridge was “adrift”. Martin replied on June 23 that the normal guarantee would probably cover this work.
• Owner sent the guitar to Martin on July 3, 1934. Martin reported back to owner on July 16 that readjusting the neck and regluing the bridge would be covered by the warranty, Martin also offered a “new” bridge (meaning belly bridge) for $1.50. Martin also said that some binding could be reglued and repaired for $3.00.
• Work done at Martin, July 1934. The luthier at Martin replaced the bridge with a 1934 spec ebony belly bridge, and replaced the bridge plate with a perfect, tucked, small maple bridge plate. Martin luthier signs underside of spruce top: "7-25-1934”, and put his initials (“W.T.W.”), right by the edge of the X-brace to the top/upper bout. Of course, the back was taken off the guitar to do the above work. But being perfectly done at Martin factory in 1934, there are no visible signs of that– back binding is perfect.
• Total repair bill from Martin factory in 1934: $4.50. Paid by check, and Martin return ships the 0-21 to owner on August 15th, 1934.

The 21 model is, of course, the cousin to the 28. Same combination of brazilian rosewood back and sides, and Adirondack spruce top, and ebony bridge and fingerboard. 1930’s 12 fret Martin 0-21’s are very rare. There was only one made in 1934. Between 1932 and 1939– the entire “golden age” at Martin, there were less than 100 made.