Acoustic Vintage Martin, Gibson, and Other
Guitars for Sale
I am not a dealer. These are nicely used guitars from my personal
collection that I've purchased to study, to photograph for my web site,
and to play, with the intention of keeping them indefinitely. But I need
to make room for new guitars, and I do have more guitars than I can play,
so I've decided to pass some of these guitars on to you, if you can play
them more often than I have time for. My goal is not to make a
profit, but to match the instruments with the folks who will appreciate
them the most.
It would not be appropriate to publicly post the values of instruments in
a personal collection as a dealer would. I also respect your
privacy, and don't think the world needs to know how much you've paid to
buy one of my guitars, unless that's your choice. So let me know
what guitars you're interested in, what other specific photos might help
you make a decision, and any other information you might need, and I'll
get back to you with prices, photos, and/or information to help with a
potential purchase as soon as I am able.
Please understand that I've been busy with life, caring for a
100-years-old dad, and overwhelmed with more inquiries than I can possibly
keep up with, so it may take more time than I would have preferred to get
back to you. Please do let me know if you need information to make a
buying decision immediately, and feel free to send me a friendly reminder
if you've been waiting to hear from me. Thanks for your patience.
Serious shoppers are welcome to make arrangements to inspect guitars in
person in Philadelphia or Southern New England. I've had folks drive
8 hours or fly from Austin, Texas to look at and purchase guitars.
If you can't check out a guitar in person, I encourage you to send payment
and have me ship the guitar so you can to take the time to check it out at
home for a couple of days at your leisure, and return it in the same
condition for a full refund, less shipping, if you find it's not for you,
for any reason whatsoever. I try to describe guitars as accurately
as I can, but there's no substitute for having a guitar in hand to
discover how it works in your hands and for the type of music you play.
Send me your shipping address, and I'll calculate shipping costs,
including insurance, by UPS Ground, FedEx Home Delivery, overnight or two
day air, or international delivery.
I generally prefer to avoid shipping over a weekend when possible.
I'll be sure to pack securely, which is the first key to safe
travel. I use proper guitar shipping cartons, and pack well with
bubble wrap and/or foam peanuts, being especially sure the neck is
supported near the headstock and heel.
International buyers should know that due to restrictions specified by the
CITES Conventions on endangered species including the ivory and Brazilian
Rosewood found on many of these guitars, shipping overseas has become a
tricky process. I am currently in the process of obtaining the
necessary licenses and permits, which takes some time.
I've gathered what I've learned so far here:
A Primer for
Obtaining Proper Permits for Shipping Vintage Guitars
and Other Musical Instruments Overseas from the USA
Payment by personal check is fine, and I can ship as soon as the check
clears, to avoid the trouble and expense of obtaining a bank check.
Or you can make a free direct Paypal transfer from your bank account to
Now that I'm finally getting back to people, the guitars are
selling. Interesting how that works! No rush at this
end. Whatever you decide is fine with me, but several people have
hesitated, missed out, and been disappointed. So as soon as you
decide and let me know that payment is on it's way, I can put a guitar on
hold. I just want the guitars to go to good homes!
This information is current as of November 20, 2013.
Thanks again for your interest,
AVAILABLE ACOUSTIC GUITARS:
Scroll down to see descriptions for the following guitars:
Martin 1919 Southern California Music Co. 0-18K / 1400
Martin 1919 Southern California Music Co. 0-18K / 1350
Martin 1919 0-45 - now available
Martin 1922 Wurlitzer 2092 / 0-42
Martin 1926 0-21 - sold
Martin 1926 00-18 - now available
Martin 1927 0-18K - sold
Martin 1928 00-21 - sold
Martin 1930 2-17 - sold
Martin 1933 OM-18
Martin 1934 00-40H - sold
Martin 1936 0-17 - sold
Martin 1936 0-17 #2 - sold
Martin 1937 00-18 - sold
Martin 1939 0-17 - sold
Martin 1940 0-18 - sold
Martin 1941 0-15 - sold
Martin 1942 00-18 - sold
Martin 1943 000-18 - sold
Martin 1945 00-18 - sold
Martin 1946 000-18 - sold
Martin 1949 D18 - sold
Martin 1952 000-18 - sold
Martin 1953 0-18 - sold
Martin 1957 00-18 - sold
Martin 1957 00-18 #2 - sold
Martin 1962 000-18 - sold
Martin 1964 0-18 - sold
Martin 1966 D-12-20
Martin 1966 D-35 - sold
Martin / Wurlitzer / Olcott-Bickford? Rebuilt / Re-topped Guitar - sold
Martin 1894 1-26
Martin 1933 R-18 Archtop - sold
Gibson 1931 Brazilian Rosewood L-2
Gibson 1934 Carson Robison - on hold
Gibson 1937 Roy Smeck Stage Deluxe - sold
Gibson 1941 L-4 - sold
Gibson 1947 J-50 - sold
Gibson 1947 J-50 #2 - sold
Gibson 1951 Blonde Flame Maple ES-5 Pre-Switchmaster Model with three P-90
Gibson 1953 J-185
Gibson 1933 L-2 Rosewood Tenor
Gibson 1926 L-1
Fairbanks / Vega 1919 Whyte Ladie
IN THE SHOP AND COMING SOON:
Martin 1870 1-28
Martin 1907 0-30
Martin 1916 Ditson Concert
Martin 1927 5-17T Tenor
Martin 1927 Original Left Handed 12 Fret 000-18
Martin 1928 0-21
Martin 1930 or 1931 0-18T Tenor
Gibson 1921 L1
(You may inquire about buying the above guitars as-is.)
LAP STEELS AND ELECTRIC GUITARS
In the "Electric
section, you will find a number of lap steels, as well as Rickenbacker
solid body guitars:
Gibson Blonde Flame Maple ES-5 Pre-Switchmaster Model with three P-90
1960 National/Supro Val-Trol - sold
1956 Rickenbacker Combo 400
Rickenbacker 1965 Model 450
Rickenbacker 1966 450 12 String
Rickenbacker/Electro ES-16 - on hold
National Dynamic lap steel
1930's Rickenbacher Style B Bakelite Lap Steel
1930's Gibson E-150 Aluminum Body Lap Steel
1950's Fender Studio Deluxe
PHOTOS COMING SOON:
Gibson/Recording King Electric with cool oval shape Charlie Christian
National 1964 Newport 82 with Map shaped Res-o-glass body
National Chicagoan Lap Steel
National New Yorker 7 String Lap Steel
1930's Rickenbacher Style B lap steel, Bakelite with chrome metal
plates and desirable 1 1/2" wide horseshoe pickup.
1930's Rickenbacher Style B rare Spanish Model, Bakelite with chrome
plates and desirable 1 1/2" wide horseshoe pickup.
Martin / Southern California Music Co. 1917 Model 1400 and 1919
Important and very historic koa wood Martins, the sisters to my SoCal
which are illustrated in the New Longworth and Washburn & Johnston
books. Made by Martin for the Southern California Music
Company, these were the first production guitars Martin ever made for
steel strings. Originally and surprisingly first made with fan
braces similar to those Martin used at the same time on the original
The koa for these was supplied by SoCal, and came from the big Island of
These earliest Martin Hawaiians were made with regular frets for regular
Spanish style playing, and came with a nut extender to play Hawaiian
style, so don't need a conversion to play either way.
Martin 1919 Southern California Music Co. 0-18K / 1400
A very early example of an uncommon model, the rough equivalent of a
Martin Style 21.
With Hawaiian rope style rosette, pyramid bridge, colored herringbone
backstrip, Hawaiian motif on Headstock, and distinctive fan bracing, like
on the earliest Ditson Dreadnaught, designed for steel strings,
Has been either over-finished or professionally refinished.
I have two of these, the other is illustrated and documented extensively
in both the New Longworth and Washburn & Johnston books.
Very nice, extremely rare, and could be sold at a very attractive
SoCal Serial number 167
Still needs minor finish touch up around the bridge...
Colored herringbone backstrip...
The original Waverley tuners have been replaced.
Martin 1919 Southern California Music
Co. 0-18K / 1350
This is an early X braced version. Stamped inside: "C.F. Martin
& Co., Nazareth PA", Stamped on the back of the headstock "Southern
California Music Company, Los Angeles." I have two of
these. One is pictured below.
Beautiful inside with two cleats that were standard on a size 0 Martin and
a nice small maple bridge plate notched into the scalloped
A rare guitar, and a beauty.
Martin Serial Number 14003.
The SoCals began using Martin serial numbers beginning with 14000, the
first of this batch.
The string height at the 12th fret is 5/32".
C.F. Martin 1919 O-45
An original early pre-war Martin Style 45 guitar with a rare early
Cedar or Sitka spruce top.
It has been said that Martin was experimenting in the late teens with what
was then known as "Airplane Spruce."
The top has been authenticated as original by TJ Thompson,
with original bracing and bridge plate. TJ has observed that the top
feels like cedar.
Finish is original, with overspray on the Brazilian Rosewood back. A
new original OM Style pickguard has been fashioned for this guitar by TJ
Thompson. A traditional 45 style torch inlay in abalone decorates
the headstock, and 45 style fancy inlays are on the ebony fingerboard.
Abalone trim on the perimeter of the top, sides, and back of the
guitar is unusually brilliant and fine.
Serial number 14302
This 1919 0-45 has a backstrip design which is not the typical for a Style
45, though 1919 saw many differences due to the huge growth inproduction
and problems with meeting the demand.
C. F. Martin / Wurlitzer 1922 2092 / 0-42
Beautiful original condition variation of the style 42 made for the
Wurlitzer Company and sold as the Wurlitzer model number 2092.
One of only 11 made in this style for the Wurlitzer Company
Martin Serial Number 17128
A rare and important instrument with the appointments of a Martin Style
42, which was Martin's top of the line model for roughly 50 years.
This example is illustrated in the book "Martin Guitars, a Technical
Reference" by Johnston & Boak.
This later example has a Martin serial number and standard Martin Style 42
Tuning pegs, nut, saddle, top and back body binding, and fingerboard
binding all made of ivory. An abalone pearl border is inlaid on the top of
the guitar. An additional connecting link of pearl is inlaid
around the end of the fingerboard, and abalone is also inlaid into
the soundhole ring, as well as the ivory bridge pins, and end pin.
Beautiful 45 style marquetry in backstripe. The back and
sides are French Polished Brazilian Rosewood, the top is red spruce, and
the fingerboard is ebony, with Martin style 42 fancy inlays. Dove
tail joined headstock and neck with volute. Scalloped X style
braces. The pyramid style bridge is a perfect replica of the
original, with improved intonation, made by TJ Thompson to replace an
earlier oversize replacement.
Serial number 17128. "C. F. Martin & Co. Nazareth, PA" is
stamped inside the guitar on the center strip inside the back.
The name "Wurlitzer" is stamped on the back of the headstock
above "C. F. Martin & Co. Nazareth, PA" .
Unlike the early 2092 with inlays on six frets, the later 2092 has a
standard five frets of slightly more complex inlays.
Unlike the early 2092, with Wurlitzer stamps only, the later version
features both the Wurlitzer and Martin stamps.
The only compromise to this guitar is the mark left from an earlier
oversize bridge, and the touched up finish. The finish could still
be touched up to be a bit less noticeable.
Martin 1926 0-21
Martin's favorite size was always the single 0, and I believe the 0 and 00
12 fret Martins from the late 1920's are the prototypical Martins, and
perhaps the best thing they've done. 1926 was the first year the
rosewood Martins shipped with steel strings.
I started to complete work on this one many years ago, after having
Michael Menkevich, in Fred Oster's Shop, repair the top, but haven't
managed to get past the initial coats of filler and finish. I'd like
to finish the job, but would consider selling as is if you would like to
take on the project.
Martin 1926 00-18
In extra fine original condition, except for refret, neck set,
and perfect replica replacement bridge, with no cracks. Braced for
From Gruhn Guitars:
AB7772, Martin 00-18, 1926, EXF, 12-fret slot-head neck, neck reset,
refretted and new bridge by Third Coast Guitar Service (Chicago), original
bracing designed for light steel strings.
...the 00-18 is a wonderful sounding & playing guitar. It's a little
more robust than you might expect from a 20's guitar. It's a little bright
yet full on the bottom and is responsive...
Serial number 26622
Martin 1927 0-18K
Beautiful koa wood Martin, converted from original Hawaiian set up for
excellent standard play, with a new bridge with compensated saddle and
T-frets added to the original thick fretboard. Scalloped braces, and
wonderful clear focused tone. Old style Martin stamp on back of
A great guitar, which rings like a bell, with tremendous clarity, and very
solid, since it was originally built for Hawaiian playing with steel
I use light gauge steel strings. The guitar is X braced.
The neck is a standard width 12 fret Martin neck at 1 7/8" with a very
comfortable round, not v-shaped, contour.
The string height at the 12th fret is 3/32". It plays very
well. A real joy to fingerpick.
Original 1927 12 Fret Left Handed Martin 000-18
A rare great player, an historically significant Martin - and a
In the eyes of the luthiers I respect the most, from the U.S. and abroad -
those who know best - the 12 fret 000-18 is a personal favorite guitar -
favored above 14 fret Martins, and favored above rosewood.
The 000 size was very slow to catch on, so only a few dozen pre-war 12
fret 000's of any style were built in the first 10 years, and less than
two dozen 000-18 were built in the first 20 years.
The 12 fret 000 was a huge guitar in it's time, and not designed
well to handle the giant top, so the earlier ones are problematic and
don't tend to sound very good, with a tendency to sound "Woofy".
The 12 fret 000 finally came into it's own when it was shipped with steel
strings in 1926. In the few years from 1926 until the introduction
of the 14 fret OM, Martin only built between 50 and 224 per year:
1926 - 224
1927 - 201
1928 - 50
1929 - 182
1930 - 68
1931 - 178
I spent 20 years looking for a 12 fret 000-18. Of the few that were
built, not many have survived in great condition. The mahogany backs
and sides on Martins from the period were extremely light, brittle, and
prone to crack, and more so than rosewood Martins, the 18's were players,
and not babied.
Of the few 12 fret 000-18, only one was built as a "Lefty".
In fact, Martin made less than a dozen original pre-war 000 or D sized
"Lefties", and less than two dozen pre-war left handed guitars of any
#33328 WAS THE FIRST ORIGINAL LEFT HANDED MARTIN!
The left handed 1927 000-18 is pictured to the left of a standard 1927
The 1927 Martin had no pickguard and a straight, uncompensated saddle, so
a left handed example is not obvious.
Look inside, and you will find a mirror image of standard braces...
Serial number 33328.
"Standard" 1927 000-18
Martin 1928 00-21
Refinished, patch in top, "Slipped block" neck set, a bargain price for a
stable, great sounding steel string rosewood 12 fret from Martin's best
years for 12 frets. Pre-war style herringbone rosette and slotted
square fingerboard inlays, with original small maple bridge plate.
Martin 1930 2-17
The sound that comes out of these little guitars always blows people
away. The perfect travel guitar! Great for blues. Not at
all the compromise that you might expect.
Some belly to the top, which seems to be typical of these, and a closed
center seam crack. The bridge is starting to lift, and needs to be
It has what is likely a nice replacement bridge, but I'm not sure.
Appears to have a decent looking replacement rosewood bridge plate.
Everything else looks original.
It's a nice playing guitar. Looks nice but not immaculate.
The string height is a bit high at the 12th fret at 3/32" on the Hi E and
4.5/32" on the low E.
Priced at less than 2/3, or over $1,000 off "book".
Later soft case.
Serial number 42958
Martin 1933 OM-18
The OM is one of my favorite guitars, and certainly one of Martin's
greatest creations. This one happens to have a somewhat less typical
neck for an OM-18 with a softer, more subtle "V", and a shallow depth
front to back that's reminiscent of my rare early OM-28 that has perhaps
my favorite neck of any Martin I've ever played. Wide enough to
finger easily, but perfectly comfortable to wrap your hand around, without
the thicker "shoulders" of later 1 3/4" necks. The OM became a
little more solid each year, so this one is perfectly stable, with a flat
top, prepared to take the strings of your choice with no worries, but
still with a lighter build than even a mid-thirties Martin.
Among OM aficionados, it's almost a given that even the nicest original
OM-18 will have significant back and side cracks. This example has
no back cracks at all, and unusually short side cracks. The original
clipped-end Grovers are perhaps the most desirable and hardest to find of
any tuners for a vintage Martin. They do have a tendency to slip a
bit, but I find that you learn to work with them with experience.
The original belly bridge has developed a hairline crack that I haven't
had a chance to repair, but could easily be made invisible with glue and
Beautiful original hexagonal maple bridge plate notched into the scalloped
The pre-war OM is legendary for good reason. With a long scale and
relatively wide but shallow neck, for easy fingering, it is considered by
many to be the ideal fingerpicking guitar. Though many people who
extoll the virtues of the per-war OM have never actually played one!
In fact, many have a tendency to sound harsh and less than ideal, with
little warmth. A nice one is a thing of beauty. I like this
Hi E at 12th fret - 4/32", string height 14/32", bridge height 11.5/32",
saddle height 2.5/32"
"Excellent condition. This is the guitar that all of the modern makers are
trying to copy. Last pre-war production year for this model. 000 size body
with mahogany back and sides, Adirondack spruce top, 1-3/4 inch nut with a
V profile neck, ebony fingerboard and bridge, long scale at 25.4 inches.
It has been played and shows some playing wear as well as a couple of
short repaired side cracks with spots of light overspray. No top or back
cracks. Neck has been reset, frets are fine, tuners are original clipped
end Grovers, and the action is low and comfortable. Very lightweight
guitar with a beautiful open clear sound. Its an extremely complex tone
with lots of volume, clear trebles, and a strong focused bass. It has a
quick and delicate sound that responds equally well to fingerstyle or a
flatpick." - Mandolin World Headquarters
"repaired side cracks, over sprayed sides & neck" - Larry Wexer
Martin 1934 00-40H
Would be nearly mint if not for cracks from storage and/or
age. One of 12 made in 1934. Set up as originally designed to
be played in Hawaiian style.
The sibling of my 00-40H #56430, an absolute stunner of a magnificent
My main playing guitar for most of the past 30 years or so has been a late
'20's rosewood 12 fret 00-28.
After thinking for some time that the 00-40H was the best deal in Martins,
being a pre-war pearl-trimmed version of the 12 fret Martin for not much
more than the price of a 00-28, one day at least 10 years ago I played a
1934 00-40H at Vintage Instruments that sounded like my 00-28 on
steroids. Literally the loudest, fullest, and richest sounding
Martin I've ever played. The mid '30's 12 frets tend to be a bit
more robust than the late '20's, and the Hawaiian 40H seems to be more
robust as well, making them louder and fuller sounding, and also capable
of easily holding medium gauge strings. After the guitar sold, I
thought to myself, "You moron! Why didn't you buy it?"
Fortunately, the same guitar came back for sale a few years later, and I
did not make the same mistake again. It became my new favorite
When I had the chance to buy an unconverted 00-40H two serial numbers
away, from the same batch, with a top that looked identical, that must be
from the same red spruce log, I couldn't see passing up the opportunity.
The guitar was poorly repaired, with multiple top cracks glued together
with a dark unattractive glue, so I removed the glue to do a cleaner
looking repair. I have not had the chance to finish the job yet,
which I intend to do. But I have had a number of requests to buy the
guitar as is, so even though I was intending to keep the guitar for
myself, I've decided that I would sell it to the right person who wants to
finish the job and will enjoy playing it, since I already have one I love
and do need to clean house.
The bridge is possibly a replacement, but has the proper footprint and
would need to be replaced again anyway if the guitar were converted.
Has about a half dozen cleats under the top, and a nice original hexagonal
maple bridge plate notched into the top, which could easily be made like
new with proper small plugs and/or a bit of wood dust and hide glue.
Serial number 56433
Martin 1936 0-17
Simply amazing condition, natural finish, all solid mahogany construction,
scalloped bracing, 14-fret neck, 20-fret Brazilian rosewood fingerboard,
ivoroid dot inlays, 1-3/4" nut width, 24.9" scale, Brazilian rosewood
bridge, tortoise plastic pickguard, perfect mid-'30's nickel Grover tuners
with oval metal buttons, perfect set-up with recent neck reset and re-fret
by Elderly Instruments, sweet sounding little guitar. Original
Serial number 63156
Martin 1936 0-17
Another 0-17 from 1936, also in great condition, with a gloss finish, all
solid mahogany construction, scalloped bracing, a 14-fret neck, 20-fret
Brazilian rosewood fingerboard, Ivoroid dot inlays, 1-3/4" nut width,
24.9" scale, Brazilian rosewood bridge, and tortoise Celluloid
This example was built slightly later, but has the earlier clipped-end
tuners that were possibly made by Waverly.
This example also has the more expensive glossy finish that was given to
the Style 17 to differentiate it from the lower priced Style 15 when the
15 was introduced with the less expensive matte finish. The finish,
and the whole guitar, is in beautiful condition other than the type of
surface scratches that could have been produced in a few short sessions of
playing with a heavy hand.
Tight and solid, and structurally sound with the original bridge and
bridge plate. The scarcity of noticeable wear to the pin holes in
the near perfect bridge plate shows that this guitar has seen precious
little use. The saddle is low, but with the saddle as is, the guitar
sounds great and is easy to play, and the neck set is about as perfect as
physically possible, with a straight neck and a string height at the 12th
fret of 1/16" on the high E and 3/32" on the low E.
Another example to show that the pre-war Style 17, with it's beautifully
hand sculpted scalloped braces and carefully tucked bridge plate and
braces, was built with the exact same level of interior fit and finish
seen on a $350,000 Style 45!
Serial number 64013
Martin 1937 00-18
I hadn't planned to sell my '37 00-18, but it made me feel so good to see
the '42 00-18 go to a good home, perhaps I should let someone enjoy my '37
00-18 as well.
1937 is the classic year Martin chose to copy their "Authentics" from.
Beautifully aged crack-free natural amber colored red spruce top with the
perfect amount of playwear to look well loved but not abused, with
absolutely no repairs.
Has the gorgeous distinctive brown swirl pickguard that you'll only see on
a 1930's Martin.
Perfectly clean inside, with scalloped braces and beautiful original
hexagonal bridge plate.
Desirable 1 3/4" neck, ebony fingerboard with five frets of graduated
dots, and original genuine ivory nut.
1/8" string height on the hi E and 3/16" string height on the low E at the
12th fret with a beautifully carved full 3/8" high untouched original
ebony bridge and original genuine ivory through saddle. Original
hard to find mid-'thirties Grover tuners
Ultra-comfortable 00 size, with classic mid thirties tone. perfectly
balanced across the strings, from bright clear trebles to strong clear
bass. A perfect responsive fingerpicker and a strong flat-picker.
100% original with absolutely no alterations beyond the bridge pins,
strings, and saddle height and untouched by repairs.
Martin 1939 0-17
Pre-war Martin with mahogany top, back and sides and scalloped braces.
Serial number 73909
The '39 0-17 is a great little guitar, though the bridge is split and
needs repair now.
The style 17 is a versatile guitar, and sounds great for many styles of
music. They tend to be warm, so I generally prefer the single 0,
which is a little brighter and clearer, to the 00.
The 0-17 has a string height of 1/8" first string and 5/32" 6th string at
the 12th fret, 1/32" saddle, 11/32" total string height, and 5/16" bridge
The sticker on the back of the headstock is from Bergstrom's, the large
dealer in Hawaii that sold a good number of the Hawaiian guitars going
back to the Hawaiian craze of the teens, and where the Kingston Trio
bought their instruments in the 1950's.
The original Waverly 12:1 ratio tuners are seen on some of the highest end
Martins from 1939 through 1946, and are worth quite a bit on their own.
The one amazing thing about Martins, especially in contrast to Gibson: An
inside view shows a Style 17 built with the same degree of precision and
care as a 45 DeLuxe!
Note the golden color of the original hide glue.
...and the perfect hexagonal bridge plate tucked into the braces...
Martin 1940 0-18
An extremely nice pre-war Martin with beautiful highs and a clear solid
bass. Some pickwear on the upper bout, with crazing, but otherwise
very solid. Recent neck set with high bridge and saddle. A
mahogany 14 fret prewar with the ebony fingerboard and bridge usually seen
only on the high end Martins. Scalloped braces, and red spruce
top. Original old style tuners and red tone pickguard seen in late
1929 and 1949.
Martin 1941 0-15
One of the most amazing things about Martin guitars is that the least
expensive budget model is finished off with the same finesse as the most
expensive, as evidenced by the interior fit and finish of this 0-15, which
is literally no less than a D-45. The 0-15 of this era also sports
the fancy tortoise headstock design, which also was a notable feature of
one of the most exemplary D-45, owned by Eagles member Bernie Leadon
before becoming part of the Yasuda Collection.
The pre-war 0-15 definitely wins the prize for the most bang for the buck
in a Vintage Martin.
String height 1/8" +/- at the 12th fret.
Serial Number 78768
Martin 1942 00-18
The type of guitar lots of us look for, a great player that looks like
it's been enjoyed, but never really abused. Fantastic sound,
extremely articulate and well balanced. Scalloped braces and red
Martin 1943 000-18
1943 is one of my favorite years for Martins. Some years stand out,
and as Eric Schoenberg has also pointed out, the top wood used in 1943
seems to be exceptional. Perhaps it was an exceptional log of
spruce, perhaps it was the weather in 1945 made for optimal building, or
perhaps both. So the 1943 000-18 is one of my favorite
guitars, enough so that I bought two of them. I spent a lot of money
having noted Martin luthier TJ Thompson bring this one to perfect
operating condition, with every intention of keeping it, but I really need
to make room for other guitar, and it's hard to justify keeping two!
All original, with repairs by TJ.
A great guitar, with tremendous definition. May not be the best
choice if you're playing is rough. If you're playing is clean, every
note rings through with amazing clarity.
Martin 1945 00-18
We've known for some time that pre-war Martins have scalloped braces that
allow the top to vibrate differently and give them a wonderful
sound. In recent years we've begun to discover that not all post-war
Martins have the same straight bracing, but starting in 1945, Martins had
a transitional thinner "tapered bracing" which some folks believe makes
for a wonderful Bluegrass guitar, or a great fingerpicker.
More recently, I've discovered that the 1945 Martins have bracing with a
greater taper which gives them a unique clear, punchy sound unlike any
So I jumped at the opportunity to purchase this 1945 00-18 which was
available at a great price due to a square hole in the mahogany on the
treble side of the guitar.
I brought the guitar to David Musselwhite, a noted luthier who formerly
ran the repair department at Martin, to have the hole patched with old
growth mahogany, and put the guitar back in perfect shape for playing,
with it's rare original brass frets.
The original straight maple bridge plate, notched into the tapered braces,
appears to be in great shape.
The guitar will be ready for sale for $3,500 as soon as I install new
The string height at the 12th fret is 4.5/32" on the 1st string, and 1/8"
on the 6th string.
Martin 1946 000-18
A beautiful rare example of a 100%
untouched and original early postwar Martin, with all of the definitive
features that you only see in 1946, including a big round ebony-reinforced
neck, distinctive brownish-red 1946 Sitka top wood with terrific bear
claw, and the large dots you only see in 1946. With original rare
Has the original small, rectangular bridge plate notched into the
distinctive 1946 style round tapered braces in very decent shape.
The string height at the 12th fret is 1/8" on the 1st string, and
3/16" on the 6th string.
I noticed what appeared to be the edge of a fabric patch on the inside of
the lower bout, which surprised me, since I didn't see any obvious cracks.
I was still shooting at about 3am, and was tired and ready to go to bed,
but fortunately decided to take one more photo to check out the fabric
And I'm glad I did! It was put in there to attach a flat pick and a
rattlesnake rattle, which was sometimes added to old guitars to add good
Martin 1949 D18
Could be a nice guitar, but will need some work. Appears to have had
a slipped block, a common early type of neck set. Braces have been
scalloped. Top has a belly which may indicate loose braces.
Replacement bridge. Refinished. Neck had a longitudinal
separation which has been glued and been entirely stable in the years I've
owned it. Needs work, so it's priced accordingly for a project
The guitar appears to have a slightly larger maple bridge plate, painted
black, and a couple of interior patches.
Since I took the first photos, I've stripped the neck and see that the
neck separation is short and doesn't look bad at all. The guitar
will look a lot nicer and more original once the neck, which had an
excessive and unnatural looking dark and glossy finish, is finished
Martin 1952 000-18
All original with the exception of the refinished back, which was finished
without proper pore filler. Attractive, and a real boomer. One
of the nicest sounding 000's I've owned, from any era.
The guitar speaks for itself. 3/32" action at 12th fret. Repaired
top crack and typical pickguard crack. Original vintage
tuners. Later hard case.
It will look terrific with the back properly done. You can wait until I
refinish the back, or buy it now as-is for less.
The interior looks to be extremely clean with a nice original rectangular
maple bridge plate notched into the braces.
Martin 1953 0-18
A rare fifties Martin with Englemann Spruce from the small batch that was
discovered on a wood buying trip by Mr. Martin. Incredibly focused
sound that you'll never hear from Sitka. All original. Very
solid, with three tiny holes in the end, apparently from a tailpiece.
Martin 1957 00-18
I have two 1957 00-18's which are both great, but it's hard to justify
owning them both.
They are both all original and in very nice shape. The first has
3/32" action at 12th fret and a nice clear sound. It has attractive
and unusual very light blonde tortoise binding, and has the orange-red
pickguard that's distinctive for 1957.
This is a really comfortable guitar. I'm partial to 00's.
The other has 1/8" action at 12th fret. Nice clear sound. Also
with the distinctive orange-red pickguard that tells you immediately it's
from 1957. Some finish checking on the top.
I've been thinking that one of these would make for a really nice birth
year guitar for somebody!
I'm very self conscious about writing descriptions that sound like I'm
hyping, but every time I've sold one of my 50's or 60's Martins I've had
the same experience. Damn, this is good. Why am I selling
this? With a house full of '30's and '40's Martins, I'm constantly
amazed at how good the post-war Martins are. The '50's and early
'60's Martins I've owned have a clear, responsive, and solid
sound. Sometimes I wonder if they are better, or at least as
good and different, and better at some things!
The only Martins I would buy now that were not made in the old North
Street Factory with hide glue are models that were introduced later and
are not available with hide glue, such as the D-35. I believe the
combination of hide glue, and the greater amount of hand construction that
it required, makes a huge difference.
I've always thought that there's no such thing as dead strings if the
guitar is good enough. I tend to keep "dead" strings on most of my
guitars, because I believe that with new strings you are hearing the
string, not the wood. Both of these '57 00-18 have dead strings now,
and are bright, responsive, and "woody", with a lot of "punch".
The first one pictured below has the lower action. Both have a
beautiful small maple bridge plate in the squeaky clean interior.
Serial Number 152942
Serial Number 157270
Martin 1962 000-18
This '62 000-18 is in pretty amazing condition. If you look closely
enough, you can see some light crazing from age. From a foot or so
away, you'd swear it was a brand new guitar. I don't know of any
work that's been done to it. Extremely articulate and well
balanced. Like all Martins from 1964 or earlier, built in the
old North Street Factory, so it's assembled with hide glue. The
action is as close to perfect as any guitar I've seen: Hi
E 2/32, Low E 3/32, saddle 3/32, string height 13/32, bridge
10/32, nut 3/32.
Martin 1964 0-18
Fantastic sounding Martin 0-18 in beautiful condition with ringing highs
and clear concise bass. All original, with added piezo pickup.
Serial number 196272.
Martin 1966 D-35
This guitar is original down to the red dots on the pins, and very
nice. Beautiful Brazilian, tortoise pickguard, small maple bridge
plate - All the desirable features only seen on the earliest ones.
Sounds great. The neck set is perfect, with low action, 2/32" at
12th fret. The frets are on the flat side. No pickwear, some finish
checking on the top, and the usual small pickguard crack. Obviously
a well maintained guitar. The most popular guitar for
singer-songwriters in the late 1960's. Has lighter 1/4" braces than
a D-28, which gives it a fuller and warmer tone. Newer hard shell
Martin 1966 D-12-20
Excellent all original condition. Early Martin D-12-20, with
mahogany back and sides, tortoise pickguard, and small maple bridge plate.
Recent neck set, bridge reglue, refret, set up etc. by TJ Thompson.
1966 was the last year Martin was still building with maple bridge plates
and tortoise pickguards, and Martin built only 376 D-12-20. The
following year, production nearly tripled to 1076, and by 1969 production
I had always wanted a D-12-20. When the rosewood D-12-35 was
introduced, it looked beautiful, and sounded like a Martin, with a lot of
warmth, but didn't have the distinctive bright, jangly sound that's
typical of a 12 string. The mahogany D-12-20 works much better to my
ear with the classic 12 string tunes.
Twelve strings produce a lot of tension, this was Martin's first modern
era twelve string, and a few have had problems. So I felt especially
lucky to have found one that TJ Thompson had worked on, set up, and given
his seal of approval to. Most folks don't realize that a neck set
corrects the angle of the entire neck as it relates to the body, but
doesn't do a thing to change the curve of the neck itself. The
combination of a neck set and compression re-fret by TJ is something that
few luthiers can match, and even more meaningful when you're playing 12
strings. But the cost of the work can almost equal the price
of this guitar, making this an especially good deal.
"This guitar is completely structurally sound and has had a recent neck
set, refret, and set up by T.J. Thompson. There are no cracks with
the exception of the often-seen-in-vintage-Martins pickguard crack (one on
each side of the pickguard - please see photos) flanking the original and
authentic nitrocellulose tortoise-shell pattern pickguard. The
pickguard crack has been expertly repaired and is completely stable and
solid. The "belly" on this guitar is nice and flat, the action is
perfect for fingerstyle and even slide: 3/32 at the 12th fret under the
low E string and 2.5/32 (aka 5/64) under the high E string. This is
a very easy-playing 12 string guitar. The neck has the vintage
original non-adjustable stiff and strong Martin T-bar reinforcement and
the neck is straight. The nut is 1 7/8 inches wide and the string
spread at the saddle is 2 5/16 inches. There is plenty of
saddle height: 1/8 inch above the bridge."
The guitar has three tone bars, unusual for a Martin, and a nice solid
maple bridge plate inside. I'm not sure if is was original or was
added by TJ.
"Now for the sound of this guitar: luscious, woody, full, loud,
responsive! From the 12 string orchestra of Leo Kottke style to
singing harmonies of harp-like fingerstyle, this guitar does it!
Wonderful fat (and phat) tone that leaps out of the
instrument. In short, an exceptional guitar!"
Before I purchased this guitar, I consulted with TJ, who responded:
"The d-12-20 is a very nice guitar. It is totally ready to play/
repaired and practically like new. I did all the usual jobs to get
it ready for sale - neck set, bridge re-glue, re-fret, set up etc.
Martin / Wurlitzer / Olcott-Bickford? Rebuilt / Re-topped Guitar
In the general style of a Martin 0-30.
I bought this guitar to research, and am now selling it exactly as I
bought it, with the information given to me. I wish I knew more
The guitar has an interesting Martin/Wurlitzer stamped neck with an ivory
bound fingerboard, and the headstock also ivory bound on the top borders,
in the style of a Martin/Olcott-Bickford, making it look like it came from
an Olcott-Bickford ordered by Wurlitzer, or a custom higher end
Martin/Wurlitzer model, though we don't have documentation of any such
models. I just had to buy this to check it out.
The top is new, and bracing is said to have followed the original X
pattern. The braces are more substantial, making them appropriate
for steel strings, than typical ultra-light Martin braces of the period,
which would have been built for gut strings only. The back and sides
are old Brazilian rosewood, with simple center strip similar to an
Olcott-Bickford, but the source of the body is unknown.
Has a new ebony pyramid bridge.
Comes with a new white custom Tolex hard shell case.
The string height at the 12th fret is 7/64"
I am selling this "as is" at the price I paid, $1,368. A fascinating
specimen, at the price of a "no-name" parlor guitar.
Martin 1894 1-26
pics coming soon...
Martin 1933 R-18 Archtop
It's generally agreed on that the early round hole models are the best
sounding of Martin's archtops, and they've been seeing a resurgence in
recent years. Folks are no longer assuming that a Martin archtop is
best converted, and have been appreciating the natural sound as-is for
various styles of playing.
This very early Martin round hole archtop has a natural finish which looks
to be oversprayed. Being from Martin's prime transitional period,
like an early OM-18, it has both the traditional stamp on the back side of
the headstock and the early version of the Martin pre-decal logo, in gold
leaf with no black outline.
This guitar has all the original desirable and hard to find hardware,
including the tailpiece and bridge, and the most sought after
"clipped-end" Grover tuners, seen on the most important transitional
Martins you'll see in the Martin Museum, including OM's and the earliest
14 fret Dreadnaughts.
Has a nice small maple bridge plate notched into the interesting mix of
tapered and scalloped braces.
Gibson 1931 Brazilian Rosewood L-2
The Gibson L-2 changed several times in the transition from the 1920's to
the 1930's, from small 13 1/2" to large 14 3/4" wide body, from 12 frets
to 13, to 14, mahogany to rosewood and back, from pin bridge to trapeze
tailpiece and back, from raised to large glued pickguard, and from natural
top to Argentine Grey with Gold Sparkle border and back.
While Gibson made relatively few rosewood guitars, it's long been assumed
that those vintage rosewood Gibsons were built with Brazilian
rosewood. It's recently been discovered, however, that even rare and
expensive rosewood Gibsons such as the Advanced Jumbo built from 1935 on
were built with Amazon or East Indian rosewood.
This 1931 L-2 is made from beautiful Brazilian Rosewood of the kind rarely
seen on Gibsons, and having much more of the appearance of the most
attractive rosewood Martins.
This guitar has no pickguard, and holes which are obviously from
previously installed electronics.
The Brazilian Rosewood trapeze tailpiece L-2 is often converted to a pin
Gibson 1931 L-2 FON 119
Gibson 1934 Carson Robison
The Carson Robison is ladder braced, with an added adjustable rod.
I think it's a fabulous sounding blues guitar. Some people convert
these to a X bracing, but I wouldn't consider it.
This is the description that came with my Carson Robison:
"This in an excellent 1934 Gibson Carson Robison acoustic guitar.
You won't find one that plays this good. I have been a luthier for
30 years and do warranty work for major guitar companies. I also
build Rising Fawn guitars. I did several hundred dollars worth of
work to assure a fantastic playing guitar. I removed the neck,
installed a two way adjusting rod, re-fretted with jumbo frets, and
scalloped the braces. Everything else is original on the guitar
with no other repairs or damage. The action is low and the neck is
I'll have to take a better pic of the back, without reflections.
I was planning to keep it, but I really do need to make room, so I would
sell the Robison for $1,350, which is about what I paid for it.
Gibson c. 1936 Century
The Gibson L-C "Century of Progress" Model, with it's space age plastic
"mother of toilet seat" fretboard.
Built for the 1933 Century of Progress Exposition in Chicago.
Beautiful condition, all original. Minor surface scratches.
Sunburst spruce top, with repaired center seam below bridge. Maple
back and sides.
MOTS on fingerboard and headstock. Grover G-98 tuners. With
hard shell case.
A real dazzler. Bright clear sound. Plays like a dream,
with tremendous clarity and evenness from string to string.
Exceptional for recording.
Purchased from Vintage Instruments in Philadelphia, almost six years ago,
after searching for quite a few years for the best sounding and best
balanced small body Gibson fingerpicker I could find. I was shopping
for an L-00, but this thing just captivated me, and quite honestly, was so
much better balanced than any of the L-00 that the decision was easy!
Looks beautiful inside with a beautiful, thin, original small maple bridge
plate, delicate braces, and a nice cleat on the center seam.
Very low action, extremely easy to play.
High E 1/16" at the 12th fret.
Gibson Roy Smeck Stage Deluxe, 1937
16" Jumbo size body with Red Spruce top and Mahogany back and sides.
It's been converted from Hawaiian, still with full width 2 1/16" neck,
which I prefer to keep. Over-sprayed or refinished in the 1950's.
12 frets to the body. It has the beautiful original 1930's
Grover G-93 tuners with pointed end plates and plastic buttons, the
originals that 1950's Grovers attempt to copy, but distinguished by the
flat top gears that are only seen on the mid 1930's originals.
Repaired top crack and small dent in one side. I've been cleaning
up the finish, and it's looks are much improved. A player's
These are the favorite guitars of Jackson Browne for very good
reason. They are amazing boomers! Great finger-picked as
well as flat-picked.
I recently had a chance to compare this one side by side to my other
two original Roy Smecks, my other Stage Deluxe and my 1934 Brazilian
rosewood Radio Grande, and this one really is a stunning sounding
guitar, clear, loud, and beautiful sounding, absolutely one of the best
sounding guitars I've played.
Has two straight tone bars.
The top could easily be refinished, but once it cleaned up, the top had
the beautiful color and quality of an early Martin amber shade top, so I
couldn't bring myself to change it.
Here are some shots after I polished up the finish a bit more:
Gibson 1941 L-4
I bought this Gibson archtop to fix up, but just haven't had the time yet,
so I'd be willing to sell it as-is at a great price, as-is, for $875, if
you're interested in doing the job.
This is the version of the L-4 archtop with the very cool Nick Lucas
Gibson 1947 J-50
I've been reading over and over again that 1947 was the magical year for
the Gibson J-50, so I had to check it out for myself. (Though some
say the small rectangular bridge J45/50 is from 1946.)
Early post-war Gibsons and Martins are being appreciated lately to the
point that folks are wondering, can you really say that the a pre-war is
Very cool with the Gibson teardrop pickguard and the much more desirable
Lighter than my early Roy Smecks, at 4 lb .8 oz.
With two scalloped tone bars.
If you're looking for a great "player" grade guitar, with fingerboard
divots to prove it, at a "player" price, this one is worth considering.
The string height at the 12th fret is 1/8" on the 1st string, and
4.5/32 on the 6th string.
Gibson 1947 J-50
After owning the first rectangular bridge J50 shown above, when I heard
that a friend was selling his near perfect example that I had heard great
things about in order to buy a smaller guitar due to his shoulder
problems, I simply couldn't pass up the opportunity. As much as I'd
love to keep it, I feel that I should pass it on to someone who will play
it more, and free up cash for some other important recent acquisitions
that have come my way.
With the Gibson teardrop pickguard and the desirable rectangular
bridge. One of a number of examples of Gibsons stamped with a "2" on
the back of the headstock, presumably for "second", but typically showing
nothing that seems compromised.
With two scalloped tone bars.
Tight and solid, and structurally sound with the original bridge and
bridge plate. The condition of the bridge plate shows that this
guitar has not seen much use.
Original three-on-a-plate Kluson tuners, the same seen on pre-war Gibsons,
with the beautifully matched original color buttons from Antique Acoustics
Unlike Martin, Gibson continued using red spruce after the war, so with
the straight, wide grain red spruce "Adirondack" top, attractive
book-matched mahogany, small rectangular bridge with pearl dots, small
maple bridge plate, scalloped braces, tortoise Celluloid teardrop
pickguard, and Kluson tuners, this 66 year old guitar has virtually all
the features, and advantages, of a pre-war Gibson J35 at a surprisingly
A beautiful, "no issues", "no excuses", "no compromises" example.
Absolutely perfect set up, with a string height at the 12th fret of
slightly more than 1/32" on the 1st string, and 2/32 on the 6th
This guitar has been beautifully maintained.
Also includes the absolutely beautiful original case in exceptional
condition. About the nicest original case I've ever seen anywhere,
worth a healthy price on it's own, much nicer than the ones that are
selling separately on Ebay these days for amazingly high prices.
Gibson Blonde Flame Maple 1951 ES-5 Pre-Switchmaster Model with
three P-90 pickups
OK, it is an electric, but it is an archtop, and it is way cool!
It's also a very special one. The early pre-switchmaster ES-5 is a
wonderful guitar, but very impractical in it's limitations. A lack
of a switch to select pickups means having to adjust individual volume
controls and then re-adjusting the tone controls every time you want to
solo or change pickups to get a new sound. Fortunately, I was lucky
enough to receive an education from my friend Duke Robillard, who T-Bone
Walker's biographer has called T-Bone re-incarnated. Duke advised me
to add a pickup selector switch, but it didn't end there. I had no
idea how complicated wiring electrics could be. Wiring pickups is
not nearly as straightforward as one would think. Duke also
calculated and explained to me how to wire the electronics to allow for
selecting the most useful combinations of pickups, taking into account how
changing one setting can affect another. Absolutely nobody knows how
to make a guitar work the way Duke does, and it didn't hurt that Duke set
me up to have his most trusted luthier do the work for me. Working
together, they did a magnificent job.
The guitar is in wonderful condition, complete with gold waffle tulip
button tuners, and is all original with the exception of the work Duke
Gibson 1953 J-185
A desirable early year J-185, one of the most intriguing guitars Gibson
has made. These were the only post-war flat top Gibsons to have the
same body shape as a standard Gibson archtop, including Orville's original
guitars and the classic L-5. Much nicer than the larger and
overly-heavy J-200 in my book, and just as cool looking, but much more
comfortable. The perfect guitar to make you look like a country
star, and also a fabulous sounding guitar for ragtime and blues, with a
very nice feeling neck. These are the most versatile Gibsons I know
It's awfully hard to find one of these in decent condition. I
honestly can't remember if I've ever seen one with a label that wasn't
torn or missing. Evidently the people who bought them played
them. I was thrilled to find a nice professionally refinished one
that looked this great at an affordable price. It has a couple of
nearly invisible plugged holes that appear to have been cut for
electronics, in the darkest part of the sunburst, that I didn't notice
until a year after I bought the guitar.
Has a clean maple bridge plate which I honestly don't know much about on
This early example was made before the braces changed a year or so later.
The friend who sold it to pay for a mint one he found said they both had
the exact same sound.
The string height at the 12th fret is 1/8" on both the 1st and 6th
Gibson 1933 L-2 Rosewood Tenor
Tenor guitars are seeing a resurgence on the West Coast, while roundhole
archtops are seeing a resurgence all over. You won't find a neater
example than this one! A rare rosewood Gibson that's unusual in
being a transitional L-2 example with Brazilian rosewood sides, with a
back of the same rosewood that you'll find on an early Advanced Jumbo!
Looks beautiful inside, with a small clean maple bridge plate and the
great razor thin braces typical of the period.
Gibson 1926 L-1
This historically important guitar is the first model of flat top that
Gibson ever made. Gibson was very late to the party with flat top
guitars, arriving 93 years after Martin.
This first version traded the arched top for a flat top, but still
retained the arched back. And who knew that a 20's Gibson had a
beautiful pyramid bridge?
Looks beautiful inside with ladder bracing and original maple bridge
Another project guitar that could use some loving care. I have two
of these, so I'll pass this one on to you cheap, as-is, for $1050.
On the outside, this guitar looks almost identical to my 1930 Martin 2-17,
but it has no name on it, and the braces look a bit different. Looks
all clean and original inside.
Since I really don't need it, I'd be willing to let this one go cheap -
Fairbanks Vega Whyte Laydie Banjo #2
All original in fine condition
An iconic banjo, a Whyte Laydie built after the Fairbanks Company was
bought by Vega, but before the name was changed. The ultimate
clawhammer and frailing banjo with original 5 string neck.
This is the banjo I dreamed of owning someday growing up!
Entirely original, including tone ring, 5 string neck, tuners, tail piece,
and all 28 brackets, and near perfect, with minor scuffing of rim.
New sturdy hard shell TKL case.
A beautiful example.
11 3/8" rim
Signed Jos. B. Rogers Jr. *** highest grade calfskin banjo head from
Matching serial numbers of 36753 on rim and dowel.
From the Buyers...
The R-18 has been a real joy to play.
L-4 - As Is
The L4 shipped AOK. I'm kind of liking it as is. Needs those new frets
dressed and some binding but it plays surprisingly well.
Thank you so much for getting the Gibson J 50 to me. It arrived safely
yesterday and I had a chance to play it. It sounds incredible! Words don't
do it justice.
Thank you very much!
i LOVE the guitar! it sounds beautiful!
...i really love it, so excited! and thanks for the photos :)
Well the guitar arrived today. I've had a chance to spend a little time
with it, and it truly sounds terrific.
...It definitely has 'that sound', and I'm extremely grateful that you
allowed it to leave your collection and find it's way into my stable.
Thanks again Robert, & I'll keep an eye out for you on the forum.
While I imagine you feel a lot of joy from what you're doing, I've come to
realize the great responsibility you've accepted along with that
joy. Your research, clear, explicit photography, and your
documentation is a lot of work. You're leaving a permanent gift to
humanity by what you're doing. Thanks for getting me involved in a
1936 Martin 0-17
HI again. May not remember but I bought a 1936 Martin 0-17 from you
a few months ago. Just writing to say that after a modest investment
to have the neck reset and some new frets – this guitar is amazing.
My luthier was very impressed by the build quality – even for this (at the
time) low end Martin. I am amazed by the tone, and the volume, of
this little guitar. I love it. thanks again – money well
Hi Robert: Finally made it home around 1:00 a.m., double o in tow.
What a great guitar! I will enjoy getting to know it better. It was a
pleasure meeting you, wish you well in your endeavors.
Hi Robert, Regarding the '43 000. Spending further time with
it yesterday morning I recovered my appreciation for it's sound. It
is a fine-sounding guitar. Its strength is more subtle with
very good string definition, especially in the mids and highs which are
particularly nice, and it has nice sustain, especially in those
ranges. I took it to two vintage dealers and one top notch vintage
luthier in town yesterday. They all felt it was a very nice guitar,
structurally sound, despite the repairs, with a very good sound. I
think I'm going to wind up being happy with it, even though it doesn't do
everything, which is why I have several guitars.
Hi Robert, The 00 arrived safely, thank you. I want to tell
you that I love both of these guitars. They are indeed very
different and will allow me a wide range of musical expression. As I
spent more time with the 000 this week my love affair with it deepened,
and I was hearing more and more subtle tonal detail and dynamic range in
that old wood as I found it was inspiring me to play different
material and to play old familiar material in different ways. And I love
how light it is. It's very exciting to be discovering more of its
character as I continue to play it. The 00 is equally delightful but
totally different. It really growls when I dig into some of the country
blues I like to play but is a strong strummer as well for old time stuff
and vocal accompaniment. I'm quite sure I'll be using and my playing
both of these for a long time, and I very much appreciate your making them
available to me and "matching" me up with them. Again, I am
delighted that you let me have this guitar.
I hope that you had or are still having a nice visit with your
father. I really thought the picture you took of him in Lucky Garden
was excellent. To me what makes for good portraits in addition to
composition, lighting and technique is the relationship with the subject,
and one can see the love in his eyes. Obviously you are lucky to have each
other. Robert, I do hope we can be friends, and I appreciate your
hospitality, generosity with your knowledge and patience with me as I
learn more about world of vintage instruments.
It's interesting to get people's different reactions to the guitars. I had
a friend over last night who plays mandolin and guitar, but more of the
former these days. I pulled out the 000 and told it something about the
war period and materials and let him try it. He played it and seemed
politely unimpressed, which didn't entirely surprise me. It actually
didn't sound so good to me when he was playing it. Then, I explained that
it's not the sock you in the gut kind of guitar but had a more refined
elegance which I then demonstrated by playing it. It sounded like a
different guitar when I played it. As you originally told me, it's
not a forgiving instrument but one that rewards good technique. i'm
coming to think of it like a fine Italian sports car: if you nudge the
wheel or accelerator, it'll obey, but it won't blow the door off the
competition like a 1965 GTO. I played 000 for our after dinner jam
session on a number of tunes and it held it's own very nicely.
Hey Robert, Just wanted to drop you a line and let you know that the 00-18
arrived safe and sound on Friday. I am out of town but my son was at home
and took delivery. I'm not so sure that was a good thing because he has
already fallen in love with it..... haha. Hopefully I can pry it out
of his hands long enough to play it a little when I get home on
Monday. Thanks again for everything. It has been a pleasure doing
business with you. Happy Easter.
Hey Robert, Yes, the D-18 arrived safe and sound and right on time.
It is exactly as you described (but I already knew it would be from your
outstanding photography) and I too look forward to returning it to the
great guitar that it once was. I will certainly share photographs when it
is completed. Thanks again.
Hi Robert, Arrived safe and sound. Changed strings. Sounds fantastic. Love
it. Thanks So Much.
Thank you very much for letting us visit you the other day, and for being
so generous with your guitar collection. We are both very impressed.
I'm getting to know the 0-18 and am concentrating on my lost skill at
fingerpicking. In spite of what I said about liking the woody sound
of old strings I'd like to see what it sounds like with new strings.
I would also like to try some different gauges. I love the tone of
this guitar as it is, but have a need to know it's full dimension in
tone. Thanks again.
The guitar arrived in good shape yesterday, and I am very pleased. I
changed the strings "just because" and see why you like old strings on
it. New are fine, but it sounds more mellow in a really nice way
with the old. It's a nice little guitar.
I got the guitar and unfortunately I'm going to return it. I do
apologize for any inconvenience. Again I apologize but I'm just not
falling in love with it and It's a large purchase for me so in the end I
want to feel comfortable about spending this amount of money. Also,
as much as i like the overall tone the feel was not what i expected and
really the only way to decide on that aspect, as we all know, is to hold
it and play it. I'm looking forward to staying in touch on what you
might have available in the future. Thanks again for all of your
help. I can box it up pretty quickly so just let me know what works
best for you. Thanks again.
Hello Robert, I truly hope all is well with you. We really enjoyed
visiting with you a few weeks ago. I am writing this brief note to tell
you that the 000-18 has opened up nicely and sounds great! So,
thanks again. I will be in touch. As discussed, I would love to get
together again in the future – a. to let you see and hear how the guitar
has responded to regular/daily playing and b.Pictures of the 000-18 and
possibly my other cherished guitars? For a fee of course :0)
Guitar arrived in one piece! I always worry about transport.
The guitar is beautiful and very easy to play -- most impressive. I love
the sound -- first one I have played from the 60s but I have played many
from the early 70s -- this one sounds better to my ears, warm yet very
clear string to string. The dreadnaught is a change for me, a different
size -- and very comfy to play). I was able to slip a mirror inside
and it looks very clean to me. Thanks again, I feel privileged to
own the D-35. I will look to give a call when I am coming back thru
on the last week in July. Just talking about old martins is
fun. Hope you have a good visit with your Dad this coming week.
The guitar arrived today in perfect shape, (great packing job!) and i just
wanted to let you know that it was here, safe and sound. I have
spent some time with the guitar and i must say, it has a great voice and
is very enjoyable to play... It almost seems to play its self.
Roy Smeck Stage Deluxe
The 37 Smeck came home yesterday. Dave and I unpacked it after
woodshed and the work is really GREAT... Too soon to say about it's
voice yet, but it plays very nice...
Played it Thursday. It sounds great & the cut down neck is a LOT
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