Cleaning House




Vintage Martin, Gibson, and Other Acoustic Used Guitars and Other Instruments 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 mine.

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 September 7, 2014.

Thanks again for your interest,

Robert


Click here to e-mail with inquiries about instruments for sale.



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 00-18 - now available

Martin 1930 2-17 - now available

Martin 1933 OM-18

Martin 1894 1-26

Gibson 1931 Brazilian Rosewood L-2

Gibson 1934 Carson Robison - on hold

Gibson 1951 Blonde Flame Maple ES-5 Pre-Switchmaster Model with three P-90 pickups

Gibson 1953 J-185

Gibson 1933 L-2 Rosewood Tenor

Gibson 1926 L-1

No-name 2-17


BANJOS

Fairbanks / Vega 1919 Whyte Laydie


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:


HOLLOW BODY:

Gibson Blonde Flame Maple ES-5 Pre-Switchmaster Model with three P-90 pickups

Gibson ES-150


SOLID BODY:

1956 Rickenbacker Combo 400

Rickenbacker 1966 450 12 String

Rickenbacker/Electro ES-16 - on hold


LAP STEEL:

National Dynamic lap steel

1930's Rickenbacher Style B Bakelite Lap Steel

1930's Gibson E-150 Aluminum Body Lap Steel

1946 Early Fender Princeton #A158

1950's Fender Studio Deluxe


PHOTOS COMING SOON:

Hollow Body:

Gibson/Recording King Electric with cool oval shape Charlie Christian Pickups

Solid Body:

National 1964 Newport 82 with Map shaped Res-o-glass body

Lap Steel:

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.


http://www.vintagemartin.com/sale_electric.html



ACOUSTIC GUITARS SOLD:

Scroll down to see descriptions for the following guitars:

Martin 1926 0-21 - sold

Martin 1927 0-18K - sold

Martin 1928 00-21 - sold

Martin 1930 2-17 - sold

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 - sold

Martin 1966 D-35 - sold

Martin / Wurlitzer / Olcott-Bickford? Rebuilt / Re-topped Guitar - sold

Martin 1933 R-18 Archtop - sold

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


SOLID BODY:

1960 National/Supro Val-Trol - sold

Rickenbacker 1965 Model 450 - sold



CLICK HERE TO SEE PHOTOS AND DESCRIPTIONS OF  ALL INSTRUMENTS SOLD:

http://www.vintagemartin.com/sold.html





Martins


Martin / Southern California Music Co. 1917 Model 1400 and 1919 Model 1350


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 Ditson Dreadnaught. 

The koa for these was supplied by SoCal, and came from the big Island of Hawaii.

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 price. 

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 braces.  

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.

3lb .8oz.

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.








This guitar still has the original bridge plate tucked into the braces, with cleats added to secure the cracks.


 



  C. F. Martin / Wurlitzer 1922 2092 / 0-42


Beautiful original condition variation of the style 42 made for the Wurlitzer Company, one of Martin's most important accounts, and sold as the Wurlitzer model number 2092. 

One of only 11 made in this style, the finest of the models produced by Martin exclusively 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 Martin Style 42 appointments.


Designed with the finest materials available on a Martin of the time, including ivory nut and saddle, and top and back body binding, fingerboard bindings, and tuning pegs all made of Ivoroid. 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 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.

With the work done for me by T.J. Thompson, the guitar has a perfect neck set, with a string height of 1/16" on the first string, beautifully playing bar frets, and a perfectly stable top and wonderful sound with silk and steel strings.
 
 
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 somewhat more complex inlays.

 

 



Unlike the early 2092, with the Wurlitzer stamp only, the later version features both Wurlitzer and Martin stamps.

 


The tuners on the Style 42 are typically silver Waverlys with an engraved design.




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.




The top should have a small amount of belly behind the bridge to be correct.







Laying a straight edge across the frets, the edge should meet the top of the front edge of the bridge for the neck angle to be correct.









The interior is extremely clean, with one nicely done spruce top cleat on the treble side and a rosewood bridge plate.   Rosewood bridge plates have attracted a bad reputation due to the unnecessarily oversized rosewood bridge plates used by Martin in the 1960's, and ignorance of the fact that most of the nicest early Martins did not have maple plates.

The diamond spruce cleats on the center seam are an original feature seen on small body 12 fret Martins as late as the "New Yorker" models of the 1960's.










Martin 1926 00-18


In extra fine original condition, except for refret, neck set, and perfect replica replacement bridge, with no cracks.  Braced for steel strings.
 
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



 

 

 
  
 

 

 

 

 





 
 


Original 1927 12 Fret Left Handed Martin 000-18


A rare great player, an historically significant Martin  - and a "Lefty's" dream!


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 kind.


#33328 WAS THE FIRST ORIGINAL LEFT HANDED MARTIN!


The left handed 1927 000-18 is pictured to the left of a standard 1927 000-18 below.

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 1930 2-17         

I've decided to make a second 2-17 available to make room for a couple of new 2-17 guitars made by Martin for other firms.  This one is all original and in very nice condition. 

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. 

The string height is excellent at the 12th fret at 3/32" on the Hi E and 4.5/32" on the low E, with nice bridge and saddle height.

3+ 4.5 3 12

Later hard case.

2lb 9.2oz.

Serial number 43730

Stamped 8/28/1930
















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 ebony dust.

Beautiful original hexagonal maple bridge plate notched into the scalloped braces.

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 one!

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

3lb 4.2oz.
























Martin 1894 1-26


pics coming soon...




Gibsons



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 bridge guitar.


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 perfect."

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.


ON HOLD










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 suggested.



















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 of.

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 these.

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 strings.


























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 plate.

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.

2lb. 15.0oz.



























No-name 2-17

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 - for $875.







Comparing headstocks...



















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.

27" scale.

11 3/8" rim

Signed Jos. B. Rogers Jr. *** highest grade calfskin banjo head from Farmingdale, NJ.

Matching serial numbers of  36753 on rim and dowel.





















1870's Martin 1-28

All original in fine condition



















Feedback From the Buyers... 


1966 D-12-20

WOW!!!!
Got home, gave the guitar five or six good tunings, and started playing.  I told you about my broken left hand, but on this guitar my fingers just automatically go to the right place without any pain. 
The volume is tremendous and the tone is wonderful.  No trouble finger picking, either.  The left hand pressure required is actually less than that of my classical guitar...
This twelve string has a lot of sentimental value to me, as well as musical value.  Thank you for making it available and for working with me to make the purchase possible.
Stay well.  You still have a lot to contribute to this part of our culture.
Thanks again.


1933 R-18
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.


J-50
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!


1941 0-15
i LOVE the guitar! it sounds beautiful!
...i really love it, so excited! and thanks for the photos :)


1927 0-18K
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.


1934 00-40H
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 small way.


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 spent.


1942 00-18
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.


1943 000-18
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. 

1942 00-18
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.


1945 00-18
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.


1949 D-18
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.


1952 000-18
Hi Robert, Arrived safe and sound. Changed strings. Sounds fantastic. Love it.  Thanks So Much.


1953 0-18
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.


1957 00-18
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. 


1957 00-18
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.


1962 000-18
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)   Take care.


1966 D-35
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.


Martin /Wurlitzer
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 more comfortable!



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