Cleaning House
Vintage Martin, Gibson, and Other Acoustic Used Guitars and Other Instruments Sold
ACOUSTIC GUITARS SOLD:
Martin 1919 Southern California Music Co. 0-18K / 1400 - sold
Martin 1926 0-21 - sold
Martin 1926 00-18 - sold
Martin 1927 0-18K - sold
Martin 1928 00-21 - sold
Martin 1930 2-17 - sold
Martin 1933 0-17 - 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 1962 000-28C - sold
Martin 1964 0-18 - sold
Martin 1966 D-12-20 - sold
Martin 1966 D-35 - sold
Martin 2006 Ditson 111 Dreadnaught - 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
ARCHTOPS SOLD:
Gibson ES-150 - sold
SOLID BODY SOLD:
1960 National/Supro Val-Trol - sold
Rickenbacker 1965 Model 450 - sold
Rickenbacker Electro Model ES-16 - sold
LAP STEEL SOLD:
National Dynamic lap steel - sold
RETURN TO "INSTRUMENTS FOR SALE" PAGE:
https://vintagemartin.com/sale.html
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Updated 2/8/16
Martins
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,
Appears to have 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
- sold -
Colored herringbone backstrip...
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.
SOLD
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
- on hold -
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 headstock.
A great guitar, which rings like a bell, with tremendous clarity, and very solid, since it was originally built for Hawaiian playing with steel strings.
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.
2lb 11.2oz.
SOLD
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.
SOLD
Martin 1930 2-17
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 re-glued.
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.
Priced at less than 2/3, or over $1,000 off "book".
Later soft case.
2lb 9.2oz.
Serial number 42958
Stamped 10/28/30
SOLD
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 sounding guitar.
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 guitar.
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
3lb. 9.4oz.
SOLD
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 period case.
Serial number 63156
SOLD
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 pickguard.
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
SOLD
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.
SOLD
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 height.
SOLD
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.
SOLD
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
SOLD
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 spruce top.
SOLD
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.
SOLD
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 other Martin.
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 replacement tuners.
The string height at the 12th fret is 4.5/32" on the 1st string, and 1/8" on the 6th string.
3lb. 2.2oz.
SOLD
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 wartime tuners.
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.
3lb. 7.0oz.
SOLD
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 patch.
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 luck!
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 guitar.
The guitar appears to have a slightly larger maple bridge plate, painted black, and a couple of interior patches.
3lb. 12.2oz.
SOLD
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 properly.
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.
3lb. 10.8oz.
SOLD
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.
SOLD
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
3lb. 9.2oz.
SOLD
Serial Number 157270
SOLD
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.
SOLD
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.
SOLD
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 case.
SOLD
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 reached 1675.
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. Tj"
4lb. 2.4oz.
SOLD
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 about it.
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.
SOLD
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.
3lb. 6oz.
SOLD
Gibsons
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.
sold
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.
sold
Comparing headstocks...
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 c. 1936 Century
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.
3lb. 10.4oz.
SOLD
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
player.
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.
3lb. 14.6oz.
SOLD
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 inlays!
SOLD
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 better?
Very cool with the Gibson teardrop pickguard and the much more desirable rectangular bridge.
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.
4lb. 0.8oz.
SOLD
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 in Germany.
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 affordable price.
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 string.
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.
FON 4048-29
SOLD
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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