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Click to see larger image	1964 Martin D-28 Dreadnought Brazilian Rosewood This Brazilian Rosewood D-28 dreadnaught from one of Martin’s finest eras, is special. Its structural integrity, and originality, are rare. And it’s one of the last Martin D-28’s made when Martin still used hide glue for guitar construction. This is a one-owner guitar, still in its original case. When we acquired it, it had not been played for years. Its original bridge, had a split in it, and had come loose from the top. Thus, it sat unplayed in its case for years. But all the wood beneath the bridge was pristine, perfect. So John Allison just made and installed a new exact reproduction bridge, from dark African ebony. It’s perfect, using the exact footprint of the original. The new bridge was attached with hide glue. And we used the original bridge pins. Read more & more photos		Select Vintage Instruments from around the U.S. This Week's Featured Instrument: 1926 Martin 0-42, at Jet City Guitars In 1926 the 42 series was the top of the line for Martin. The tone woods they used were absolutely the best available and there's a very tasteful amount of decorative trim. The condition of this one, while not mint, is wonderful. It has only just enough play-wear to authenticate its originality. The tone woods are first class all the way-tight grain spruce and somewhat figured Brazilian rosewood. Everything is in top condition-no cracks or serious scratches or dents. The aesthetics of the 42 series are my favorite. The abalone trim runs around the top, fingerboard tongue, and rosette. The fingerboard inlays are snowflakes and wings and in perfect condition. The original tuners are engraved with small wood roses. JetCityGuitars.com Help the pioneers of American music Mississippi John Hurt Museum Dating Martin Guitars Larson Brothers Instruments Heritage Musical Instrument Insurance Collings Guitars
Click to see larger image	1937 Martin D-18 Guitar Not a “D-18A” or other reissue, but the real thing: a wonderful Martin D-18 (Serial # 67452), from the best years of Martin Dreadnought production, that has been meticulously restored, using only period-correct methods and materials, by John Allison, one of the finest luthiers in the U.S. (with the consultation of a handful of the country's top vintage Martin experts.) Most importantly, the tone of this guitar is superb, with great volume and presence, full bass response, sparkling highs– everything you would expect from a great 1930’s, 1 3/4 inch nut width, high X-braced D-18. This guitar was recently compared, side by side, with several other original 1930’s D-18’s, and war-time D-18’s, at the facilities of one of the country’s top vintage guitar dealers (who did a written appraisal of the instrument), and this instrument was superior in tone, volume, presence, and string separation (this superiority of tone is noted in the written appraisal by the country's top and most well-known expert, included with the instrument). Read more & more photos
Click to see larger image	Allison D, Brazilian Rosewood This is a new Allison Brazilian Rosewood dreadnought. Austin-based John Allison was a key part of the Collings Guitar team for years. John is now one of the most sought-after independent makers of fine instruments in the southwest. His guitars are carried by a number of top dealers in the U.S… and we’ve just snagged this brand new, wonderful Brazilian– a custom order guitar. Allison’s attention to detail is astounding. You just have to see and play this great brazilian. Right off the bench, it’s loud and beguiling, and it will only get better over time. Top: Adirondack Spruce Back, and Sides: Brazilian Rosewood Bracing: Scalloped X, Adirondack Neck: Mahogany Finish: Nitrocellulose lacquer Read More & more photos
Click to see larger image	Larson Brothers Guitar, Brazilian Rosewood Robert Carl Hartman, grandson of Carl Larson, the author of the book “The Larsons’ Creations”, and the country’s top authority on Larson brothers guitar, confirmed that this guitar is a Larson brothers. But then, the minute you pick it up and play it, there is no doubt. This guitar has more volume, sustain, and just wonderful Larson tone, than larger-bodied Larson guitars we’ve owned. According to Hartman, who vetted this instrument, the neck and fingerboard are similar to the L. H. Leland and H. F. Meyers guitars that were made by the Larsons. The guitar, is, according to Hartman, a special order made by the Larsons for one of those brands. This circa 1920’s guitar has just had new, period-correct Bar frets installed (using the best Bar Fret material available today, sourced from TJ Thompson). Read More & more photos
Click to see larger image	1937 Martin 0-17H If there is a better-preserved Martin guitar from 1937, we have not seen it. This instrument is as an almost time-capsule condition 0-17H, still in its original case. And of course with its original Hawaiian set up. Many people convert these pre-war Martin Hawaiian set up guitars, to “Spanish” style, i.e. regular steel-string flat top set up. And that is certainly an option for whoever acquires this instrument. But this example, is just too nice, and too original for us to want to convert it. And the tone is exquisite (On request, we’ll send you a link to a video/audio clip of one of this country’s best, most famous dobro/pedal steel players playing slide on this great Martin 0-17H, right here in our shop.) All mahogany of course: mahogany back, sides, and top. Brazilian rosewood bridge, and fretboard. The guitar has no play wear. We won’t call it pristine– even under-the bed-guitars that have not really been played, Read More & more photos
Click to see larger image	1960 Martin 00-28G A wonderfully balanced and resonant Martin 00-28G, with some of the most beautiful Brazilian rosewood you’ll see on any Martin guitar, and in wonderful, crack-free, original condition. The Martin “G” is very different from the “C”. The “C” has the Martin 12 fret body. The “G” model used the 14-fret style body shape, but with the 12 fret neck, slotted headstock, and 25.4 inch scale. The 00-28G was first produced by Martin in 1936, and was discontinued in 1962, when Martin went to all “C” style for nylon string guitars. The 00-28G was Martin’s top of line model for nylon strings, from 1936, to 1962… and this guitar is the best example available on the market. Read More & more photos
Click to see larger image	Rare 1850’s Martin 1-21 1855-1860 Martin “transitional”1-21. A very rare and exquisite large size Martin from the pre-1867 era. “Large size” Martin from the 1850’s, because the Size 1, and 0, were the only “large” size Martins in those years. And there is currently not a single other size 1 or 0 size pre-1867 Martin guitar on the market. This is considered by the top U.S. experts who vetted this instrument as an early, rare "transitional" 1-21, based on the fact that it does not have all the later, standardized, 1860’s and on “21” attributes– specifically, backstrip and endwedge on this instrument are not typical of “price-list” era 21’s (after the publishing of the first Martin price lists, establishing features of the different models, in the 1860’s) Read More & more photos
Click to see larger image	1965 Martin 000-28C A wonderfully preserved, crack free 12 fret 000-28 Martin, with gorgeous Brazilian rosewood back and sides. The tone of this instrument is wonderful. It stands up to many high end Spanish made classical guitars of the period for Brazilian rosewood warmth. While intentionally not built for concert hall volume, the bass tone and clarity of the trebles on large-bodied Martin nylon strings guitars with Brazilian back and sides is unsurpassed. This instrument is very well set up to play on stage, plugged in, and to record, if desired. It has great high end Gilbert tuners, with black housing, abalone dot and snakewood buttons. Read more & more photos
Click to see larger image	1966 Martin 00-28C Another wonderful instrument with top grade Brazilian Rosewood back and sides. The Brazilian rosewood on this in instrument is more figured on the sides, and the back shows wonderful bookmatched figuring. This is an all-original guitar. There are no cracks that go through the wood. There are several finish/superficial cracks in the finish, one on the top near the bottom/endpin area, and one on the back. And a bit of crazing in the top finish. Set-up and playability is great. Wonderful full tonal range up and down the fretboard. In its original hard shell case. $3250. More Images: Front Close-up Close-up Back Side Top Blemish
Click to see larger image	1894 C.T. Beitel (Martin) Guitar This extraordinary guitar, completed by C.T. Beitel in June of 1894, is signed and dated by him on the underside of the top. The guitar is in remarkably original condition. And it plays wonderfully. C.T. Beitel (Clemence T. Beitel, 1869-1916) was closely associated with C.F. Martin & Co. in the 1890’s. The Beitels are well known to have been closely associated with the Martin family in these years, both personally (including through marriage) and in the Martin guitar business. According to some correspondence and background research from family members obtained with this guitar, C.T. Beitel was the first American-born person to serve an apprenticeship at Martin Guitars. C.T. Beitel was a cousin to C.A. Zoebisch Read More & More Photos
Click to see larger image	1859 Louis Schmidt Guitar This guitar is the last known guitar in existence, made by Louis Schmidt, the famous contemporary and one-time colleague to the founder of Martin Guitars, the original C.F. Martin. As such, it is a rare example of early American guitar making. And it’s signed by the maker, on the underside of the Adirondack top: Louis Schmidt Wakefield Westchester Cy NY July 9th 1859 U.S. Louis Schmidt worked side by side with CF Martin in the early years. Perhaps the most common misconception about early American guitar history is that C. F. Martin Read more & more photos
Click to see larger image	1850-60’s John Ashborn, Style 1 Guitar Circa 1860 parlor guitar style 1 built by well known luthier, John Ashborn of Wolcottville, CT, for William hall & son music store. Brazilian rosewood back and sides; Adirondack top; maple binding. This guitar is completely crack free, and is 100% original, including all original finish, and down to original nut, original bridge (and saddle) that has never been off the guitar, and original bridge pins. From a just-published article in Vintage Guitar magazine: “Ashborn's design for the guitar was quite innovative for the early 19th century. Instead of making guitars fashioned after the typical parlor-style guitars, he made them in the Spanish style, by taking interior bracing cues from the Spanish Read more & More photos
Click to see larger image	1860’s Stauffer Legnani Style Guitar Original (not a reproduction) Total length: 93 cm Scale length: 62 cm Body length: 44 cm Ebony fretboard, raised from the soundboard Back and sides are solid flamed maple. Top is solid spruce … in the workshop. Enquire david@vintageamericanguitar.com More Images: Back Close-Up Back Case Frets Raised Fretboard Side Side Detail Tuning Pegs
Click to see larger image	Kohno Model 10 Classical Guitar A wonderful, all original and resonant 1973 Kohno, made by the world-renowned master luthier Masaru Kohno. This instrument has the more rare long scale length, 665cm, that gives it impressive power and volume. This, coupled with a wonderful string spacing at nut of 4.4 cm, and a cedar top, makes this guitar a joy to play: loud, clear, and yet easy to play, and with a warmth from the cedar top that really sets this Kohno apart. 665mm scale length Solid Cedar top Solid Indian rosewood back and sides. Mahogany neck with 2 ebony strips Ebony fretboard 19 frets Original Rosewood bridge, and saddle Read more & more photos

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