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Lester Devoe Brazilian Rosewood Flamenco Negra GuitarThis new, custom made Lester Devoe Flamenco Negra is a masterpiece, from one of the world’s top luthiers. Lester Devoe needs no introduction to the world’s great Flamenco players. The late, legendary Sabicas played a Devoe– and converted some of the great Flamenco players in Spain to the fold. Paco De Lucia, and Vicente Amigo, among others, play Devoe Flamenco guitars. Paco De Lucia began playing a Devoe Negra guitar years ago– and there are many Paco De Lucia recordings and feature films where Paco plays a Devoe Flamenco guitar.) This is the second custom guitar, that Lester has made for us with select, old growth, quartersawn AAAAA Brazilian rosewood. Signed by Lester Devoe, 2012 (March)
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Louis Panormo Guitar, circa 1830This is a rare and wonderfully preserved guitar from the master luthier Louis Panormo, from circa 1827-1835. It is 100% original (save the bridge pins), with original finish, and the original marvelous Baker tuners.
More importantly, it plays wonderfully. We simply adjusted the nut a bit, and leveled the original frets, and it plays like it was recently made– but with a sound that only a nineteenth century Panormo can produce (listen to the sound/video clip on this listing).
It has a couple of repaired back cracks, and one well repaired top crack– amazingly little for a guitar this age.
Note the trademark Panormo, original dot markers on the neck at frets 5, 7, and 9.
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| 1903 Martin 00-42 Guitar… coming soon. Exquisite, and a joy to play (… the top level, largest guitar that Martin made at the turn of the 20th century– with tone that shows off what Frank Henry Martin was proud of when he personally signed the inside of this instrument in April, 1903…)
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2009 Brentrup Brazilian Rosewood Grand Concert 12 String GuitarVery few modern luthiers have captured that Larson Brothers sustain and what I call “shimmer” with a new build. This guitar, built by the master luthier Hans Brentrup in late 2009, has it in spades. We’ve never played anything but a 30’s Larson Bros’ that has the sustain this guitar has. Hans’ unique tone bars do what only the Larson tone bar system did– get the body of the guitar to sustain and impart that wonderful shimmer to the trebles especially.
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1893 Martin 0-28 GuitarSigned by Martin factory foreman, underside of top: “Dec. 8, 1893”, this 0-28 is in wonderful original condition.
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1928 Bacon & Day Super Banjo 5-StringThis is a superb sounding 5 string banjo. Quoting George Gruhn in “The Vintage Catalogue”– “During the banjo boom of the 1920s, many musicians considered Bacon & Day to be the finest banjo maker of the time. Their instruments were prized for their exceptional volume and cutting power, as well as for their beautiful craftsmanship… we can only speculate what might have happened if Earl Scruggs, Don Reno, or some other well-known bluegrass player had used a Bacon & Day model.”
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| 1922 Bacon & Day Silver Bell Serenador Tenor BanjoGreat condition. 100% original, finish, parts, everything. Set up and ready to play.
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Masaru Kohno No. 30 Classical Guitar, Brazilian RosewoodWhen this concert guitar was made in 1976, it was the top model offered by the master luthier Masaru Kohno– when he was at the very height of his career.
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1977 Kohno Model 15 Classical Guitar Another fine Kohno classical guitar from Masaru Kohno. This one combines a cedar top with Indian rosewood back and sides for a warm, clear tone. The best sounding Kohno 15 (or 20 for that matter) we’ve had.
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Ditson/Martin 0-17H Style Custom Made Hawaiian Guitar This is a very well made, custom Hawaiian guitar. Maker, and age, unknown. There are no markings, logos, or signatures. The body style is similar to an early Ditson. In other regards, its size, sound, and feel is quite similar to a 1930’s Martin 0-17H.
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2011 Joseph Redman Flamenco Guitar, Maple Back and Sides Joseph Redman, based in Abingdon, VA, makes some nice, hand made, yet affordable classical and flamenco guitars. Their low price tags don’t reflect the quality of materials in each instrument. This was a custom order, featuring European Maple back and sides, and all hand French polished by Redman. Nice, rumbling bass response. The Maple tone here, doesn’t show up in the trebles as much as it does in the bass– adding a Maple crispness to the bass strings.
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1975 Martin D-35L Lefty GuitarThis is a wonderful, original from the factory "Lefty", a 1975 D-35L. Lefty's from this period are rare. Before the era of computerized factories, and the intro of the CNC machines at Martin, a high-end Lefty like this one was essentially a custom-made guitar.
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1976 Mossman Flint Hills GuitarStuart Mossman was one the country’s top luthiers in the 1970s and 80s– working in the tradition of the great American Dreadnought. According to an article in Vintage Guitar magazine: Stuart Mossman “…. began making guitars in 1965 and through his early efforts concentrated on experimenting with bracing of the tops. He spent four years building 40 or 50 prototypes in his garage at home. By the end of the decade, sensing a niche in the market for high quality handmade acoustics, he had incorporated S. L. Mossman Guitars in Winfield, Kansas and moved into facilities at Strother's Field outside of town. Mossman had noticed what was happening with major acoustic guitar manufacturers at the time. |
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1932 Larson Brothers Mandolin (Stahl)The Larson Brothers need little introduction to the world’s top players and collectors, and they are very different instruments from the Martin and Gibson instruments that dominated the 1920’s and 30’s by their shear numbers. Larson instruments are rising in value rapidly, as they never produced the kind of volume that Martin much less Gibson produced in those decades, and they are now recognized for their magnificent workmanship and tone.
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1920’s Parlor Guitar, Larson/Chicago SchoolChicago-style American parlor guitar… though it has some Larson-like traits, it is probably not a Larson-made guitar, but shares some stylistic elements, and shares some of that shimmering tone. This guitar is a nice example of the Chicago school of guitar building in the 1910’s to 1920’s (the guitar has no markings, brands, or labels). This ladder braced guitar plays nicely, and has a tone that is typically found on the better guitars from the period. It has nice Adirondack spruce top over mahogany back and sides. Lovely original pickguard. Wonderful fretboard inlays. |
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Koliker, Paris, Early French Guitar, 1800 - 1810This fine and early example of the French guitar was made in Mirecourt, France, around 1800 to 1810. And sold through the famous Parisian dealer Koliker. It is a rare early example, as indicated by its rectangular bridge that does not have a separate saddle, but uses the top edge of the ebony rectangle as the saddle (this feature places it circa 1800, not like the more common 1820-1840 French guitars that have a more modern style bridge including a regular saddle).
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1850-60’s James Ashborn, Style 1 GuitarCirca 1860 parlor guitar style 1 built by well known luthier, James Ashborn of Wolcottville, CT, for William hall & son music store. Brazilian rosewood back and sides; Adirondack top; maple binding.
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1860’s Stauffer Legnani Style Guitar
Back and sides are solid flamed maple. Top is solid spruce
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