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1937 Martin D-18
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).
Condition of guitar prior to work done by us:
This Martin D-18, unequivocally, had to be refinished. But the good news is that a prior, heavy “overspray” had not removed any wood in the process. (Very careful measurements were made of Adirondack top, and back of guitar, with a Hacklinger thickness gauge.) In fact, the previous “overspray” was done by an amateur, by brushing on lacquer over the original finish… it was not a professional refinish. This was good news, because not being a professional refinish, it had the unintended effect of leaving the guitar essentially intact– with no sanding of wood or other alteration of the original guitar. The lacquer “overspray” was heavy enough, and long enough ago, that the original finish on the guitar was not present in any way that could be recovered. (Experiments were done by us, to determine if the newer oversprayed lacquer could be removed to reveal the original finish intact– it could not, as the oversprayed lacquer had fused with the original lacquer.) So the only course of action was to remove the old lacquer overspray finish– not with sanding, but with careful application of small amounts of Acetone– with great care taken to not disturb the original top layer of oxidized wood on the Adirondack top or mahogany back and sides, or neck. Very fortunately, the original wood everywhere–Adirondack top; mahogany back, sides, and neck; headstock; etc… was in great condition, and NOT altered in thickness. The normal oxidation of the wood on all parts of the guitar remained after removing the old overspray… so that the guitar, with its new finish now, still retains the vintage color of all wood surfaces (including the original black filler on the mahogany back and sides), showing through the finish. And the new finish, is very thin… it was intentionally finished with thin, minimal layers of lacquer; and it was not overly-buffed out to a high gloss– the finish is notably true to a 30’s Martin Dreadnought look and feel. (Note: it is not a “satin” finish– it is a period-correct nitrocellulose lacquer gloss finish, but done with thin layers, and hand-buffed out, not machine-buffed, to avoid an overly thick/shiny looking finish.)
NOTE: careful measurements, with a Hacklinger Thickness Gauge, before and after the restoration of this instrument, confirm that the top, sides, and back thickness of the wood on this guitar are still to original specs. (Top thickness is 2.9 mm, which is original spec.)
The following is the condition of the guitar’s parts and features, prior to all work being done by us:
- Tuners: original Grovers, working fine
- Maple Bridge plate: all original, in great condition, never altered
- Braces inside guitar: all perfect condition, original
- Ebony Bridge: the original bridge was still on the guitar. It had been shaved down to lower the action at some time decades ago and so could not be re-used, but it was original to the guitar (and with the original ivory saddle intact)
- Nut: original ivory nut was on guitar
- Frets: original frets, worn
- Fretboard: normal/minor wear
- Adirondack top: amazingly, crack-free (except for one very tiny hairline crack, on the underside of the top under the fretboard extension, treble side. But this tiny crack, did not go through to the top.) Note, the natural “arch” of the top, was, and still is, perfect. This guitar’s normal, slight arch below the bridge is textbook perfect for a 30’s Martin Dreadnought. The top of this guitar is excellent. Top is not flat/sunken near the sound hole, nor is it “bellied” behind the bridge as some 30’s Martins are. It is perfect.
- Mahogany back: one long crack (treble side), with old repair (glued, and old muslin cloth on inside)
- Mahogany sides: crack-free
- Neck: no alteration of thickness, etc. Also note, the neck on this instrument, which retains all its original dimensions, conforms to the tendency, in 1937 D-18’s specifically, to have what Willi Henkes of Germany, a prominent Martin expert, calls “the slimmest necks among the ‘big necks’ manufactured in the 1930’s.” i.e., as opposed to what Henkes calls the “…huge necks that are dominating 1935 and 1936.” In other words, this guitar, with its original neck dimensions, does not have the very large neck, but the highly desirable slimmer neck (by 30’s standards) common to the best 1937 Martin Dreadnoughts.
- Headstock: original Martin Logo, intact
- Pickguard: the original pick guard was missing
The following work was performed by John Allison:
(note: hot Hide Glue was used on bridge attachment to top, and neck set)
- Repaired crack on the back of guitar, cleated on inside
- Repaired tiny 2 inch hairline crack, on the underside of the top under the fretboard extension, treble side), cleated inside (this was, and is, not visible on top of guitar)
- Replaced very small piece of black binding on back/bottom of guitar (about 1/4 inch length of binding)
- Refinished the entire instrument (expect for the headstock, which retained the original Martin logo). No sanding of any surface to remove wood was done. (NOTE: only nitrocellulose lacquer was used for the finish (no poly or any other non-original spec solvents or finishes were used). The finish is thin, as per original specs of a 30’s Martin
- Replaced pickguard with period-correct pickguard (nitrocellulose pickguard)
- Made and installed new period-correct (African) Ebony bridge, and ivory saddle… The new bridge exactly matches the footprint of the original bridge (that is now in the case). Bridge pins: period-correct, non-slotted, cellulose bridge pins made by Willi Henkes, Germany (sold by Bernuzio in the U.S., part # QMP5… End-pin also, QMP5)
Replaced all frets with new T-frets - Replaced nut with ivory nut (sourced by us, pre-CITES ivory)
- Set neck
This 1937 Martin D-18 comes with an official appraisal of $27,500., from George Gruhn of Gruhn Guitars (written, in-hand appraisal, not an appraisal “from photos”).
With a black Calton Case. Price:No longer available.
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