The Ones That Got Away |
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1963 Martin 000-18This ’63 000-18 has wonderful tone. It compares favorably to any post-war 000-18 we’ve played.
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 Heritage Musical Instrument Insurance
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Lester Devoe Brazilian Rosewood Flamenco Negra GuitarThis new, custom made Lester Devoe Flamenco Negra is a one-of-a-kind, Brazilian Rosewood guitar, 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. (I personally delivered a Devoe Flamenco Blanca guitar to Paco De Lucia in Spain in late 2010– Paco likes his Devoe’s hand-delivered. 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.) And it’s rare that Lester makes a Negra with Brazilian rosewood of this age and quality. Signed by Lester Devoe, 2011 (October).
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1932 Gibson L-1 GuitarCrack-free, and 100% original, down to the bridge pins, and the original Geib case. Just getting a neck set to make it play perfectly.
Coming soon. Enquire: david@vintageamericanguitar.com |
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1840 – 1850 Pre-Torres Spanish GuitarThis guitar is a beautiful–and more importantly, a beautiful sounding– example of a post-romantic, pre-Torres Spanish guitar. Though unsigned, the guitar carries a Chappell of Bond Street label inside. London-based Chappell imported fine Spanish and French guitars into England as early as 1811, and throughout the 19th century. The original bridge on this instrument reveals the guitar’s Spanish origin– the more common French guitars of this period did not have this larger more modern style pin bridge.
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1966 Martin D-28 Dreadnought Brazilian RosewoodVery Nice Brazilian Rosewood D-28 dreadnaught.
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1926 Gibson L-1 Flat Top GuitarThis historically significant Gibson L-1, 12-fret flat top guitar, is the earliest true Gibson flat top guitar on the market today. As well as the one in the best, original condition. And it is a rare example, exhibiting transitional features that place it just barely after the 1926 introduction– yet still a 1926 model (Factory order number: 8406)– but leaning toward a few subsequent, very early changes that would establish Gibson on the flat top scene that Martin had carved out so well.
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1927 Martin 000-18 GuitarLong-scale, 000 sized 12-fret Martins from the late 20’s are among the most sought-after prewar instruments. This was the biggest, loudest Martin made for steel strings in this era, with a 25.4 inch scale length, the same scale length as a 30’s D-45. (The 14-fret 000’s of the 30s and later have a shorter, 24.5 inch scale). In no other instrument will you get the resonance (from thin tops and back), combined with the long scale length. It’s a big pre-war Martin 12-fret. That’s why this instrument is one of the most highly sought-after prewar Martins– and increasingly very difficult to find. But it’s all about one thing: the tone, emanating from a large-bodied 12-fret that plays wonderfully, and loud, even with the most delicate fingerpicking. The bass response here is the best you will ever find in any prewar Martin 12-fret guitar. |
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1937 Martin D-18 GuitarNot 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. | ||
1870 Martin 2-18 GuitarAnother all-original pre-war Martin… but you have to go back a few more wars on this one- to just after the Civil War. This guitar even has its original coffin case–necessary in the days when Martin guitars were shipped out by railroad or wagon train.
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Lester Devoe Flamenco Blanca, NewBrand new, Lester Devoe Flamenco Blanca, custom made (details on request). Lester Devoe needs no introduction to the world’s top flamenco players. His reputation was established decades ago (and his new models are the best ever made, and in huge demand worldwide). His guitars are played by the world’s top performing and recording flamenco artists. This instrument, custom made with a unique Spanish Cypress to add a more robust treble response to the legendary deep, throaty, percussive bass response of the Devoe Blanca, will amaze.
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Martin 1920’s Style 3 UkuleleIn the 1920’s and early 30's, the Hawaiian craze was in full bloom, and ukulele production was crucial to Martin’s success in this period. This is a wonderful, extremely well-preserved example of one of the most ornate of the Martin ukuleles, still in its original Geib case. Although Martin ukes built after 1916 carried no serial number, it’s possible to generally date them by stylistic elements. This Martin Style 3 is from the best era, the golden era, from about 1925 to 1930.
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1870 Martin 2-18 GuitarAnother all-original pre-war Martin… but you have to go back a few more wars on this one- to just after the Civil War. This guitar even has its original coffin case–necessary in the days when Martin guitars were shipped out by railroad or wagon train.
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1937 Martin 0-17HIf 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.) | ||
1967 Martin D-35 GuitarIf there is a mid-60’s Brazilian Rosewood D-35 in better original condition out there than this one– it would have to be new. About as close to mint as you can get, this guitar shows little wear. And the Brazilian on back and sides– wonderful specimens, not the “figured” stuff you see on many later 60’s Martins.
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1943 Martin 00-18 GuitarThis is a prime example of why the pre-war, scalloped brace Martins made in 1943 in particular are the best sounding Martins ever: the ebony truss rod in the neck (instead of a metal truss rod– due to wartime metal rationing), the even more finely scalloped tone bars, and lack of metal tuner post bushings, all contribute to the lightness of build, and the robust tone, resonance and sustain you won’t find on any other Martin (not even the mid-30’s Martins). This guitar, seemingly light as a feather, plays like a dream, and is particularly resonant, and wonderful, for fingerpicking. (Martins from this year, often have a thinner finish, as does this one, which also contributes to its almost Shaker-like simplicity and beauty.)
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1930 Martin 0-18 GuitarAn all-original Martin from the finest era in the company’s history, this 0-18 is unsurpassed for Martin 12-fret Adirondack spruce over Mahogany tone.
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1956 Martin D-28 GuitarA chance to own a great sounding, great playing Brazilian Rosewood D-28, at a fraction of the cost of an all-original example. This D-28 has had some work, and a few issues, but it’s all repaired and ready to play. And the tone is incredible – tone you won’t find in any other mid-50’s D-28.
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1920’s Vega Boston Brazilian Rosewood GuitarThere’s only one way to say it: this lovely Boston-made, X-braced, Brazilian rosewood guitar is every bit as well made and as robust in tone as a late 1920’s Martin 0-28 or 0-21. And it’s the same size as a Martin 0-size (13 ½ inches lower bout).
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1859 Louis Schmidt GuitarThis 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 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 |
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Allison D, Brazilian Rosewood
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1942 Martin 000-18… just in… details coming soon (if not spoken for, it’s going to the Arlington Guitar show, where it will sell fast…)…. We’re calling it the “Tony Rice” prewar 000-18. Is it the "Tony Rice" style slightly enlarged soundhole (done decades ago, and worn and settled in), that gives this guitar its D-18-killing tone? or the ebony truss rod?
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1854 Schmidt & Maul GuitarA rare, wonderfully-preserved, 1854 Schmidt & Maul. It’s signed and dated inside: Louis Schmidt
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1960 Martin 00-28GA 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. | ||
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. | |||
1965 Martin 000-28CA 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.
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1966 Martin 00-28CAnother 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.
In its original hard shell case. No longer available.
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1964 Martin D-28 Dreadnought Brazilian RosewoodThis 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.
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Larson Brothers Guitar, Brazilian RosewoodRobert 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.
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Kohno Model 10 Classical GuitarA 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.
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1943 Martin 0-17Many players find the war year Martins the best “prewar” Martins (of course, in vintage Martin parlance, “prewar” means any Martin made prior to mid-1944, at which time Martin stopping using scalloped braces). Why? Wartime metal shortages meant that Martin did not use metal truss rods. They went back, temporarily, to ebony truss rods, and the result is a lighter weight neck, a more resonant top end of the instrument.
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1907 Martin 0-18 Guitar, Brazilian RosewoodThe grandson of Martin Guitar founder C. F. Martin, Sr., Frank Henry Martin suddenly found himself in control of the family business at the age of 22 when his father died in 1888 and left him unexpectedly in charge. The guitar market was still immature, and the young country was headed into an economic panic in the 1890's, but the young Frank Henry Martin quickly turned a traditional German business close to bankruptcy into a major force in the world of American music.
Along with the young Frank Martin’s now legendary work ethic and marketing acumen, he is credited with personally revamping the Martin model line-up at the turn of the new century. Eschewing the trappings of an executive, Read More & More Photos |
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1926 Martin 00-28 100% crack-free, structurally perfect, this 00-28 is gold standard for 12 fret, pre-war Martin Brazilian Rosewood tone. Refinished to exquisite standards some 40 years ago, this 00-28 has some of the most stunning Brazilian rosewood ever used by Martin. This is the most beautiful, best sounding "Herringbone" prewar 00-28 we've seen. And with mileage on the finish, at the Arlington Guitar Show last fall, several top vintage guitar dealers were not sure if this wasn't the original finish on the guitar, it's that good. It is braced for steel strings. It has held steel strings for years, and not only are there no cracks or stress issues, there is no bellying behind the bridge. |
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1926 Maurer / Larson Brothers GuitarThe Larson Brothers of Chicago began making steel string guitars earlier than did Martin, with their own ideas not tied to the past, and their designs are now considered by both players and collectors to be uniquely beautiful, wonderful for tone, and highly desirable. And they are much more rare guitars than Martin or Gibson– and more ornate than either Gibson or the always conservative Martin. Tone: think of a Martin Brazilian Rosewood 0-sized 12 fret from the 20’s, but add much more sustain. It vibrates in your hands, and because of Larson’s patented “built under tension” design, is thought of by players and collectors as being both unique and generating more sustain than . - Read More & More Photos |
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1920's Larson Brothers GuitarThe Larson Brothers of Chicago never marketed any guitar, throughout their long career, that was marked “Larson”. Their designs were branded by Maurer, Stahl, Prarie State, Stetson, and a few other guitar makers– but never “Larson”. They were also known for making many “off-catalog” guitars, i.e. guitars with combinations of features that varied from the Maurer, Stahl, etc, catalogs, and guitars that were not marked at all with a brand. This guitar is a Larson Bros creation that is not marked at all. It is a custom made instrument–but it has all the typical Larson hallmarks. The tone of this Larson is every bit as wonderful as the Maurer/Larson listed above, indeed it is quite similar, Read More & More Photos |
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1938 Gibson L-00Nothing sounds like a 30’s Gibson L-00. No longer a sleeper on the vintage guitar market–they are sought after by working musicians the world over¬–they are still under-rated on the collector market. These mid-size Gibsons are incredibly resonant. There is nothing like them, from Gibson, and the mid-size Adirondack spruce over mahogany Martins from the mid to late 30’s command more than twice the price.
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1937 Gibson L-00 Guitar
The bridge is original, and has never been off the guitar. We just set the neck, and installed a new bone saddle. The bridge plate is original and in perfect condition. Original firestripe pickguard. Original nut. Original frets. |
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1964 Gibson SG Standard1963 and 1964 were the best years for the legendary early 60's Gibson SG. And 63-64 saw the transition from the Les Paul model to the "Solid Guitar" or SG. Only in 63 and 64 did Gibson use a particularly wide neck on the SG, and that's why players love SG's from these two seminal years.
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1964 Fender Blackface Vibroverb AmplifierThe blackface Vibroverb may be the most sought after Fender amp of all time. Stevie Ray Vaughan is famous for using them. The Vibroverb started as a 2x10 combo with reverb in '63. Then in late '63, Fender decided to switch to a 1x15. This amp has incredible tone. One must hear a black face circuit through an open cabinet JBL 15" speaker to understand the sound. It sounds big and can fill the hall, but it can work as a mid size amp perfect for gigs. Read More & More Photos |
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| 1943 Martin 000-18 A rare, 100% original pre-war Martin. Not a crack anywhere. And though it of course has the 1-11/16 inch nut, it plays remarkably like the wider nut mid-30's 000-18's due to the generous (original) string spacing at the nut. Original finish. Neck has never been re-set. Original Ebony nut, ivory saddle, full height original bridge. Original tuners. Original plastic tuner buttons in great condition (no shrinkage). Lack of tuner ferrels of course (because of war-time metal shortages). Brazilian rosewood bridge, fingerboard, and peghead veneer.
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| 1926 Martin 000-18 Take Martin’s best era for 12-fret guitars, add more scale length, and you get the best of both worlds–that’s what players say about the 000 sized 12-frets, if they can find one, from the mid to late 20’s. This was the biggest, loudest Martin made for steel strings in this era, with a 25.4 inch scale length, the same scale length as a 30’s D-45! (The 14-fret 000’s of the 30s and later have a shorter, 24.5 inch scale). In no other instrument will you get the resonance (from thin tops and back), combined with the long scale length. It’s a big pre-war Martin 12-fret. That’s why this instrument is a highly sought-after prewar Martin.
This crack-free 000-18 has great provenance: acquired from and set up by one of the world’s top Martin experts (in Tuebingen, Germany).
1 7/8” nut. Mahogany back and sides. Adirondack spruce top. Ebony fingerboard. It has original tuners (gear wheel below worm gear, ivoroid buttons), parts, and all original finish.
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1926 Martin 00-18 A steel-string braced 00-18, with finely scalloped braces, and light as a feather. No wonder the tone is exquisite.
This 12-fret gem, from the best era for Martin12-frets, resonates in your hands (say what you want about the 30’s, but the more lightly-built Martins of the 20’s become an extension of your body). The set up is low (4 to 5 64ths), so it plays like a dream.
Original finish throughout. Mahogany back and sides. Adirondack spruce top. Ebony fingerboard. Original tuners/gear wheel below worm gear, ivoroid buttons.
The instrument was acquired from one of North America’s top Martin restoration shops, Folkway Music ...
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1969 Martin D-28 Brazilian Rosewood The last of the Mohicans, made within a few months before Martin stopped using Brazilian Rosewood on its instruments.
Playability, and set-up: it could not be better, and it’s got that 60’s combination of low action, great tuning speed and accuracy from the Grovers, and superb intonation all the way to the wee frets. More than anything, this guitar stands out for its low action combined with robust tone.
Amazingly, the string height at the 12th fret: Just a hair over 2/32” at the high E; and 3/32 at the low E. It plays in our left hand like a dream, fast and fluid…
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| 1956 Gibson LG-2 A wonderful, completely crack-free LG-2. The neck was recently set by Mark Erlewine, the frets dressed, and a new saddle installed ... beautifully set up by ME. 1-11/16 inch nut. Mahogany back and sides. Spruce top. Low action, with no buzzing. Nice sustain, and volume.
With original alligator Gibson chipboard case. No Longer Available
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1933 Gerome Gypsy Jazz Guitar Serial #: 372 (original label inside guitar) When Martin entered into its “Golden Age” for the flat top guitar, the jazz guitar was evolving on a parallel and equally important track. And in Europe, especially France, they had their own ideas about guitar making, and produced some brilliant guitars in this era–including of course the wonderful Selmer gypsy jazz guitar.
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| 1933 Martin 0-18K We converted this Golden Era 12-fret Koa Martin from the original Hawaiian setup ourselves, so it's perfect. The instrument does not have a crack anywhere.
Original tuners. Original bridge plate. Minor nicks and dings on top and back, but with the all Read More & More Photos |
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| 1935 Martin 00-17
This model is something of a sleeper on the Golden Era Martin guitar market, because there are just not that many pre-1939 00-17s available. There are quite a few war-time and post-war 00-17s, but a 00-17 with full pre-war specs, forward shifted X-bracing, and 1 3/4 inch nut, is hard to come by–and they have all the great qualities of 00-sized Golden Era Martins that cost twice or three times the price on the vintage market–for now, as these great pre-war 00-17s will catch up quickly.
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| 1936 Martin 00-18
Probably the best year ever for 14-fret 00-18s.
In the Golden Age of 14-fret Martins from the early 30's until the late 30's, only in 1936 did Martin use Brazilian rosewood (as opposed to ebony) for the fretboard and bridges of 18's, so its tone is considered by many to be the best in the 14 fret, 1-3/4 inch nut era.
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| 1919 Martin 00-21
This big 12-fret Brazilian Rosewood pre-war Martin is properly set up for steel strings, with new replacement ebony pyramid bridge meticulously made to original specs, but compensated for steel string, perfect intonation.
All braces original and in great shape. Original bridge plate. All original finish everywhere.
This guitar has all the tone you'd expect from a pre-war 00 Brazilian Martin. It's had restoration work, all by us, recently, as follows. Read More & More Photos |
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| 1928 Martin 0-21
This
late 20's, 0-21, Brazilian rosewood and Adirondack spruce guitar is
unsurpassed for Martin rosewood tone. Overtones–like standing outside
an open window and hearing marbles bounce down a marble staircase and
roll along a polished wood floor–on an autumn day in Nashville.
The instrument features the original ebony bridge (full height), original tuners, original ivory saddle and nut, original maple bridge plate. Ebony fretboard. Bar frets. Thin, Soft-V neck. Finish is original. There is some overspray on the top, which is confined mainly to below the soundhole (over about the same size area, as what a pickguard would Read More & More Photos |
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| 1946 or 1947 Gibson LG-2
This completely crack-free, Script logo LG-2 is a jewel. A lot of players say the script logo Gibsons from right after the war are better sounding and better-built guitars than the Banner Gibsons. All of the good things about Banners, but with better craftsmanship.
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| 1905 Martin 0-21
This fine Brazilian Rosewood 12-fret Martin is a joy to play, and it’s properly set up for steel strings.
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1886 Martin 0-28
Signed
by Martin factory foreman, underside of top: “6/1886”, this
Instrument is 100% original: finish, bridge, ivory nut, ivory saddle, |
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Larrivee P-09 BZ (Brazilian Rosewood) Year made: 2006 Mint condition. Period. Exceptional Larrivee 12-fret parlor guitar with a straight grained Sitka Spruce top and beautifully figured Brazilian Rosewood back & sides. Part of a very limited run of guitars built of high grade old stock Brazilian rosewood. Abalone rosette and tortoise shell pickguard. Ebony bridge w/ compensated saddle. Mahogany neck w/ microdot inlays, ivoroid bound ebony fingerboard, 1-3/4" nut, 24-1/4" scale, 13-1/4" lower bout, Larrivee logo peghead inlay, chrome tuners w/ebony buttons. Read More & More Photos |
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| 1976 Ramirez, model 1a Flamenco model with tuning pegs Martin established the X-brace as the standard in American guitars, but that was never pre-ordained, or set in stone. The fan-bracing of the Spanish guitar has equally appealing qualities, and is a century-plus long standard that continues to dominate the design of the classical and flamenco guitar.
Not an “Estudio” (student) model, this is the top of line model, 1a Ramirez flamenco. If you’ve never played one of these exquisite cypress Ramirez flamenco guitars–you’ll be surprised at the tone. Read More & More Photos |
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| 1933 Martin 0-17
It’s rare to find a Golden Era Martin in this condition. This wonderful, completely crack-free 14-fret guitar from the 30’s is a gem. It’s one of the very first Martins of any style to have all three: 14 frets clear of body+Martin decal on the front of the peghead + Martin stamp the back of the peghead.
Mahogany top, back and sides, of course, and it has the great, resonant feel and tone of a very lightly built 12-fret, but with more volume, in a 14-fret package. Strong bass response. Read More & More Photos |
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| 1962 Martin D-21
This big booming dreadnaught from one of Martin’s finest eras has everything you’d expect in volume, but it also has that wonderful sustain and ringing treble, and warm round bass, that only an almost-50-year-old Brazilian Rosewood Martin dreadnaught brings.
All original throughout. Small 3 inch finish crack on lower back, stable. Typical B-string/pickguard crack, difficult to see, from bridge to beneath guard. Great original finish with minor dings and some minor pickwear around the soundhole. Ivory nut, full, original bridge and perfect condition maple bridge plate. Read More & More Photos |
