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1929 Martin 00-18 GuitarCrack-free, wonderful 00 12-fret Martin. First year of the Belly bridge.
Coming soon. Enquire: david@vintageamericanguitar.com |
 Heritage Musical Instrument Insurance
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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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1894 C.T. Beitel (Martin) GuitarThis 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.
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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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