A very clean example, this is one of the very last D-18s to get a real Adirondack Spruce top. The lighter colored Engelmann Spruce tops that appear on D-18s scattered through the 1950s and early 1960s are often incorrectly marketed as "Adirondack" or "Red" Spruce. Four piece Adirondack Spruce top, Honduras Mahogany back, sides, and neck, Kluson tuners, replacement Brazilian Rosewood headstock overlay with "C.F. Martin" decal, Original ivory nut, 1 11/16" nut width, Very full neck profile, Metal T-bar neck rod, Ebony fingerboard with pearl dots, Tortoiseshell body binding and butt wedge, Replacement ebony bridge with long saddle and 2 1/8" string spread, Original turtle-oid pickguard, Ebony heelcap, Black backstrip, Replacement Ebony endpin, Replacement bridge pins. Recent neck reset and refret. There is very little in the way of pickmarks and dings and they are very light except for the small area of fingernail wear between the pickguared and the bridge. There is no neck heel strap button, so there is the characteristic light pick marking on either side of the fingerboard from the guitar being played with a strap attachment around the headstock. There are light dings on the top and back of the headstock from the buckle of the strap. The playing action is comfortably low with lots of saddle showing. This guitar will probbably not requiree a neck reset again in our lifetime. The voice is loud, rich, and complex with the sustain and easy response afforded by the postwar tapered method of top brace voicing. An exceptionally nice and clean flatpicking guitar. With new Cedar Creek case.

It's great to have this second 1935 D-18 in the inventory this year. Compared to the last one, this guitar has had only minor repair work and is a much more even-voiced instrument. Honduras Mahogany, Adirondack Spruce top, Original riveted Grover tuners are in the case pocket and smooth new Waverly tuners make every day tuning a breeze, Vertical grain red Brazilian Rosewood headstock overlay with "C.F. Martin" decal, Replacement bone nut, 1 3/4" nut width, Ebony fingerboard with snail shell dots, Black body binding, Original bridge with new ivory saddle, Period-correct bridge pins, Original pickguard, Black stap button installed in neck heel.
Repairs include: Reglue loose pickguard and outside position pickguard crack, Reglue bridge, Reset neck and refret, Repair partial heel crack and touch up finish in the immediate area, Dress the fingerboard by filling in the worn areas of fingernail wear in the lower fret positions, Rebuild underside of fingerboard extension that had been sanded to a tapered condition during a previous pre-neck reset refretting, Light french polish in worn areas of the top in the fingerboard and pickguard areas as a preventive measure against accumulation of grease and dirt. The french polish varnish is removeable with alcohol.
There is some upper arm wear on the top at the lower bout, some minor Levi rivet indentation on the back, and the usual collection of small dings and scrapes. No capo wear on neck. Fine finish crazing from its decades of playing Ukrainian folk music in cold of Canada. This guitar has a large, powerful voice that is without some of the harshness of the last 1935 D-18. The voice is harmonically very rich and musical, the response very even from string to string. This guitar is a real joy to play for flatpicking melodies or as a rhythm instrument in a group. A real find. With original hardshell case that has suffered from the rigors of use.

1944 D-28 (88108) This guitar is the strongest sounding herringbone D-28 that I've ever had in the shop. The owner bought it last summer and had Mark Tossman perform a few refinements to the previous repairs. Beautiful spiderweb figure Brazilian Rosewood back and sides, Fine grain Adirondack Spruce top, Replacement Waverly tuners with ivoroid buttons, Brazilian Rosewood headstock overlay with gold "C.F. Martin" decal, 1 11/16" nut width, Ebony fingerboard wtih diamonds and squares inlay, Ivoroid body binding and heelcap, Herringbone top purfling, Replacement ebony bridge with long saddle and replacement pins, Red turtle-oid pickguard, Zipper backstrip, Strap button in treble side of neck. I'll completely cover the repairs by section:

NECK: The Grover Rotomatic holes were plugged and Waverly tuners installed, the finish repaired over these plugs. Alan Perlman performed the fingerboard plane and refret. An old bone nut is in place.
TOP: An old bridge installation put in a few shallow interior dents and an area of refinishing behind the bridge. Mark Tossman recently made a better new bridge. Pickguard crack glued and cleated.
BACK AND SIDES: Two treble side crack repairs between the waist and corner of the upper bout. Treble side back binding replaced. The #3 back brace was reglued long ago, leaving a few traces of glue. One repaired back crack near the tailblock about 1/2" from the backstrip.
FINISH: There is some pickwear all over the fingerboard and soundhole areas of the top and significant armwear on the top and side at the widest part of the bass-side lower bout. The area just behind the bridge was refinished during an old bridge installation. Mark Tossman gave the top, sides, and back a buffing treatment. The barrel of the neck shows significant checking and wear.

Played for decades in professional Bluegrass bands, this guitar has a very powerful rhythm voice and a thick, dark tonal quality for melody playing. The guitar feels very solid and is quite easy to play. It responds to aggressive playing and will reward with a very strong voice. With recent hardshell case.

The guitar has a stiff, lightweight Engelmann spruce top, Gorgeous red Brazilian Rosewood back and sides, Patent Pending Grover Rotomatic tuners, Brazilian Rosewood headstock overlay with Martin decal, New bone nut (original ivory nut is in the case pocket), 1 11/16" nut width, Generous neck profile, Ebony fingerboard with new pearl dots, Original ebony bridge with long saddle, Original redeye endpin and bridge pins, Original red turtle-oid pickguard, White bindings and heelcap, Chain link backstrip. This guitar has had very little repair, including a neck reset and refret and clean reinstallation of the loose bridge. There are two small pickguard cracks emrerging from the pickguard on the soundhole side. I installed the strap button on the treble side of the heel, as the original owner played freehand fingerstyle. The original owner kept this guitar in extremely clean condition. This guitar has a powerful, bright cutting tone that is great for playing bluegrass music. It will cut through in any jam session and projects clearly through microphones on stage. With hardsell case.

Brazilian Rosewood, Sitka Spruce, Original Kluson rib-back tuners, Brazilian Rosewood headstock overlay with "C.F. Martin" decal, Original ivory nut, 1 11/16" nut width, Nice full profile neck, Ebony fingerbaord with pearl dots, Ivoroid binding and butt wedge, Line type purfling, Ebony bridge with original ivory saddle, Original red turtle-oid pickguard, Chain link backstrip, Redeye endpin and bridge pins. Old repairs are: Output jack for DeArmond pickup that was used for years, 4" splinted crack on treble side of top near bottom, Top overspray as part of the crack repair, Neck overspray, probably to clean up capo marks that are not visible any more. Well-done slipped back neck reset, given high praise by Hideo Kamimoto when I gave him the guitar to reglue the loose bridge. I purchased this guitar from the nephew of the original owner who purchased it in Seattle and carefully used it in country bands for the rest of his life in that area. The guitar was very well cared for with no cracks or dings, only a few soundhole indentations from the DeArmond pickup and 2 small scratches on the bass side of the soundhole. Only the scratches from his metal tipped bolo tie are visible at the bass side waist area of the back and the lower edge of that side. It never had a strap button in the neck heel, as he tied a strap between the first and second pairs of tuners. This guitar has a great big sound that is perfect for bluegrass playing. With hardshell case.

A really great example of a wartime D-18. Adirondack Spruce top, Mahogany back, sides, and neck, Dirrect replacement Waverly tuners currently on the guitar, Brazilian Rosewood headstock overlay, Ivory nut, 1 11/16" nut width, Ebony fingerboard with Snailshell dots,Tortoiseshell binding, Line type purfling and rosette, Replacement ebony bridge with ivory saddle, Replacement celluloid pickguard, Replacement endpin and bridge pins, Black strap button added to treble side of neck heel, Ebony heelcap. REPAIRS TO TOP: 4 cracks below the bridge including one cross-grain, 1" compression cracks on upperbout corner of top, Overspray to pickwear areas on either side of fingerboard and below the pickguard, New Maple bridge plate. REPAIRS TO BACK AND SIDES: No cracks at all. Some new finish applied to areas of finish chipping on sies and part of back. Lots of belt buckle rash on the back. REPAIRS TO NECK: The neck was reset with hide glue by Mark Tossman, No cracks or breaks, Finish worn to wood in lower fret areas. This is the finest sounding and playing wartime D-18 that I've had in the shop in the last 10 or 12 years. It has plenty of volume, and even voice, and a vintage tone that is perfect for flatpicking or bluegrass playing. With black Martin hardshell thermoplastic case.

This is my favorite sounding herringbone D-28 that I've ever had come through the shop. If it had the large neck of the late 1938 or early 1939 D-28s, I'd keep it at home and never sell it. 100% vertical grain Brazilian Rosewood back and sides, Beautifully quartered Adirondack Spruce top with lots of cross-grain silking, Original Kluson tuners wtih metal buttons, Vertical grain Brazilian Rosewood headstock overlay with "C.F. Martin" decal, 1 11/16" nut width, Ivory nut, Ebony fingerboard with diamonds and squares inlay, Ivoroid binding, butt wedge, and heelcap, Herringbone top purfling, Replacement bridge with long bone saddle, Five original bridge pins and a similar sixth from the same period, Original red turtle-oid pickguard, Zipper backstrip, Original (?) endpin, Original finish on top, back, sides, and headstock. The old repairs are: Replacement bridge, Filling and redrilling endpin output jack for correct endpin, Old (1970s?) neck reset cracked the neck heel and it was finished over in a dark brown color to obscure the repaired insert of another filling piece in the strap button area, Neck barrel refinished in coventional manner from neck heel up to the nut area, Two top cracks repaired, Small Maple bridge plate cap to give a good bearing surface for the string balls. Recently I had Alan Perlman reset the neck and refret the guitar as well as cleaning up the accumulated dirt in the larger repaired top crack near the center line. The relatively slim neck profile reminds me of some other Martin guitars from 1942 that have a surprisingly fast modern feel. The response is quite easy and the colorful, bright tone all over the neck is magnificent. This is about as versatile a prewar D-28 as you're ever likely to play. If it were my guitar to keep, I would have the opaque brown finish in the heel area removed and replaced with conventional finish, revealing the well-executed crack repair. With the original VERY worn case.

A strong sounding example with one of the Engelmann Spruce tops that were common to a lot 18 style guitars that year. Vertical grain red Brazilian Rosewood back and sides, Creamy amber colored Engelmann Spruce top, Original Kluson rib backed tuners with oval metal buttons, Vertical grain Brazilian Rosewood headstock overlay with "C.F Martin" gold decal, New Bone nut (original TOTALLY used up ivory nut is in the case pocket), 1 11/16" nut width, Ebony fingerboard with white pearl dots, Ivoroid body binding and heelcap, Cross-grain ivoroid top edge purfling, Ivoroid rosette, Ebony bridge with replacement bone saddle, Original dark red turtle-oid pickguard (two B string shrinkage cracks cracks and a couple of small outer edge pickguard shrinkage cracks), Chain link backstrip, Ivoroid butt wedge, Original redeye endpin and bridge pins. Like many 1950s D-28s, this guitar spent some period of time with an installed DeArmond soundhole pickup. The screwholes in the rosette have been prfessionally filled and the output jack hole plugged. Some finish has been applied to the bare spots on the treble side of the soundhole. There are still shallow impressions of the pickup on either side of the soundhole. The bridge has been shaved a little, but not too much. This guitar has a recent neck reset and refret (some original frets are also in the case pocket) and plays straight and true. There are scattered pickmarks and dings over much of the top, but no bare spots aside from the repaired treble side of soundhole. Having come from the moist environment of Portland, there are small spots of finish lifts near the endpin area (strap ding-age?) and some crackled finish lifting on the face of the headstock. The playing action is low enough for easy flatpicking play. I would get a taller saddle and flog Bluegrass rhythm time on it, but that's me. This is a good strong D-28. With new Martin Geib style case.

The flatpicker's secret weapon, the D-21 combines the quiet stylings of the D-18 with a Brazilian Rosewood body to give a big sound at a much more reasonable price than an equivalent D-28. Reddish orange fine figure Brazilian Rosewood back and sides with matching headstock overlay, Fine grain Sitka Spruce top with dark cedar color, Grover rotomatic tuners, 1 11/16" nut width, No diamond neck volute, Bone nut, Brazilian Rosewood fingerboard, Pearl fingerboard inlay, Tortoiseshell binding and butt wedge, Line type purfling and rosette, Replacement Rosewood bridge, Small Maple bridge plate, Red turtle-oid pickguard, Marquetry backstrip, Black endpin with white dot, Replacement ebony Gurian bridge pins with pearl dots. This replacement bridge came after a larger inappropriate replacement bridge from the distant past. Strap button added in the "Frank Ford position" of the bass side of the side as it meets the neck. The strap button is fully supported by the neck block. Fine pattern finish crazing all over the top, dings and scratches from being played. A grat percussive, bright sounding guitar that really carries the day in a Bluegrass group or flatpciking session. With hardshell case.

This guitar is from the period just before the change in bracing to accept steel string tension, so it is strung with silk and steel strings. Vertical grain Brazilian Rosewood, Adirondack Spruce top, Original strip tuners with engraved plates, Brazilian Rosewood headstock overlay, 1 7/8" nut width, diamonds and squares inlay, Ivoroid body binding and heelcap, Herringbone top purfling, Replacement ebony pyramid bridge, A new Martin style pickguard replaces the awful red firestripe Regal pickguard that was inappropriately applied in the bad old days, Zipper backstrip, New redeye endpn and bridge pins. Other old repairs include a neck reset, an internal spruce patch in the bridge plate area and new bridge plate, and an old crack repair at the lower bout area of the top. The entire guitar has been oversprayed. Alan Perlman reseated the bar frets and levelled them. Alan also repaired two back cracks. The guitar plays very well for fingerstyle play, Norman Blake style flatpicking, or Django swing playing. A nice player's guitar. With 1970s hardhsell case.

A great sounding guitar, one of the first 25 of the original frun of 91 Prewar D-45s. Repairs include: Top refinish, Overspray on neck, back, and sides, Reglue of 3 top braces, Slipped back neck reset, Two small side cracks and 2 back cracks reglued, Recent refret, Replaced third abalone hexagon fingerboard inlay, Replaced endpin. In spit eof the oversize bridgeplate and top refinish, this is a fantastic sounding guitar. I have personally played 5 prewar D-45s and this one would be in the top 3 for me.

A great sounding and playing D-28 that has had a few repairs. Brazilian Rosewood, Sitka Spruce, Original ribbed-back Super Kuson tuners, Brazilian Rosewood headstock overlay with Martin decal, 1 11/16" nut width, Replacement bone nut, Ebony fingerboard with pearl dots shows a little wear at frets 2 and 3, Ebony bridge shaved down a little, Original ivory saddle, Filled bolt holes on either side of bridge, Replacement fossil ivory bridge pins, Original pickguard, Pickwear on top, Belt buckle rash on back, Original endpin. A strap button hole in the neck heel has been filled and the strap button position was relocated. The voice is very strong with outstanding chordal integration, very good single string separation, toneful bass sttrings, and fat sounding treble strings. This is a great multipurpose guitar that performs particularly well in Bluegrass music. With Martin plastic case.

Brazilian Rosewood, Adirondack Spruce top, Original Kluson tuners, Brazilian rosewood headstock overlay with Martin decal, 1-11/16" nut width, Diamonds and Squares fignerboard inlay, V-shape neck profile, Refretted, Herringbone top purfling, Zigzag backstrip, Ivoroid body binding, New bridge, original pickguard. An astounding tone with volume to spare. With original case.

Mahogany, Rare version with Adirondack Spruce top, Gotoh direct replacements of the original tuners, Oversprayed front of headstock, all other body parts refinished, Original ivory nut, 1-11/16" nut width, Brazilian Rosewood fingerboard with pearl dots, Brazilian Rosewood bridge with original long ivory saddle, 2-3/16" string spacing at bridge, Replacement pickguard cut to original shape, Brazilian Rosewood heelcap, Tortoishell plastic body binding. Not the prettiest guitar at the dog show, but a great sounding bluegrass and flatpick guitar with the uncommon early '50s Adirondack Spruce tone and volume.

Mahogany, Adironack Spruce top. New Waverly tuners. New nut. Refret about 6 months ago. Some replaced fingerboard dots. Headstock partial break repair, back of neck refinished. Much of the body and top has either refinished spots or overspray (mostly original finish on top between neck and bridge). New bridge with long saddle. A great playing D-18 owned by a professional country musician who studied Clarence White's Bluegrass style - a precursor to the late Telecaster style. This one makes a fine combination lead and rhythm guitar.

Mahogany, Adirondack Spruce, Waverly tuners, Completely refinished, Many crack repairs, New fingerboard, New bridge, Original pickguard, Period bridge pins. Fantastic sound, the strongest D-18 that I've ever had in the shop.