Created by Folk and Roots Music Photographer Robert Corwin
Featuring Instruments Exclusively from the Phyllis, Jerry, and Robert
"perfecting the art of 'guitar porn' ...
This site is an amazing labor-of-love, quite possibly the most in-depth,
photo-intensive look ever at old, pre-war (and in many cases antique)
Martin guitars … All online and for free."
The Fretboard Journal
"Without any hesitation I can say that in my opinion, the website that
Robert has created is the most valuable source of information on Early
Martin Guitars in existence today, in or out of print."
Bill Cappell, Early Martin Researcher
Robert's photographs can also be seen in the books "Martin Guitars, a
and "Martin Guitars, a Technical Reference" by Johnston, Boak &
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A Note About this Web Site...
I've made the choice to present this information on the web for free,
rather than publish a printed book, for a number of compelling reasons:
First and foremost, to make a comprehensive resource available to all of
...regardless of your means,
...at any time, in any place,
...where ever in the world you are,
...even on your smartphone.
Publishing on the web insures that the information presented can always be
state of the art. It has allowed me to be the first to make crucial
information available, not withholding information until a publication
date, or missing out on including information obtained after the book is
published, which can make any book obsolete. I may at some time
decide to publish a book as well, but have no intention to replace these
free web sites to impress or profit from a book on glossy paper.
This project was never about the money, and fortunately I've been able to
fund this project myself and share the results without charging.
Making smart choices has allowed me to assemble a humbling and unrivaled
collection of instruments illustrating the evolution of the contemporary
flat top steel string guitar in America, from C.F. Martin's first
creations of the 1830's, along with their predecessors and contemporaries,
through the innovations of the teens and the treasures of the "pre-war"
"Golden Era" of the 1930's and '40s, all created during Franks Henry
Martin's reign. Having a wide sample of instruments in-hand,
including the largest collection of "pre-partnership" Martins I know of,
and including the most influential transitional ones, has allowed me to
devote several years of my life to careful study and research, to produce
thousands of photos, including hundreds that allow us to virtually walk
through the interiors of the instruments, to take careful measurements,
and to demonstrate incontrovertible conclusions based on direct
C.F. Martin produced exquisite guitars, and I've been fortunate to
assemble some of the most beautiful, but I realized early on that any
serious scholarly research must also take seriously Martin's "bread and
butter", the more typical less expensive examples, rather than fall into
the trap of relying on the "eye candy" of less typical "presentation
guitars" merely because they impress. While more of the less
expensive guitars were produced, the fancier guitars were more likely to
I've chosen to apply my 48+ years of experience photographing musicians,
as the sole President's Fellow in Photography and Design at Rhode Island
School of Design, and as a professional designer with a background in
publishing, to set a new, higher bar for graphic, vivid detail photos that
I'm flattered to find have been emulated already, sometimes in all too
obvious ways. Producing the photos myself has allowed me to avoid
the outside industry funding used to help other projects cover the high
cost of paying a commercial photographer, keeping this project free of
While I'm blessed to have nearly all of the foremost experts on vintage
Martin guitars as good friends, and I owe thanks to all of them, I've been
careful not to put myself in a position where I owe anything to any person
or commercial entity, that might interfere with my objectivity, or keep me
from presenting information fully, so I can let the chips fall where they
may, not having to worry about who may be offended by my findings, or who
will "look good".
contains 65 chapters. www.vintagemartin.com
is 107 chapters, and growing. A book would not allow nearly as much
detail, nearly so many photos., or the large number of free full-size
And we're just getting started!
Don't believe that producing a web site rather than a book is a compromise
in any way. I make few compromises.
More than simply a free e-book, I believe this project will one day be
recognized as a unique example of creating in public, an inclusive
personal process I expect will become commonplace in the future.
This web site will always be a work in progress. Not all sections
are complete - some have not been started yet. Not all links
work. I've just reorganized the entire web site, and the pieces
continue to come together, but there are still holes and place
holders. Feel free to enjoy what's here, and check back for further
additions, refinements, and corrections as you wish. I look forward
to adding specific thanks to the many friends and experts who have helped
make this possible, along with links to other helpful resources, as well
as an index.
No project is perfect. Perhaps my biggest asset is having you
as partners, in daily communication, alerting me to new information, and
providing an unprecedented team of proofreaders, rather than have me grit
my teeth over a newly published book filled with typos that will annoy
forever. :) Thanks!
I thought you might want to take advantage of what we have so far.
Please let me know what you think.
December 1, 2014
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One of the most gratifying aspects of this project has come in the form of
notes received from luthiers I admire telling me that the site has
provided information useful for the restoration or repair of vintage
instruments or the building of innovative new ones.
"The internet is another good source of reference. One website with
good close up photos of vintage instruments... that I particularly like is
It is possible to extrapolate measurements from some of these photos if
you already know the dimensions of other details in the photo. That
type of thing can be very useful..."
Guild of American Luthiers, 2011 Convention Keynote Lecture by Joe
Konkoly, Head of repair at Elderly Instruments.
Please let me know how the site may be more useful in the future.
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Start here if you're looking for help
Identifying C. F. Martin Acoustic Guitars
A Martin Timeline
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~ Download the above headstock image as a 1680 pixel Screensaver
free for your personal use as my gift to you! ~
~ Click on the headstock image below and download a hi-res file to create
a high quality 11" x 14" photographic print, suitable for framing, free
for your personal use as my gift to you! ~
~ Download any of nineteen full size 1:1 diagrams
with precise measurements of fifteen important early Martin, Panormo,
Recio of Cadiz, Schmidt & Maul guitars,
a 1917 Martin/Ditson Standard "baby Dreadnaught", a 1929 12 fret 000-28,
an early 1930 OM-28, and a 1944 000-18, all free for your personal use. ~
` ` ` ` ` ` ` ` ` ` ` ` ` ` ` `
Proper Permits for Shipping Vintage Instruments Overseas from the USA
The Convention on International Trade in Endangered Species of Wild Fauna
and Flora (CITES)
and the Endangered Species Act (ESA)
~ THE EVOLUTION OF THE MARTIN GUITAR ~
' ' ' ' ' ' ' ' '
' ' ' ' ' ' '
to learn about
~ THE EVOLUTION OF THE EARLY AMERICAN GUITAR ~
As Developed In
The Nineteenth Century
~ By C. F. Martin and His Contemporaries ~
visit my companion web site
' ' ' ' ' ' ' ' '
' ' ' ' ' ' '
~ Defining the
Acoustic Guitar in
the 20th Century ~
~ PART 1 ~
~ DEVELOPING THE CONTEMPORARY STEEL STRING GUITAR ~
1902 00-42S / Style 45 Prototype
In 1902, three custom ordered Style 42 guitars were built
with pearl inlay added to the border of the sides and
back, as well as having an inlaid "fern"
design added to the peghead. The first of these had
a fancy inlaid pickguard of the style common on the higher
end Martin mandolins of the time, and an
intricate vine pattern inlaid on the fretboard.
The example below was the first to have the more
prototypical fingerboard inlays of the type seen in 1904
when this design was introduced as the C. F. Martin Style
on Style 45
on p. 2 & 28 of Johnston, Boak & Longworth,
"Martin Guitars, a Technical Reference"
Subject of full page article by George Gruhn and Walter
Carter on page 42 of May, 2008 Vintage Guitar Magazine
1902 guitar features the first version of the Style 45
peghead inlay, which is sometimes referred to as the
“fern” pattern. Martin pictured a
Style 45 guitar with this inlay in the 1904 catalog and
the same photo appeared as late as the 1909 catalog, but
Martin had actually begun using
a simpler pattern, known today as the “torch,” by 1905,
and that version lasted until about 1927."
"The initial designation – Style 42 special – understated
just how special Style 45 Martins would become. In the
pre-World War II years, it was
only surpassed briefly by the OM-45 Deluxe (produced only
in 1930), which featured additional inlays in the
pickguard and bridge. In today’s
vintage market, Style 45s follow the same pattern as they
did in their original listings."
"Although Martin has offered models in recent years with
higher model numbers than Style 45, along with many
limited-edition, commemorative or artist
models with fancier appointments, Style 45 remains today
as it was when this “pre-45” guitar helped to get the
Style 45 ball rolling – simply Martin’s top style."
Martin 1902 000-21 10
String / Martin Grows in Size to a 000
I look for important transitional guitars for this web site
to illustrate the development of the steel string guitar,
and this is an essential one. As a harp guitar, or more
accurately, a "10 string 000-21" ( Martin only used the term
"Harp guitar" to
refer to instruments with 2 complete necks )
this is a curiosity, although a fabulous one.
More importantly, this instrument plays an integral part in
illustrating the history of the 000 size Martin. This
guitar was the first 10 string 000-21
designated as a 000, making it the second
Martin of any type ever designated as a "000"
January 1901, Martin built an "Extra Large Style 21" with a
15" wide body that was 5'16" deeper than what became a
standard 000, followed by an extra large 10 string
guitar. In 1902, Martin built one 9 string
00-21, and shortly after, built a 10 string 000-28 followed
by two 10 string 000-21, apparently believing that the 000
size body was necessary to accommodate the wider bridge
needed for a 10 string guitar.
The 000 was slow to catch on as a standard size.
In 1903, Martin built a single "standard" 000-21, their
first six string 000, and three more were built in 1904.
From 1902 to 1910, Martin built only 23 "000" size guitars.
Ten were "harp guitars". In 1907 and 1908, the only 000
built was a 000-45 Harp guitar.
In total, only 13 standard six string "000" size guitars
were built in these first nine years.
Illustrated on p.84 of Washburn & Johnston, "Martin
Guitars: An Illustrated Celebration of America's Premier
Subject of a full page article by Richard Johnston on page
106 of July, 1997 Acoustic Guitar Magazine
1905 00-42S with Pearl Fingerboard
singular original example disproves the myth
that C.F. Martin, unlike their competitors,
never lavishly embellished their
fingerboards with pearl.
Entire fingerboard made of genuine white
pearl, with intensely designed abalone on
frets five, seven, nine, and twelve.
Subject of a full page article by George
Gruhn and Walter Carter on page 42 of
February, 2009 issue of "Vintage Guitar
Responding to the "Hawaiian Craze" with Martin's First
Production Steel String Guitars
Southern California Music Company
1916 Southern California Music "Rolando" Model 1350
No serial number
of six samples made for the California Musical Instrument
Company, the first Hawaiian Guitars made by the Martin
To meet the demands of the "Hawaiian Craze", Martin built
three models of Hawaiian guitars with koa wood supplied by
SoCal. The first samples were made with spruce
tops. The first batch of production guitars used koa
for the tops as well, and introduced specially designated
serial numbers taking into account the early samples
1916 Southern California Music "Nunes" Model 1400
The first production "Nunes"
Model 1400 made for the Southern
California Music Company in
on p.113 of Washburn & Johnston, "Martin Guitars: An Illustrated
Celebration of America's Premier Guitarmaker"
Illustrated on p. 247 of Johnston, Boak & Longworth, "Martin
Guitars, a Technical Reference"
1916 Southern California Music "Rolando" Model
Serial number 181
Martin Develops the Dreadnaught
1916 Ditson Style 3 Ukulele
Ditson Company operated large stores which
ordered many standard Martin models as well as
special models designed specifically for
Ditson. The Ditson stamp was applied to
both the regular Martin models and the special
Martin used the Dreadnaught shape on ukuleles
and tipples as well as guitars in three sizes,
defined by Model designations with one, two,
or three digits, and three levels of trim,
designated as 1, 2, and 3. The
Dreadnaught guitars were Hawaiian guitars
which interestingly used fan bracing to
support their steel strings, as did the
Hawaiian guitars built for the Southern
California Music Company.
Ditson Hawaiian Guitars
Besides the standard range of Ditson Hawaiian Guitars,
Martin produced a small number of the distinctively shaped
Ditson Standard Guitars with the appointments of typical
Martin Styles 18, 21, 28, 30, 42, and 45.
This is one of 26 Ditson Standard Style 21.
Martin 1917 Ditson DS-21 (1-21)
1916 Ditson Model 11
With the tremendous demand in production in 1916, Martin
sourced Chicago style bridges for the early Ditson guitars.
1916 Ditson Model 33
1919 Ditson 3/4 Size Terz Guitar
One of two 3/4 size guitars made
for the Ditson Company that were
likely the prototype for the
"Travel Guitars" of today.
Martin Learns from the Teachers
1916 Foden Special Models C, D and E
William Foden ordered guitars with several levels of trim for his
The Style E combines the fretboard extension with no pearl of a Style 40
with the inlays on the backs and sides of a Style 45. The Style E
also used the same "propeller" fingerboard inlay found on the SoCal
It is said that Foden was the first to request 20 fret necks for his
guitars, but I've also noticed several Martins made in 1902 with 20 fret
Martin used single ring rosettes for the Foden guitars similar to those
used for Ditson, Wurlitzer, and other private label guitars, but not on
the top of the line Style E.
Martin 1922 Vahdah Olcott-Bickford Style
Vahdah Olcott-Bickford requested the finest Style 45 level
material in the guitars she ordered for her students, but
shunned ostentation, ordering guitars with simple straight
line borders and no fingerboard inlays.
Pearl Makes the Transition from the "Ladies Parlor" to the
1918 Ditson 000-42
In 1918 Martin produced the first two 000
size guitars with their top of the line 42 style trim.
From the earliest years, Martin used fancy pearl inlays to adorn
"ladies size"parlor guitars. The idea of adding pearl to a
"man's" guitar must have seemed unthinkable at the time.
The 1918 000-42 illustrated here was built for the Ditson Company as a
steel string Hawaiian guitar with fan bracing, the same build as a
"Ditson Dreadnaught". This guitar ends the myth that steel
strings were never meant to be used with a pyramid bridge, never
mind one made of ivory!
This guitar is an early example of a Martin with a
pickguard. The early guards were inlaid into the top.
Illustrated on p. 41 of Johnston, Boak & Longworth "Martin
Guitars, a Technical Reference"
An Early First Appearance of Western Spruce
In 1945 Martin began to have difficulty sourcing suitable
Eastern red spruce of suitable size for guitar tops and
switched to the huge Western Sitka trees for top wood.
It is little known, however, that in 1919 Martin
experimented with the use of what was then referred to as
"airplane spruce" for guitar tops. By the time World
War II ended in November, 1918, production of Sitka spruce
for aircraft by the Spruce Production Division of the Army
had reached 10,000 sq. ft. per month, and left the newly
built infrastructure and 1 billion board feet of Spruce.
Illustrated on p. 80 of Johnston, Boak & Longworth,
"Martin Guitars, a Technical Reference"
Martin Ships it's First Production Steel String "Spanish"
1922 2-17 With Steel Strings
The first Martin guitars to ship with steel strings were the Hawaiian
guitars built for the Ditson and Southern California Music Companies.
In 1922, Martin built the all mahogany model 2-17 with steel strings, the
first production steel string Martins for standard "Spanish" style
Martin began the process of shipping their standard guitars with steel
strings as standard equipment with two Martin Style 2-17 guitars, #16879
and #16887, shipped to the John Wanamaker Department Store in Philadelphia
on March 27, 1922.
This guitar is #16879.
Martin's Experiments Resonate
1930 Wm. L. Lange Paramount Style L Hawaiian Six String
and Tenor Resonator Guitars
Martin made approximately 32 resonator guitars in 1930 with the Paramount
name for William Lange.
The Paramount Guitar was offered in three styles, all built with a double
Regular Spanish Guitar, a Hawaiian Steel Guitar, and a Tenor Guitar
These guitars varied greatly, some natural top and some shaded tops, some
with pickguards and some without, some with soundholes, but most without.
The Tenor and Hawaiian Styles both had a moveable bridge and fixed
tailpiece. The Spanish Style guitar had a permanent ebony bridge
with ivory saddle.
Martin Enters the Market for Catalog Guitars
Martin 1030 Montgomery Wards 0-17S
While Gibson and other large makers built many Recording
King and other guitars for the lucrative Montgomery Ward
Catalog market, Martin built only a few small batches of
this distinctive model, the 0-17S, for Montgomery Ward
Developing the Contemporary 14 Fret Guitar
The Orchestra Model
Martin 1929 000-28 - 12 fret
Martin considered the 12 fret design to have a superior
sound, but understood the practicality of the 14 fret
1929 00-28 G.P.
Martin built a small number of transitional guitars, such as
this "00-28 G.P.", for "geared pegs", which still had a 12
fret body, but had the solid style headstock and "banjo
style tuners" of the OM. Pickguards and "belly
bridges" were not used until 1930, but many Martins built
before 1930 sat in the factory unsold, unfinished, "in the
white", due to the slow economy of the time,
and were given a tortoise Celluloid pickguard
and "belly bridge" before leaving the factory
in the following years.
1929 Carl Fischer Model Tenor Guitar
Credit for the 14 fret Martin design has been given
to Perry Bechtel, the buyer for the Cable Music Company in
Atlanta who requested the 14 fret OM guitar. In fact,
it was Al Esposito of the Carl Fischer Store in New York
City who first requested a 14 fret design for tenor guitars
as suggested by two local orchestra leaders to appeal to
banjo players. Mr. Bechtel's contribution consisted
primarily of going fishing with Mr. Martin. When
Bechtel showed up to meet Mr. Martin for their fishing trip,
he noticed the Fischer Model tenor guitars on the factory
floor, and asked if the same could be done with six strings
to give greater access higher on the neck.
1930 OM-18P Plectrum Guitar
To appeal to long neck banjo players, Martin also began to produce a long
neck plectrum guitar in the OM Style.
on the Television Show "Pawn Stars"
The first few OM guitars built for Cable Piano in 1929 and
early 1930 had a pyramid bridge before the belly bridge,
generally associated with the contemporary flat top guitar,
was used. The small teardrop pickguard and banjo style
tuners were soon replaced by a larger pickguard and modern
1932 O-18 and 1933 0-17 Model 32
With the "Model 32" 0-17 and 0-18, Martin
extended the 14 fret body further into the
Taking Ornamentation to the Next Level
1930 OM-45 DeLuxe
Featured in an article by Joe Konkoly
In 1930, Martin built only about a dozen "DeLuxe" style 45 guitars, the
highest level production Martin to ever be made, before shortages of the
high quality materials forced Martin to cancel all future orders after
This example was built in September 25, 1930.
Martin Responds to the Call for
the Archtop Guitar
Martin Archtop Guitars
1931 C-1 Prototype for Martin's First Archtop Guitar
Serial number 47368
Martin 1933 R-18
Martin 1932 C-2 12 String
Martin's first 12 String archtop guitar.
Serial number 50223
Illustrated on p. 172 of Johnston, Boak & Longworth,
"Martin Guitars, a Technical Reference"
Illustrated on p. 193 of Carter, "Acoustic Guitars and Other
Martin 1942 F1 - last archtop
Serial number 82431
Martin 1942 R-18
Serial number 82855
Martin's interest in archtop guitars was relatively short lived, beginning
with the 15" carved top, round hole C-1 above, #47368, and five other
examples, the first archtop guitars ever to grace the work tables at
Martin, on June 20, 1931.
By November of 1932, the C-1 was first built with F-holes as it's former
position in the lineup was filled by the slightly smaller 14 3/8" pressed
top roundhole R-18.
By the end of 1933, the R-18 had also become an "F" hole guitar.
By mid-1936, the R-18 was also built with a carved top.
The F-1 above, #82431,
was the first of the last
small batch of archtop guitars ever to be built in Martin's North Street
Factory, stamped on September 18 of 1942.
Before building flat top 12 string guitars in the 1960's, Martin built
only six individual 12 string guitars, three flat tops and three arch
The 12 string above, #50223, was the first 12 string arch top ever built
Responding to the
Limits of War
Martin 1939 D-28
1944 D-18 - scalloped, red spruce
These examples illustrate the changes necessitated by shortages of
materials and personnel during the war years, as well as an effort to
build stronger guitars to handle heavier strings. Due to strictly
enforced limits to the amount of metal to be used, the neck reinforcements
in war time Martins returned from metal to ebony rods similar to those
used decades earlier, necessitating a bulkier but lighter weight neck with
a different feel. The tuners were redesigned to use significantly
less metal, and the nut material changed from ivory to ebony, all of which
contributed to a change in balance as the "top end" of the guitar became
lighter in weight.
Due to a change in finish formulations, many of the guitars produced in
1944 developed a cloudy problematic appearance, necessitating in many
examples being oversprayed.
On February 24, 1943, Martin built a batch of 000-42 guitars, the last
batch of pearl inlaid Style 40, 42, or 45 Martins. With the last
batch of D-28 in 1945 Martin exhausted their supply of fingerboard inlays
and began using dots. With the first batch of D-28 in 1947, Martin
exhauted their supply of Germand made herringbone marquetry, and
instituted the use on D-28 of the straight line borders first used on
Martin 1946 000-18
When old guitars became "vintage guitars", players looked more carefully
and noticed the "scalloped" top braces of pre-war Martins, shaved to form
peaks and valleys, as opposed to the earlier "straight
braces". More recently, folks have noticed that "War Year"
Martins have transitional "tapered" braces.
Looking more closely, I've discovered that guitars built in 1945 are
distinctively different from those of other war years, with their braces
considerably more tapered, creating a signature loud and "punchy"
sound. The photos above illustrate the slender braces of 1945 in
constrast to the heavier, rounder braces of 1946. I would not be
surprised if the more highly tapered braces have even less mass than the
scalloped braces of preceding years.
While Martin produced flat top guitars with DeArmond pickups
in the 1950's, in September of 1961 Martin made their first
freshly designed "thin body" electric guitars, starting with
three prototypical examples of each of three variations, of
which this top of the line, two pickup, double cutaway F-65
one. In November of 1961, Martin produced the first
production run of 12 of each style, of which this single
cutaway, single pickup F-50 #180644
one, before larger production of batches of 24 each began in
~ PART 2 ~
~ FIRST FEATURES ~
The Head of the Class
A Stamp of Approval
and Other Hidden Treasures
The End Is
The Spanish Foot
Feel Like a Heel
A Bridge to Somewhere
in the Saddle
a Pin Drop
to Fret About
Does Size Matter?
The Shape of Things to Come
We've Got Your Number
Marks the Spot
at Home Plate
A Final Nail in the Coffin
~ LATER DEVELOPMENTS ~
The Tenor of the Times
The Orchestra Model
Double Your Fun
~ EARLY C. F. MARTIN INSTRUMENTS ~
Before the Styles Were Defined
Martin Stauffer Guitar
Early C.F. Martin Built Hudson
Street Viennese Style Guitar
Renaissance Style Guitar
Martin & Coupa Spanish
Martin & Coupa Tigerwood
Transitional Viennese/Spanish Style
Martin & Coupa Guitar
Martin Spanish Style Guitar
Martin 1840's Alternate X
Brace Spanish Style Guitar
Martin Ivory Fingerboard
Stauffer Style Guitar
Early Hybrid X Braced Spanish
Martin & Coupa Alternate X
Martin X Braced Spanish
Martin Ebonized Neck
Martin Mahogany Size 3
Martin Pearl Rosette
and Pendant Guitar
~ MARTIN STYLES ~
As They've Been Defined Since the 1850's
Styles 15, 17 & 18
Styles 20, 21 & 22
Styles 23 & 24
Styles 26 & 28
Styles 27, 30 & 34
Styles 40 & 42
Style 45 DeLuxe
Martin Archtop Guitars
Martin Tenor Banjo
~ MARTINS SPECIALLY MADE FOR OTHER FIRMS ~
Bacon Banjo Company 0-21
S.S. Stewart 2-17 Special
Oliver Ditson Company Style 2-17,
Style 1-21, Style 2, Style 11, Style 22, Style 33, Style 111, and 3/4
Carl Fischer Model Special Tenor
William Foden "Foden Special" Models C, D,
Gaskin's Harp Mandolin
"Wolverine" 2-17 and 0-18
Wm. L. Lange Paramount Style L
Six String and Tenor Resonator Guitars
Montgomery Wards 0-17S
Vadah Olcott-Bickford Style 0-44
Perlburg & Halpin
Southern California Music
Company 1350 and 1500 Samples, "Nunes" Styles 1350 & 1400 and
"Rolando" Style 1500
Rudolph Wurlitzer Styles 2087,
2088, and 2092
Bitting Special Mandolin
Briggs Special Mandolin
Ditson Style A Mandolin
Ditson Standard Style 1
and Dreadnaught Styles 1, 2, and 3 Ukuleles
P. H. Louis Brachet Martin Zither
~ CHECKING OUT THE COMPETITION ~
Styles 1, 2, and 6 for William Hall & Son and Firth, Pond &
Joseph Bohmann Early Presentation
and Harp Guitars, and Guitar and Mandolin with Interior Drone Strings
Orville Gibson Guitars and
The Gibson Company
The Larson Brothers and
Dyer Harp Guitars
Jose Recio, Cadiz
Rickenbacher, Gibson and
Other Early Electrics
Schmidt & Maul
Guitars with fan and Experimental X Bracing
Shutt Style D#2 Mandolin
~ CLEANING HOUSE ~
If you would like to buy a nice Martin or Gibson
I love these, but I really need to make some room for new ones.
Instruments for Sale
Instruments for Sale
I am not in the business of buying and selling guitars,
but am interested in purchasing specific unique instruments to
round out my collection to present you with a web site with as complete
a picture as possible to help you learn. I am interested in
substantially original examples made from the 1800's to 1960's by
Stauffer, Panormo, Schmidt & Maul, C. F. Martin, Martin & Coupa,
Martin & Schatz, Martin & Bruno, Martin & Zoebisch,
John Coupa, Oliver Ditson, Southern California
Music, John Wanamaker, Wm.
J. Smith, Wurlitzer, S.S. Stewart, Orville Gibson, the Gibson
Company, and the Larson brothers. I am not hunting for bargains,
but seeking quality intstruments at a price that is fair to the buyer
and seller alike.
To see Robert's new web site
illustrating the development of the Early Martin Guitar, from 1833 to
To see Robert's new web site illustrating the development of the Early
Gibson Guitar, visit:
To see Robert's new web site illustrating the development of the
post-Orville Gibson Guitar, visit:
To See Robert Corwin's Classic Photography of Folk and
Roots Musicians, visit:
I'm more than happy to answer questions to the
best of my limited ability about features of the
For Information on
CD's, Promotion, Web Pages, Tour Books,
to Purchase Photographic
To Contact Robert With
Questions About An Early Martin Guitar:
instruments I've photographed and studied from luthiers
restoring vintage Martins or building new instruments.
The Early Martin and Vintage Martin web pages were first
created in September, 2009.
Entire site copyright ©1998 through 2014 Robert Corwin/Photo-Arts.
All rights reserved.
Photographs and written material on this site may not be
reproduced without permission.