Martin Style 15, 17, and 18
Martin 12 Fret 000-18. 00-18, 0-18.
The early Style 17 and
18 were nearly identical except for their size. The Style number
was derived from the wholesale price. $17 bought a size 2 1/2,
while $18 bought a slightly larger size 2.
Styles 17 and 18, like almost all early Martins, were built with
spruce tops and Brazilian rosewood back and sides.
In 1917, the Style 18 was given mahogany backs and sides, and became the
simplest of the spruce top, mahogany back and sides Martins.
The Style 17 was reborn in
1922 with the Model 2-17, a smaller, inexpensive
mahogany top guitar.
In 1935 the Style 17 had it's
flat finish replaced with a dark gloss finish and the 00 was the only
Style 17 to remain in the catalog. The nearly identical mahogany
Style 0-15 was added in 1940 with semi-gloss finish
as a lower price alternative.
The early Style 17 had
rosewood binding on the top only. The 2-17 was re-designed in
1929 as the style "25", which dropped all bindings to make it more
affordable during the depression.
1893 2 1/5 -17
1936 Martin 0-17
The Style 18 has been distinguished from it's inception in the 1850's by
a five ply top border and since soon after the turn of the century by a
nine band central rosette ring surrounded by two single black rings.
The Style 18 began life with rosewood bindings which were changed to
black Fiberloid plastic in 1934. According to the new "Longworth"
book, "tortoiseshell plastic" bindings appeared by 1939, earlier on
smaller models, which were replaced by black Boltaron in 1966 with
Most Martin styles began with ebony bridges.
The Style 18 Dreadnaughts kept their ebony fingerboards and bridges
until switching to rosewood in 1947.
In the smaller sizes, most Style 18 Martins switched to rosewood
fingerboards and bridges in 1935, but for that year only. After
1935, most Style 18 fingerboards and bridges were made of ebony once
again until the switch to rosewood in 1940.
1943 Martin 00-18
1944 Martin D-18
The Martin Style 2-17 and "25 Model" 2-17
These Style 2-17 guitars illustrate the difference in trim through the
This first 2-17, one of the first two to ship in 1922, has a standard
Martin rosette and top border.
1922 Martin Style 2-17
By 1924, Martin had introduced a distinctive new single ring rosette with
a dark center, and the pyramid bridge was gone.
1924 Martin "Wolverine" Style 2-17
In 1930, Martin marketed the 2-17 as a "Model 25" and simplified the
appointments, with a single ring rosette and no top border or binding, in
order to lower the price for the depression era market.
1930 Martin Style 2-17
2-17 dimensions are:
bout - 12”
at neck -
at end -
at nut -
at 12th fret - 2
Martin 0-18. 00-18, 000-18, and D-18, all from 1945.
The Martin "32 Model" 0-17 and 0-18
In 1932, Martin introduced their first 14 fret "Orchestra Models" to
follow the Martin OM, a special "32 model" Style 0-17 and 0-18, with low
prices to match the post-depression market. Surprisingly, while the
32 model 0-18 had a standard shaded top, the 0-17 became shaded when the
"32 model" designation was dropped.
1932 Martin 0-18 "model 32"
The Martin 0-17 and 0-18 were given the designation "32 Model" from
February and March, 1932, respectively, to November, 1932. A
standard feature of the new 14 fret "32 Model" 0-18 was it's shaded
The earliest shaded 0-17 I know of so far, #52465, from December,
1932, is from the first batch not to be labeled "32 Model". The
first I know of to revert to having no shading is #53241, from
mid-1933. I have heard of no non-shaded 0-17 between these times.
So I believe it's reasonable to assume, until we see evidence to the
contrary, that Martin began to shade the tops, backs and sides as a
standard feature of the 0-17 in December, 1932, at the same time the "32
Model" designation was dropped from both the 0-17 and 0-18, and shading of
the 0-18 was discontinued, and continued shading the 0-17 until May or
June of 1933.
Martin very rarely mentioned shading in their shop orders for any guitar
in any period.
It's not unheard of for Martin to move features downscale, as the Style 17
became a glossy finish 00, and the Style 15 was introduced to fill the gap
as a matte single 0.
The 0-17 was a popular model, so it may seem odd that so few are seen
today with shading as a regular feature. Yet nearly every Ebay ad
I've seen for a tortoise headstock 0-15 says "extremely rare, we've
only seen one other like this", despite the fact that I've now identified
sixteen separate batches of 0-15 Martins built with tortoise headstocks,
with a minimum of 1680 built, compared to an estimated total of less than
300 shaded 0-17.
1933 Martin 0-17
Style 18 Tenors
1930 Martin 0-18T
1931 Martin 0-18T
Martin Guitars built before 1898 had no inlays on the fretboard.
By 1906, and again when reintroduced in 1922, the
Style 17 Martins had small dot inlays on the fifth, seventh (2), and
Starting in early 1932, Style 17 Martins had small dot inlays on the
fifth, seventh (2), ninth, twelfth (2), and fifteenth frets.
Starting with it's introduction in 1939, Style 15 Martins had small dot
inlays on the fifth, seventh, ninth, and twelfth frets, with no
By 1902, Style 18 Martins had small dot inlays on the
fifth, seventh, and ninth frets.
Surprisingly, with a single dot on the seventh fret, the Style 18 had
fewer dots than the Style 17.
Starting in early 1932, Style 18 Martins had small dot inlays on the
fifth, seventh, ninth, twelfth, and fifteenth frets which
were graduated in size.
Here again, the Style 18 had fewer dots on the ninth fret than the Style
In 1946, Style 18 Martins had large dot inlays on the
fifth, seventh, ninth, twelfth, and
which were uniform in size. (not to
seventeenth fret as of 1944 as stated in Gruhn's Guide.)
Starting in 1947, Style 18 Martins had large dot inlays on
the fifth, seventh, ninth, twelfth, and
fifteenth frets which were
graduated in size.
Martin Style 17 and 18 Variations
Made for Other Firms
At about the same time as Martin formally introduced the pickguard as
standard, other forms of the pickguards appeared on Martin guitars made
for other companies on special order, including the 0-17S, a spruce top
variation of the 0-17 made for the Montgomery Wards Stores.
1930 Montgomery Wards 0-17S
B & J S.S. Stewart 0-17S
This upgraded Style 17 with a spruce top was a special edition made as the
S.S. Stewart 0-17S.
This upgraded Style 17 was a special edition made as the Beltone 2-17S.
Martin 0-15 with Fiberloid tortoise shell color headstock veneer
Beginning in 1938, a number of Martin guitars were built with a
"Fiberloid" tortoise shell colored head veneer, starting with a
sunburst top-of-the-line D-45 #71663 formerly owned by Don Teeter, and
including a 1940 D-45 later sold by Bernie Leadon to the Japanese
collector Mac Yasuda, and a third D-45 from 1941, as well as a small
handful of others, reportedly including a D-28, a couple of 1939
D-18's and a 000-45.
By 1940, the tortoise head veneer appeared on the inexpensive budget
model 0-15. It's interesting that a feature apparently desirable
enough to be used on special order for the exclusive D-45 should soon
find itself as a regular distinctive feature of Martin's cheapest and
most plentiful guitar, but early plastics were pretty hot stuff!
I've seen several Ebay ads for 0-15 Martins with tortoise
headstock veneers with words to the effect of: "Extremely rare, one of
two or three ever seen."
I now have
verification of tortoise veneer 0-15's from twenty three different
batches, covering April, 1940 to March, 1943, and no 0-15's from the
period with standard rosewood veneers.
The full production run was from March, 1940 to October, 1943.
The first batch was specified with "Fiberloid tortoise shell colored
I think it's safe to say that tortoise Fiberloid
was standard for the 0-15 from the first run in March, 1940
until at least March, 1943, which would mean at least 1,680
tortoise headstock 0-15's were made.
Tortoise Fiberloid headstock
74696 from 4/40
74756 from 4/40
74796 from 4/40
74832 from 4/40
75003 from 5/40
75072 from 5/40
75228 from 6/40
75400 from 6/40
75862 from 8/40
76811 from 1/41
78413 from 7/41
78768 from 9/41
78872 from 9/41
79049 from 10/41
79202 from 10/41
79846 from 12/41
80064 from 1/42
80230 from 1/42
81219 from 3/42
81428 from 4/42
82238 from 8/42
82377 from 9/42
83631 from 3/43
We still await any 0-15 sightings from guitars built from March to
October, 1943, but it now seems likely that tortoise was standard for
the entire run of the Style 0-15 from 1940 to 1943.
The Style 2-17 Martin Guitar and Steel
The first question one asks about a vintage Martin guitar is often "was it
built for steel strings?"
Thanks to extensive research in the Martin archives by John "Woody"
Woodland, we now know that Martin began the process of shipping their
guitars with steel strings as regular 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 is #16879:
The Martin Style 2-17 sold for a price of $25 each retail, $12.50
wholesale, with canvas duck cases selling wholesale for $2.38 each.
The 0-17 and other Style 17 Martins followed soon after with steel
strings as regular equipment.
Martin announced the style 18 as having steel strings as regular equipment
on January 1, 1923.
By 1926, the Style 28 was shipped with steel strings as regular equipment,
but this is not something that can be detected by measuring the bridge
plate and top thickness or bracing. There are no such clear cut
differences in build, because Martin did not "brace" their guitars for
steel strings as such. Martin "regulated" their guitars for gut
strings by setting proper string height and such. Martin, in fact,
thickened the bridge plate after they had already been shipping their
guitars with steel strings for several years. Perhaps the clearest
physical difference in guitars regulated for steel is the width of the
grooves in the nut. Once steel strings were introduced as
standard equipment, if a gut guitar was requested, Martin usually simply
took a guitar off the shelf and adjusted the string height and grooves in
the nut. Unfortunately, most dealers and repairers of Martin guitars
don't yet have an understanding of such things.
One distinguishing aspect
of Martin guitars, as opposed to those of Gibson and most other makers,
is the basic level of craftsmanship, which is identical in the most
economical entry level guitar to that of the most expensive Martin
made. Take a look at the photos below of my 1930 $25 Style 2-17,
and notice the exquisite quality and finesse in the crafting of the
bracing, kerfing, and all else, which is identical to that in my 1930
OM-45 DeLuxe, a guitar costing $225
at the time. Martin added appointments and higher grade
materials to their more expensive guitars, but the basic level of
craftsmanship was identical.
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