Pre-Owned Guitars
Occasionally, if unpredictably, my pre-owned instruments become available for resale. They are usually fully restored and are accompanied by a written appraisal, my full new guitar warranty, a statement of provenance, a set of photos, and care accessories. The guitars offered here meet all my criteria for quality of sound, materials, playability, and craft.
When we fully restore a guitar it is made to look as new as possible, while also preserving its originality, and especially its tonal quality and character. This may entail a fret dressing or a total refretting, a new nut and/or saddle, bridge work, regluing any loose components, repairing any cracks, touching up the French polish as necessary, and having the tuning machines rebuilt or replacing them. All our work is fully guaranteed.
It might also be helpful to explain the distinctions between the terms "mint," “near-mint,” and "like-new" condition as I understand them. Although there may be differences of opinion, in my interactions with dealers, collectors, historians, and aficionados, the term "mint" means that it is in original condition with no repairs and almost no sign of wear. Since such guitars are extremely rare, I very seldom use this term. “Near-mint” also means that its originality has not been altered and there are no repairs, but there are more obvious signs of wear than if in “mint” condition. "Like-new" refers primarily to its appearance; however, this does not mean that the guitar has never been repaired, only that it may appear so, and allows for minor exceptions like hairline cracks, which have been reinforced, and are usually are not visible. It is also considered normal for the finish to settle into the pores of the wood, glue joints, and hairline cracks, as the finish shrinks over time.
When we fully restore a guitar it is made to look as new as possible, while also preserving its originality, and especially its tonal quality and character. This may entail a fret dressing or a total refretting, a new nut and/or saddle, bridge work, regluing any loose components, repairing any cracks, touching up the French polish as necessary, and having the tuning machines rebuilt or replacing them. All our work is fully guaranteed.
It might also be helpful to explain the distinctions between the terms "mint," “near-mint,” and "like-new" condition as I understand them. Although there may be differences of opinion, in my interactions with dealers, collectors, historians, and aficionados, the term "mint" means that it is in original condition with no repairs and almost no sign of wear. Since such guitars are extremely rare, I very seldom use this term. “Near-mint” also means that its originality has not been altered and there are no repairs, but there are more obvious signs of wear than if in “mint” condition. "Like-new" refers primarily to its appearance; however, this does not mean that the guitar has never been repaired, only that it may appear so, and allows for minor exceptions like hairline cracks, which have been reinforced, and are usually are not visible. It is also considered normal for the finish to settle into the pores of the wood, glue joints, and hairline cracks, as the finish shrinks over time.
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Instrument: 2011 classical guitar
String scale: 65cm Woods: European spruce top; CSA rosewood back, sides, head veneer, and bridge; Spanish cedar neck; African ebony fingerboard; East Indian rosewood bindings; amboyna burl central rosette ring, flanked by a chip carving, accented with blue/green abalone and brass inlays Finish: Traditional French polish Tuners: Custom Rodgers with proprietary nickel-silver side plate design and fossil ivory buttons Case: TKL hardshell case with an arched top and tweed exterior Condition: Mint Comments: Originally commissioned by a dealer, this guitar is being offered by a collector/player who is now more jazz-oriented. All the woods are seasoned many decades, some more than 100 years, and are the most premium quality available. The top is braced with my open harmonic bar bracing design (see photos and a description here: Gallery). The neck width is 52mm at the nut, and 62mm at the 12th fret; the string spacing is 43mm at the nut, and 57mm at the saddle, and the bridge has a 12-hole tie block. There is a 1mm diameter brass side position marker at the fifth and ninth frets, and a 2mm diameter blue/green abalone marker at the seventh fret. Price: Sold |
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Instrument: 1996 classical guitar
String scale: 65cm Woods: Engelmann spruce top; European maple back and sides; a Spanish cedar neck; an African ebony fingerboard; a Swiss pearwood bridge; a bird’s-eye maple burl rosette, head veneers, and end inlay, and mountain mahogany bindings Finish: Traditional French polish Tuners: Custom Rodgers with proprietary side plate design Case: TKL hardshell case with an arched top and tweed exterior Condition: Like-new Comments: This guitar was made for a nonprofessional, who composed and played on it for his own enjoyment and took meticulous care of it. The top is braced with my open harmonic bar bracing design (see photos and a description here: Gallery). The neck width is 52mm at the nut, and 62mm at the 12th fret; the string spacing is 43mm at the nut, and 57mm at the saddle. I have recently converted the bridge to a 12-hole tie block. Price: Sold |
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Instrument: 1990 10-string steel string harp guitar String scale: 65cm on 1st through 8th strings on fingerboard; 21 frets on first five strings Woods: Engelmann spruce top, flamed koa back and sides Finish: French polish Tuners: Schallers; planetary banjo 1-7, banjo D-tuners 8-10 Case: TKL arched top, tweed Condition: Near mint Comments: This one-of-a kind guitar has several unique features: The D-tuners on the three lowest strings permit key changes with a flick of the wrist; the top bracing is my hybrid X-and-fan design (see photos and a description here: Steel String Model); the bridge is my original pinless design with individual saddle posts (see photos and a description here: Bridges); it has my compound cutaway (see photos and a description here: Compound Cutaway); and it has a fingerboard extension to 21 frets on the first five strings. The neck width is 58mm at the nut, and 68mm at the 12th fret (44mm and 54mm respectively, if it was a six string); the string spacing at the nut is 56.5mm for the first through eighth strings (37mm if it was a six string), and the ninth and tenth strings float free from a separate nut on the head which provides for both longer string lengths and orients them below the player's line of vision for a clear view of left hand fingering. The string spacing at the 12th fret is 72mm for the first through eighth strings (45.5mm if it was a six string), and the string spacing at the bridge is 99mm (55mm if it was a six string). This guitar has been featured in articles in the Guild of American Luthiers American Lutherie magazine (AL #34 and AL #99), and on the Great Acoustics page of Acoustic Guitar magazine, October, 2005 (see below). It is also featured and described in detail on Gregg Miner's website, www.harpguitarmusic.com. The original owner has taken meticulous care of it, and I have maintained it since it was new. Price: Please inquire |
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