Pre-Owned Guitars
Occasionally, and 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 guarantee, a statement of provenance, a set of photos, a high quality hard shell case, 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 marginal signs of wear relative to its age, and minor exceptions like hairline cracks, which have been reinforced, and are usually stable and 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 marginal signs of wear relative to its age, and minor exceptions like hairline cracks, which have been reinforced, and are usually stable and 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: 2012 Jeffrey R. Elliott classical guitar
String scale: 65cm Woods: Western red cedar top; CSA rosewood back, sides, bridge, and head veneer; one-piece Spanish cedar neck; and African ebony fingerboard. Finish: Traditional French polish Tuners: Custom Rodgers with engraved proprietary polished brass side plates and oval mother-of pearl buttons. Case: New BAM Condition: Near-mint Comments: This is an extremely responsive guitar, and the playability is excellent. It has a great clarity of voice, evenness and balance in all registers, clear, clean separation between the courses, excellent sustain, a wide dynamic range, and an extremely broad and colorful tonal palette. The top is finely grained, and is braced with my open harmonic bar design. The back and sides are well-matched, well-quartered, and chocolate-brown with reddish-orange highlights. All woods were seasoned for several decades. The rosette has a wave pattern central mosaic, flanked by lines of maple and satinwood, both natural and dyed, and rosewood. 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. A 20th fret treble fret was added after these photos were taken. Price: Please inquire |
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Instrument: 1997 Jeffrey R. Elliott classical guitar
String scale: 65cm Woods: European spruce top with my green mosaic rosette; East Indian rosewood back, sides, and head veneer; CSA rosewood bridge; one-piece Spanish cedar neck; and African ebony fingerboard. Finish: Traditional French polish Tuners: Custom Rodgers with proprietary nickel-silver engraved side plates and oval mother-of-pearl buttons. Case: HumiCase Protégé (upgrade optional) Condition: Near-mint Comments: Originally made for Pepe Romero, owned and played by Jonathan Leathwood, this is an extremely responsive guitar, and the playability is excellent. The sound is rich and mature, with a great clarity of voice, evenness and balance in all registers, clear, clean separation between the courses, excellent sustain, a wide dynamic range, and an extremely broad and colorful tonal palette. The top is finely grained, and is braced with my open harmonic bar design. The back and sides are well-matched, well-quartered, and all woods were seasoned for several decades. The neck width is 52mm at the nut, and 62mm at the 12th fret; the string spacing is 42mm at the nut, and 57mm at the saddle; and the bridge has a 12-hole tie block. Price: Please inquire |
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I am proud to present the guitars made by my partner Cyndy Burton. Similar to my own guitars, both are influenced by the guitars of Hermann Hauser I, Antonio de Torres, and José Romanillos. Likewise, each has a full, rich, and mature sound, with ample projection for performance. They are very responsive, clear, balanced, and even, with excellent separation between the courses. A written appraisal, a new guitar guarantee, a statement of provenance, and appropriate care accessories are provided.
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Instrument: 1984 Cynthia H. Burton classical guitar
String Scale: 65cm Woods: Engelmann spruce top, East Indian rosewood back, sides, and head veneer, CSA rosewood bridge, Honduran mahogany neck, and African ebony fingerboard Finish: Traditional French Polish Tuners: Custom Rodgers with proprietary brass side plates and oval mother-of-pearl buttons Case: High quality hardshell Condition: Very good/Excellent Price: Please inquire. |
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