C. F. Martin 000-18 Acoustic Guitar (1949)
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Item # 12983
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C. F. Martin 000-18 Model Acoustic Guitar (1949), made in Nazareth, PA, serial # 111575, natural lacquer finish, mahogany back, sides and neck; spruce top, rosewood fingerboard and bridge, period black chipboard case.
To many players and Martin aficionados, the 000-18 remains one of the company's most beloved combinations of wood, wire, and inspiration. This is an early postwar example, heavily ambered and somewhat worn in but still an excellent player retaining a great woody sound. The light mahogany back and sides coupled with a spruce top make for a transparent but warm and responsive guitar; the 15" wide narrow-waisted 000-size body contributes both depth and clarity. This pattern 14-fret 000-sized instrument was introduced as the OM-18 in 1930. After 1933 nearly all Martin guitars were built in this new "Orchestra Model" format, so the OM designation was dropped and the model simply called the 000-18; it has remained one of the company's mainstays ever since.
This example was built towards the end of 1949, with the company settled back into peacetime routine before the further disturbances caused by the Korean conflict just on the horizon. It is one of exactly 402 000-18s shipped that year, incorporating typical post-war Martin style 18 features including lovely fine-grained mahogany on the back and sides. The spruce top has a large "bearclaw" mark on the upper treble bout fairly unusual on a Martin. Other features include the Brazilian rosewood fingerboard and bridge with tortoise celluloid pickguard and body binding. The neck is mahogany with a fairly slim profile with a very soft "V" shape that becomes more noticeable as it heads towards the body. The fingerboard inlay is mixed size dots; and the tuners are large-plate postwar style Kluson open back individual machines with metal buttons.
While not a particularly expensive guitar by Martin standards listing at $85.00 (plus case) in late 1949 the 000-18 still represented a substantial investment to many players; even so the price would go up rapidly over the next few years. This is not a flashy guitar; the trim is discreet with tortoise celluloid on the body edges and a simple multiply sound hole ring. In classic Martin style, the elegant understatement speaks for itself. Despite its lack of bling, this was always a fully professional instrument popular with radio entertainers, most obviously the country acts common in the Southeast.
This 000 has seen some heavy use but remains more original than many from this period. It is an excellent fingerpicker's instrument but also has exceptional punch and clarity as a straight rhythm machine as well. This is a well played just about 75 year old guitar that has aged and matured beautifully and will continue to provide exceptional sound as the years go on.
Overall length is 39 3/4 in. (101 cm.), 15 3/16 in. (38.6 cm.) wide at lower bout, and 4 1/8 in. (10.5 cm.) in depth at side, taken at the end block. Scale length is 24 3/4 in. (629 mm.). Width of nut is 1 5/8 in. (41 mm.).
This well-played guitar survives in largely original condition with some typical wear and repair. The thin lacquer finish has darkened considerably over time but remains nicely original with a great ancient-looking patina. It has a collection of dings, dents, and scrapes overall. The top shows areas of heavier wear to the wood, most heavily strumming wear into the wood below and behind the pickguard and on the treble side of the soundhole rim. There are lighter pick marks all around the upper edge of the soundhole rim.
The back and sides show scratches, scuffs and dings and a few deeper gouges but surprisingly no heavy belt buckle wear. The back of the neck is partially worn down to the wood; it shows some small dings and chips but no heavy capo wear. The headstock is comparatively clean with edge wear and some dings and dents.
There are two long spruce grain splits to the top, one running back from the center area of the bridge the other closer to the treble side of the lower bout, both sealed and cleated with no visible touch up. There are also two bookmatched back cracks along both sides of lower bout, sealed and cleated with some light topical touch up. The original pickguard has been reglued and there is an old previously cleated crack along the upper edge of the pickguard in the typical spot. There is a short tight superficial crack on either side of the endpin.
The original bridge has been visibly reglued, with some finish damage along the perimeter and is fitted with a
newer saddle. The original small maple bridgeplate and the original braces remain intact, the bridgeplate shows small dark marks on the high and low E bridge pin holes from the tooling used for the reglue. The main X-brace has been reglued on both sides of bridgeplate.
The neck has been reset, the frets and fingerboard show only fairly light wear; the fret wire appears original but may be a very old refret with the correct style wire. There are very light divots in the first fret area; the correct style bone nut appears later. The original Kluson tuners are intact and have never been dismounted.
Although a bit "smoked' in appearance this guitar is a fine player, superbly played in and a wonderful-feeling instrument with a huge expansive sound that is a bit warmer and darker than some mahogany 000s. It is housed in a period heavy-duty chipboard case somewhat deeper than the guitar but they look to have been together for a very long time. Overall Very Good Condition.
To many players and Martin aficionados, the 000-18 remains one of the company's most beloved combinations of wood, wire, and inspiration. This is an early postwar example, heavily ambered and somewhat worn in but still an excellent player retaining a great woody sound. The light mahogany back and sides coupled with a spruce top make for a transparent but warm and responsive guitar; the 15" wide narrow-waisted 000-size body contributes both depth and clarity. This pattern 14-fret 000-sized instrument was introduced as the OM-18 in 1930. After 1933 nearly all Martin guitars were built in this new "Orchestra Model" format, so the OM designation was dropped and the model simply called the 000-18; it has remained one of the company's mainstays ever since.
This example was built towards the end of 1949, with the company settled back into peacetime routine before the further disturbances caused by the Korean conflict just on the horizon. It is one of exactly 402 000-18s shipped that year, incorporating typical post-war Martin style 18 features including lovely fine-grained mahogany on the back and sides. The spruce top has a large "bearclaw" mark on the upper treble bout fairly unusual on a Martin. Other features include the Brazilian rosewood fingerboard and bridge with tortoise celluloid pickguard and body binding. The neck is mahogany with a fairly slim profile with a very soft "V" shape that becomes more noticeable as it heads towards the body. The fingerboard inlay is mixed size dots; and the tuners are large-plate postwar style Kluson open back individual machines with metal buttons.
While not a particularly expensive guitar by Martin standards listing at $85.00 (plus case) in late 1949 the 000-18 still represented a substantial investment to many players; even so the price would go up rapidly over the next few years. This is not a flashy guitar; the trim is discreet with tortoise celluloid on the body edges and a simple multiply sound hole ring. In classic Martin style, the elegant understatement speaks for itself. Despite its lack of bling, this was always a fully professional instrument popular with radio entertainers, most obviously the country acts common in the Southeast.
This 000 has seen some heavy use but remains more original than many from this period. It is an excellent fingerpicker's instrument but also has exceptional punch and clarity as a straight rhythm machine as well. This is a well played just about 75 year old guitar that has aged and matured beautifully and will continue to provide exceptional sound as the years go on.
Overall length is 39 3/4 in. (101 cm.), 15 3/16 in. (38.6 cm.) wide at lower bout, and 4 1/8 in. (10.5 cm.) in depth at side, taken at the end block. Scale length is 24 3/4 in. (629 mm.). Width of nut is 1 5/8 in. (41 mm.).
This well-played guitar survives in largely original condition with some typical wear and repair. The thin lacquer finish has darkened considerably over time but remains nicely original with a great ancient-looking patina. It has a collection of dings, dents, and scrapes overall. The top shows areas of heavier wear to the wood, most heavily strumming wear into the wood below and behind the pickguard and on the treble side of the soundhole rim. There are lighter pick marks all around the upper edge of the soundhole rim.
The back and sides show scratches, scuffs and dings and a few deeper gouges but surprisingly no heavy belt buckle wear. The back of the neck is partially worn down to the wood; it shows some small dings and chips but no heavy capo wear. The headstock is comparatively clean with edge wear and some dings and dents.
There are two long spruce grain splits to the top, one running back from the center area of the bridge the other closer to the treble side of the lower bout, both sealed and cleated with no visible touch up. There are also two bookmatched back cracks along both sides of lower bout, sealed and cleated with some light topical touch up. The original pickguard has been reglued and there is an old previously cleated crack along the upper edge of the pickguard in the typical spot. There is a short tight superficial crack on either side of the endpin.
The original bridge has been visibly reglued, with some finish damage along the perimeter and is fitted with a
newer saddle. The original small maple bridgeplate and the original braces remain intact, the bridgeplate shows small dark marks on the high and low E bridge pin holes from the tooling used for the reglue. The main X-brace has been reglued on both sides of bridgeplate.
The neck has been reset, the frets and fingerboard show only fairly light wear; the fret wire appears original but may be a very old refret with the correct style wire. There are very light divots in the first fret area; the correct style bone nut appears later. The original Kluson tuners are intact and have never been dismounted.
Although a bit "smoked' in appearance this guitar is a fine player, superbly played in and a wonderful-feeling instrument with a huge expansive sound that is a bit warmer and darker than some mahogany 000s. It is housed in a period heavy-duty chipboard case somewhat deeper than the guitar but they look to have been together for a very long time. Overall Very Good Condition.