C. F. Martin D-18 Flat Top Acoustic Guitar (1937)
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C. F. Martin D-18 Model Flat Top Acoustic Guitar (1937), made in Nazareth, PA, serial # 66744, natural lacquer finish, Mahogany back and sides, spruce top; mahogany neck with ebony fingerboard, black tolex hard shell case.
On practically anyone's list of all time great guitars, this early-period pre-war Martin D-18 Dreadnought ranks among the highest. This 1937 D-18 has been well used but not abused, solidly repaired (in part by Martin guru T. J. Thompson) where needed and offers the exquisite sound these have always been prized for. There were only 426 D-18's made in 1937, which by later standards is a very small number indeed. With a list price of $65 plus case this was an expensive instrument for most players in depression era America, and many once acquired were played for decades and are far more worn than this.
This guitar was built in early-mid 1937 with the original "advanced" X Bracing pattern and wider nut that have become the connoisseur's choice features on pre-war Martin dreadnoughts. Other typical-and much desired features of the era include a close-grain Adirondack spruce top, ebony bridge and fingerboard, tortoise celluloid pickguard and binding and openback Grover G-98 "butterbean" button tuners. This neck is not only wider but also somewhat chunkier in feel than Martin necks from later in the decade, with a residual "soft V" profile that becomes more prominent as the neck approaches the body.
This D-18 plays very well with a smooth and powerful sound typical of these original "Golden Age" Martins. The Dreadnoughts of this era were undisputed favorites with professional Country & Western radio and stage entertainers when new, and are still known as perfect guitars for a wide range of styles. This D-18 is a fantastic recording guitar, with the mellow depth of the Dreadnought mixed with the crisp slightly dry ring of a mahogany body. This is a fairly early prewar example, played in but well maintained and ready for many more decades of service.
Overall length is 40 3/4 in. (103.5 cm.), 15 3/4 in. (40 cm.) wide at lower bout, and 4 15/16 in. (12.5 cm.) in depth at side, taken at the end block. Scale length is 25 1/2 in. (648 mm.). Width of nut is 1 11/16 in. (43 mm.).
This early D-18 has seen some typical wear and repair but has survived over nearly nine decades in better shape than many. The finish on the top, sides and neck remains the original lacquer; the back of the body had a previous overspray removed and the finish reworked by martin guru T.J. Thompson. Why this would have originally overfinished done we can't say, as there are no cracks to the back and no indications it was ever removed from the guitar. There are small scuffs, dings and chips to this finish.
The rest of the original finish shows typical wear with dings, dents and scrapes overall. There is an area of strum wear into the wood in the common spot off the back edge of the pickguard along the treble side of the bridge wing. There are other lighter pick wear spots below the fingerboard extension and on the treble side of the soundhole lip, and a deep random scrape off the back edge. The back of the neck is worn to the wood along part of its length, mostly in the lower positions.
There are three noticeable top grain splits. The longest runs from the tailblock up to the bridge behind the high E string, this has a slim full-length cleat. Another starts behind the low E and runs partially down the top, while another is in the standard spot along the top edge of the pickguard, this one sealed solidly but not particularly neatly. There are two much smaller grain splits off the back edge of the top. All of these are sealed with no overfinish so are visible, none but the first are cleated.
The original bridge was carefully re-installed and recontoured by T. J. showing visible marks around the edge from the removal and regluing. He also installed a new bone saddle and nut. The bridge plate is a somewhat larger maple replacement both wider and thicker than the very small original. A mark on the center of this indicates a partial further patch was likely removed. While larger than original spec this is not as oversized as, say Martin pieces from the later '60s and '70s and does not appear to be inhibiting the sound dramatically. Also internally the rear leg of the main X-brace has been reglued on treble side, all other bracing remains intact and unaltered.
The guitar has had a clean neck set and expert refret; there is plenty of saddle is showing and playability is excellent. The newer frets have some light wear but play fine; T. J also crowned and polished the frets and there were divots neatly patched in the ebony fingerboard at the first position. There is a strap button added at the heel, the metal-button Grover openback tuners remain original. While showing some noticeable work this is still a really fine guitar for the serious player, with the advanced X-braced sound and feel found only in Dreadnoughts from this most exalted period. It comes in a modern HSC. Overall Very Good + Condition.
On practically anyone's list of all time great guitars, this early-period pre-war Martin D-18 Dreadnought ranks among the highest. This 1937 D-18 has been well used but not abused, solidly repaired (in part by Martin guru T. J. Thompson) where needed and offers the exquisite sound these have always been prized for. There were only 426 D-18's made in 1937, which by later standards is a very small number indeed. With a list price of $65 plus case this was an expensive instrument for most players in depression era America, and many once acquired were played for decades and are far more worn than this.
This guitar was built in early-mid 1937 with the original "advanced" X Bracing pattern and wider nut that have become the connoisseur's choice features on pre-war Martin dreadnoughts. Other typical-and much desired features of the era include a close-grain Adirondack spruce top, ebony bridge and fingerboard, tortoise celluloid pickguard and binding and openback Grover G-98 "butterbean" button tuners. This neck is not only wider but also somewhat chunkier in feel than Martin necks from later in the decade, with a residual "soft V" profile that becomes more prominent as the neck approaches the body.
This D-18 plays very well with a smooth and powerful sound typical of these original "Golden Age" Martins. The Dreadnoughts of this era were undisputed favorites with professional Country & Western radio and stage entertainers when new, and are still known as perfect guitars for a wide range of styles. This D-18 is a fantastic recording guitar, with the mellow depth of the Dreadnought mixed with the crisp slightly dry ring of a mahogany body. This is a fairly early prewar example, played in but well maintained and ready for many more decades of service.
Overall length is 40 3/4 in. (103.5 cm.), 15 3/4 in. (40 cm.) wide at lower bout, and 4 15/16 in. (12.5 cm.) in depth at side, taken at the end block. Scale length is 25 1/2 in. (648 mm.). Width of nut is 1 11/16 in. (43 mm.).
This early D-18 has seen some typical wear and repair but has survived over nearly nine decades in better shape than many. The finish on the top, sides and neck remains the original lacquer; the back of the body had a previous overspray removed and the finish reworked by martin guru T.J. Thompson. Why this would have originally overfinished done we can't say, as there are no cracks to the back and no indications it was ever removed from the guitar. There are small scuffs, dings and chips to this finish.
The rest of the original finish shows typical wear with dings, dents and scrapes overall. There is an area of strum wear into the wood in the common spot off the back edge of the pickguard along the treble side of the bridge wing. There are other lighter pick wear spots below the fingerboard extension and on the treble side of the soundhole lip, and a deep random scrape off the back edge. The back of the neck is worn to the wood along part of its length, mostly in the lower positions.
There are three noticeable top grain splits. The longest runs from the tailblock up to the bridge behind the high E string, this has a slim full-length cleat. Another starts behind the low E and runs partially down the top, while another is in the standard spot along the top edge of the pickguard, this one sealed solidly but not particularly neatly. There are two much smaller grain splits off the back edge of the top. All of these are sealed with no overfinish so are visible, none but the first are cleated.
The original bridge was carefully re-installed and recontoured by T. J. showing visible marks around the edge from the removal and regluing. He also installed a new bone saddle and nut. The bridge plate is a somewhat larger maple replacement both wider and thicker than the very small original. A mark on the center of this indicates a partial further patch was likely removed. While larger than original spec this is not as oversized as, say Martin pieces from the later '60s and '70s and does not appear to be inhibiting the sound dramatically. Also internally the rear leg of the main X-brace has been reglued on treble side, all other bracing remains intact and unaltered.
The guitar has had a clean neck set and expert refret; there is plenty of saddle is showing and playability is excellent. The newer frets have some light wear but play fine; T. J also crowned and polished the frets and there were divots neatly patched in the ebony fingerboard at the first position. There is a strap button added at the heel, the metal-button Grover openback tuners remain original. While showing some noticeable work this is still a really fine guitar for the serious player, with the advanced X-braced sound and feel found only in Dreadnoughts from this most exalted period. It comes in a modern HSC. Overall Very Good + Condition.