Martin | D-28 | 1959 | SN:170525
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- Model: D28
- Serial no: 170525
- Year: 1959
- Top: Sitka Spruce
- Back and sides: Brazilian Rosewood
- Neck: Mahogany
- Purfling: Line
- Fingerboard: Ebony
- Bridge: Ebony
- Nut Width: 1 11/16″
- String Spacing: 2 1/8″
- Scale: 25.4″
- Body Length: 19 7/8″
- Lower Bout: 15 5/8″
- Upper Bout: 11 3/8″
- Body Depth: 3 3/4″, 4 3/4″
This is 50’s D28 in reasonably good repair… the prior owner has done some excellent research so I won’t steal any of his thunder!
He had this to say:”From the golden year in which Martin made only 476 D-28 guitars (compared to 5,980 made in 1973) is this 1959 D28 Serial number 170525. Back then the standard tone wood was solid Brazilian rosewood on the sides, back and headstock overlay.
Brazilian rosewood was placed on Appendix I of the CITES Treaty (Convention on International Trade in Endangered Species) in 1992. As of June 11, 1992, import and export of this wood has not been legal unless one has a special pre-CITES exemption certificate stating that the wood was harvested prior to the time of placement on the CITES Treaty.
Obtaining such a certification document is quite difficult. As a result, guitars made with Brazilian rosewood are now highly sought by collectors as well as musicians. And wonderful wood it is, Dalbergia Nigra, dramatically grained and figured.
The tuners are “Pat. Pend” Grover Rotomatics, top and back are bound in Crème celluloid, backstripe is black-white geometric pattern. The soundhole is comprised of three rings of multi-ply purfling; the top is bordered in 5, the back in two. The fingerboard is jet black ebony, made during the years when ebony still had color integrity, the 8 mother of pearl dots that inhabit it are steadfast and well-positioned.
As you would expect, there are light to normal signs of use and wear all over this fine instrument. There is also evidence (due to the top patina) that it had a previous extra pickguard. It has a repaired hole (corona) in the bass side of the heel which I believe may have once contained a jack that has been nicely plugged.
There is a repaired crack in the top alongside the pickguard (very common on older Martins) and is caused by shrinkage of the pickguard. I was lucky enough to purchase this guitar from a recording artist a few years ago. This instrument was used in the recording of ALL WOOD AND STONES by John Batdorf and James Lee Stanley. Between them John and James Lee have recorded over 30 acoustic rock music albums. Peter Tork of the Monkees also contributed to this work and is listed as an artist on the CD. Although played on many tracks, this guitar was the main instrument used in the recording of Ruby Tuesday.
In all respects, this guitar is in excellent condition and conforms to the typical specifications of the model with dreadnought size body, well figured Brazilian rosewood back, sides, and peghead veneer, mahogany neck, Sitka spruce top, ebony fingerboard and bridge. . . It’s a beautiful instrument with fantastic action, but it’s the sound that counts and it’s more beautiful than its looks. The intonation alone is truly amazing. This instrument will be shipped in the hard shell case provided by John when I purchased it from him.”
References: Martin Guitars, a History by Mike Longworth.
Pictures kind courtesy of 32paul©
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