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Guitar
Maker: C. F. Martin & Co.
Maker: Gower Guitar
Date: 1947-1970
Place Made:Nazareth, Pennsylvania, United States, North America
Place Made:Nashville, Tennessee, United States, North America
Model: D-28 / D-28 Dreadnaught / Dreadnaught Orchestra / Dreadnaught / Dreadnought
Serial No: 101213
SignedBranded on older portion of back graft: [lettering curved downward at each end] C.F.MARTIN & Co [sic]/ ―∙― / NAZARETH, PA.
Gold and black decal on head: [lettering curved downward at each end] CFMartin&Co. [sic] / EST. 1833
Gold and black decal on head: [lettering curved downward at each end] CFMartin&Co. [sic] / EST. 1833
MarkingsBranded on neck block: D-28 / 101213
In raised lettering on each machine head: GROVER
Stamped on each machine head: PAT. PEND. / U.S.A.
In raised lettering on each machine head: GROVER
Stamped on each machine head: PAT. PEND. / U.S.A.
DescriptionThis modified Martin D-28 guitar was owned and used by the Wilburn Brothers, Doyle (b. July 7, 1930) and Teddy (b. November 30, 1931). The brothers from Hardy, Arkansas, began performing together as children in the late 1930s and their country music act was invited by Roy Acuff to perform at the Grand Ole Opry after he heard them in 1940. Throughout their long careers, Doyle and Teddy Wilburn performed with many other country music greats, including Webb Pierce and Loretta Lynn. NMM 10697 was first owned by Doyle Wilburn. Following Doyle’s death in 1982, Teddy adopted this guitar as his primary instrument until his he died in 2003. The guitar has been significantly modified, with a 1960s replacement top and back attributed by George Gruhn to Gower Guitar. The neck is a Martin replacement from the early 1970s. In spite of these changes to the instrument, it was clearly prized by the Wilburn Brothers, and appeared with them regularly in performances. The instrument is preserved with several concert programs from the Grand Ole Opry, manuscript song lyrics, and other ephemera relating to the Wilburn Brothers.
Stringing: six steel strings
Soundboard: two-piece spruce, medium grain; later
Back: two-piece book-matched rosewood with filled knot holes on center bout; back stripe comprised of two strips of dark-stained hardwood with light hardwood diamonds with open pores, possibly walnut, surrounded on each side with strips of light hardwood purfling; later
Ribs: two-piece rosewood divided by white ivoroid end graft strip (slightly wider toward top than bottom) surrounded by thin white and black celluloid purfling on each side
Head: mahogany veneered with rosewood on front face; later
Neck: mahogany; later
Heel cap: white plastic finished with same varnish as body; later
Binding: white plastic surrounded with four strips of alternating white and black plastic purfling; later
Fingerboard: ebony; 20 nickel-silver frets; single mother-of-pearl dots behind 5th, 9th, 15th, and 17th frets; two mother-of-pearl dots behind 7th and 12th frets; white celluloid side dots behind 3rd, 5th, 7th, 9th, 12th, 15th, and 17th frets; later
Nut: white plastic; later
Bridge: ebony with curved lower edge; white plastic saddle; two mother-of-pearl dots on each side of bridge pins covering screws; white plastic bridge pins; later
Pegs: six chrome-plated steel worm-gear machine tuners by Grover; later
Endpin: white celluloid with black celluloid eye
Rosette: wide band of white and black striped plastic (13 strips), surrounded on each side with narrower bands of the same material (4 strips each), with natural wood in between; later
Pick guard: imitation tortoise shell plastic; later
Varnish: clear urethane; later
Linings: kerfed mahogany; later
Neck block: mahogany; chamfered corners
End block: mahogany; chamfered corners
Top braces: spruce upper and lower face braces; spruce graft near upper face brace; spruce X-brace
Back braces: four spruce back braces
Back graft: spruce; portion with original Martin brand salvaged for replacement back and graft
Stringing: six steel strings
Soundboard: two-piece spruce, medium grain; later
Back: two-piece book-matched rosewood with filled knot holes on center bout; back stripe comprised of two strips of dark-stained hardwood with light hardwood diamonds with open pores, possibly walnut, surrounded on each side with strips of light hardwood purfling; later
Ribs: two-piece rosewood divided by white ivoroid end graft strip (slightly wider toward top than bottom) surrounded by thin white and black celluloid purfling on each side
Head: mahogany veneered with rosewood on front face; later
Neck: mahogany; later
Heel cap: white plastic finished with same varnish as body; later
Binding: white plastic surrounded with four strips of alternating white and black plastic purfling; later
Fingerboard: ebony; 20 nickel-silver frets; single mother-of-pearl dots behind 5th, 9th, 15th, and 17th frets; two mother-of-pearl dots behind 7th and 12th frets; white celluloid side dots behind 3rd, 5th, 7th, 9th, 12th, 15th, and 17th frets; later
Nut: white plastic; later
Bridge: ebony with curved lower edge; white plastic saddle; two mother-of-pearl dots on each side of bridge pins covering screws; white plastic bridge pins; later
Pegs: six chrome-plated steel worm-gear machine tuners by Grover; later
Endpin: white celluloid with black celluloid eye
Rosette: wide band of white and black striped plastic (13 strips), surrounded on each side with narrower bands of the same material (4 strips each), with natural wood in between; later
Pick guard: imitation tortoise shell plastic; later
Varnish: clear urethane; later
Linings: kerfed mahogany; later
Neck block: mahogany; chamfered corners
End block: mahogany; chamfered corners
Top braces: spruce upper and lower face braces; spruce graft near upper face brace; spruce X-brace
Back braces: four spruce back braces
Back graft: spruce; portion with original Martin brand salvaged for replacement back and graft
DimensionsTotal guitar length: 1035 mm (40-3/4″)
Back length: 502 mm (19-3/4″)
Upper bout width: 297 mm (11-3/4″)
Waist width: 275 mm (10 13/16″)
Lower bout width: 401 mm (15-3/4″)
Rib height (including edging) at heel: 98 mm (3 13/16″)
Rib height, at waist: 111 mm (4 5/16″)
Rib height, at end block: 122 mm (4 13/16″)
Head length: 160 mm (6-1/4″)
Head width, top: 72 mm (2 27/32″)
Head width, bottom: 57 mm (2-1/4″)
Neck length (nut to ribs): 357 mm (13 7/8″)
Neck width, nut: 42 mm (1 5/8″)
Neck width, heel: 54 mm (2 1/8″)
Soundhole diameter: 102 mm (4″)
Vibrating string length (nut to bridge edge): high E: 640 mm (25 3/16″); low E: 644 mm (25 3/8″)
Back length: 502 mm (19-3/4″)
Upper bout width: 297 mm (11-3/4″)
Waist width: 275 mm (10 13/16″)
Lower bout width: 401 mm (15-3/4″)
Rib height (including edging) at heel: 98 mm (3 13/16″)
Rib height, at waist: 111 mm (4 5/16″)
Rib height, at end block: 122 mm (4 13/16″)
Head length: 160 mm (6-1/4″)
Head width, top: 72 mm (2 27/32″)
Head width, bottom: 57 mm (2-1/4″)
Neck length (nut to ribs): 357 mm (13 7/8″)
Neck width, nut: 42 mm (1 5/8″)
Neck width, heel: 54 mm (2 1/8″)
Soundhole diameter: 102 mm (4″)
Vibrating string length (nut to bridge edge): high E: 640 mm (25 3/16″); low E: 644 mm (25 3/8″)
ProvenanceUsed by the Wilburn Brothers, (Virgil) Doyle (b. July 7, 1930 in Hardy, Arkansas) and (Thurman Theodore) Teddy (b. November 30, 1931). Sharon Wilburn, daughter of Doyle, wrote the certification letter in the file. She also confirms that the instrument was in its current condition when used by the Wilburns. Doyle was the original owner, who used it until his death in 1982. Teddy then used the instrument at every performance from October 19, 1982 until his death on November 24, 2003. Purchased from Gruhn Guitars, Nashville, Tennessee, 2004.
Terms
Credit Line: Board of Trustees, 2004
Not on view
Published References"Recent Acquisitions," National Music Museum Newsletter 33, No. 1 (February 2006), p. 6.
Object number: 10697