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Guitar
Maker: C. F. Martin & Co.
Date: 1966
Place Made:Nazareth, Pennsylvania, United States, North America
Model: 00-18
Serial No: 208828
SignedBranded on back graft: [lettering curved downward at each end] C.F.MARTIN & Co / ―∙― / NAZARETH, PA. / MADE IN U.S.A.
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: 00-18 / 208828
DescriptionThe 00-18 model was first introduced in in 1898. This version of the 00-18 has a belly bridge, which came into use in the early 1930’s; and a rosewood fingerboard which first appeared in 1935 and became the standard in 1940.
Stringing: six steel strings
Soundboard: two-piece Sitka spruce, medium grain broadening to wide toward the flanks
Back: two-piece book-matched Honduran mahogany; back stripe comprised of a single strip of black-dyed hardwood purfling.
Ribs: two-piece Honduran mahogany divided by imitation tortoise-shell celluloid end graft strip (slightly wider toward top than bottom)
Head: mahogany veneered with rosewood on front face
Neck: mahogany
Heel cap: rosewood
Binding: imitation tortoise-shell celluloid with 4-ply ivory, black, ivory, black celluloid purfling trim
Fingerboard: rosewood; 20 nickel-silver frets; single mother of pearl dots behind 5th, 7th, 9th, and 15th frets; two mother of pearl dots behind the 12th fret; ivory celluloid side dots behind 3rd, 5th, 7th, 9th, 12th, 15th, and 17th frets
Nut: White Plexiglass [see page 40 of Martin Guitars, A Technical Reference, Johnston, Boak and Longworth]
Bridge: Brazilian rosewood with curved lower edge; angled, cream Micarta saddle [not original]; black plastic bridge pins
Pegs: six chrome-plated steel worm-gear machine tuners by Grover with “butterbean” head surfaces and decoratively cut plate outlines
Endpin: black plastic
Rosette: wide band of 8-ply ivory and black celluloid strips with a different tan wood or plastic strip in the center, surrounded on each side with an individual strip of black celluloid, with natural wood in between
Pick guard: imitation tortoise-shell celluloid
Varnish: clear with minor craquelure
Linings: kerfed mahogany
Neck block: mahogany; chamfered corners
End block: mahogany; chamfered corners; mahogany graft at center, perpendicular to top and back
Top braces: spruce X-brace [no scalloping], the joint of main cross brace reinforced with off-white canvas; maple bridge plate
Back braces: spruce back graft; four spruce back braces, the two braces in the lower bouts with rounded edges, and wider and lower in height than the two braces in the upper bouts
Stringing: six steel strings
Soundboard: two-piece Sitka spruce, medium grain broadening to wide toward the flanks
Back: two-piece book-matched Honduran mahogany; back stripe comprised of a single strip of black-dyed hardwood purfling.
Ribs: two-piece Honduran mahogany divided by imitation tortoise-shell celluloid end graft strip (slightly wider toward top than bottom)
Head: mahogany veneered with rosewood on front face
Neck: mahogany
Heel cap: rosewood
Binding: imitation tortoise-shell celluloid with 4-ply ivory, black, ivory, black celluloid purfling trim
Fingerboard: rosewood; 20 nickel-silver frets; single mother of pearl dots behind 5th, 7th, 9th, and 15th frets; two mother of pearl dots behind the 12th fret; ivory celluloid side dots behind 3rd, 5th, 7th, 9th, 12th, 15th, and 17th frets
Nut: White Plexiglass [see page 40 of Martin Guitars, A Technical Reference, Johnston, Boak and Longworth]
Bridge: Brazilian rosewood with curved lower edge; angled, cream Micarta saddle [not original]; black plastic bridge pins
Pegs: six chrome-plated steel worm-gear machine tuners by Grover with “butterbean” head surfaces and decoratively cut plate outlines
Endpin: black plastic
Rosette: wide band of 8-ply ivory and black celluloid strips with a different tan wood or plastic strip in the center, surrounded on each side with an individual strip of black celluloid, with natural wood in between
Pick guard: imitation tortoise-shell celluloid
Varnish: clear with minor craquelure
Linings: kerfed mahogany
Neck block: mahogany; chamfered corners
End block: mahogany; chamfered corners; mahogany graft at center, perpendicular to top and back
Top braces: spruce X-brace [no scalloping], the joint of main cross brace reinforced with off-white canvas; maple bridge plate
Back braces: spruce back graft; four spruce back braces, the two braces in the lower bouts with rounded edges, and wider and lower in height than the two braces in the upper bouts
DimensionsTotal guitar length: 990 mm (39″)
Back length: 480 mm (18-7/8″)
Upper bout width: 282 mm (11-1/16″)
Waist width: 231 mm (9-1/16″)
Lower bout width: 368 mm (14-1/2″)
Rib height (including edging) at heel: 83 mm (3-1/4″)
Rib height, at waist: 95 mm (3-11/16″)
Rib height, at end block: 104 mm (4-1/16″)
Head length: 160 mm (6-9/32″)
Head width, top: 71 mm (2-3/4″)
Head width, bottom: 58.5 mm (2-5/16″)
Neck length (nut to ribs): 356 mm (14–1/16″)
Neck width, nut: 43 mm (1-11/16″)
Neck width, heel: 55 mm (2-3/16″)
Soundhole diameter: 96 mm (3-3/4”″)
Vibrating string length (nut to bridge edge): high E: 632 mm (24-17/8″); low E: 638 mm (25-9/16″)
Back length: 480 mm (18-7/8″)
Upper bout width: 282 mm (11-1/16″)
Waist width: 231 mm (9-1/16″)
Lower bout width: 368 mm (14-1/2″)
Rib height (including edging) at heel: 83 mm (3-1/4″)
Rib height, at waist: 95 mm (3-11/16″)
Rib height, at end block: 104 mm (4-1/16″)
Head length: 160 mm (6-9/32″)
Head width, top: 71 mm (2-3/4″)
Head width, bottom: 58.5 mm (2-5/16″)
Neck length (nut to ribs): 356 mm (14–1/16″)
Neck width, nut: 43 mm (1-11/16″)
Neck width, heel: 55 mm (2-3/16″)
Soundhole diameter: 96 mm (3-3/4”″)
Vibrating string length (nut to bridge edge): high E: 632 mm (24-17/8″); low E: 638 mm (25-9/16″)
Terms
Credit Line: Gift of Harris Haynes Estate, 2012
Not on view
Object number: 14645