The Martin Guitar Museum

by Rick Landers.

The Martin Guitar Museum takes visitors on a journey through time, from 1833 when Christian F. Martin, Sr. (1796 – 1873) arrived in New York City to pursue the guitar-making tradition he had learned from Johann Stauffer free from bitter guild rivalries in Germany, to today. Over this period of time, the Martin name has become recognized as an American tradition in fine craftsmanship.

Located in Nazareth, Pennsylvania, the museum opened in the Fall of 2005, a dream realized by the current Martin persona, Christian F. Martin, IV. Chris has long wanted to build the museum, while at the same time he has helped guide the Martin Guitar legacy forward by balancing its hard won reputation for tradition with the need to absorb the new realities of innovation and a global marketplace.

Within its 32,000 square feet, the museum houses the 1833 Shop, a reception area, and the museum quality displays of remarkable Martin guitars.

The museum experience is elegantly presented in a series of display cases that move visitors along eight time periods named Getting Started; Innovation; Growth; Golden Era; Good Times; Acquisition and Diversification; Unplugged; and Music/Martin History.

The museum's sidewalk entrance has visitors treading along a Martin guitar headstock and fretboard embedded in the cement. The reception area is designed to serve as the sound hole, a guitar bridge has been constructed behind it, and the museum itself is set in the graceful curves of a fine guitar.

Dick Boak, Director, Artist Relations and Limited Editions, walks us through the museum, enthusiastically explaining the life of C.F. Martin Sr., the history of the company, and the splendid line-up of guitars that the company has kept or acquired over the years.

And he has a set of keys that can open up display cases housing some of the most desirable guitars on the planet.

The first stop of our tour is the Getting Started exhibit that presents a brief account of C.F. Martin Sr.’s immigration to New York in 1833 and Dick supplies further detail with knowledge he has gained over the years.

Dick points to a small guitar made by Martin’s mentor, Viennese master craftsman and instrument designer Johann Georg Stauffer (1778 – 1853). He tells us that Martin had quickly risen to the position of foreman at the Stauffer factory. Martin eventually returned to Germany and founded his own shop, but subsequent disputes between the cabinet makers guild (to which Martin belonged) and the violin makers guild (that didn't appreciate added competition), inspired him to leave Europe for America.

The display case holds about ten senior guitars from the period, each with its own subtle differences in shape and appointments.

Lit by three old Edison light bulbs, an antique work bench, guitar patterns and the tool chest C.F. Martin, Sr., brought from Germany sit in a shop-like setting named The Gentler Arts. Old pulleys once used to drive steam engine machinery at the old North Street plant have been brought to the display and Dick explains how Martin discovered an innovative way to facilitate production using them.

We step to the next area, 1874 – 1929: Timely Change that holds a bevy of mandolins and a significant Style 1 Martin ukulele that Dick calls the Konter, saying that it is “very special” and a favorite piece. The koa ukulele was owned by Dick Konter who was a crew member aboard Robert Byrd’s first expedition to the North Pole who carried it along to introduce it to the region's natives. Konter later used the instrument as a conversation piece and was able to gather signatures from such historical luminaries as President Calvin Coolidge, Charles A. Lindbergh, Thomas Edison, Alexander Graham Bell, Admiral Byrd and a number of senators and congressmen.

The display also carries an early Ditson dreadnaught noting that Martin produced the dreadnaughts for the company.

As we walk through the place it’s clear that Boak’s enthusiasm for guitars has not paled over the years. We stop at the cowboy guitars. We talk about Gene Autry while staring at a beautiful old D-45 that stands next to some other guitars that once kept cowgirls swooning ‘round the campfires.

A couple of guitars in the next section have hand-tooled leather covers. Elvis Presley can be seen playing his in old clips from the ‘50s and a more elaborate cover is on Ricky Nelson’s Martin that he used during his days on the television show, “The Adventures of Ozzie and Harriet”. Martin Signature guitars designed in collaboration with artists such as Arlo Guthrie, Joan Baez, and Paul Simon are included in the display.

The Martin Museum honors more recent arrivals to the music scene in its Unplugged section that features guitars made to match the interests of notables like Eric Clapton, Johnny Cash, Sting, and Roger McGuinn are on display.

Dick pulls out the Sting Signature mini-guitar that classically known as a terz. It’s a small Martin model. He tunes it up and gives it a whirl before handing it to me. I find the nearest bench to sit down to do some finger picking. The petite guitar has a sweet sound and I make a mental note about needing to get one for myself.

Boak’s always game to have a bit of fun, so I ask if he’ll pull out the stunning black guitar once owned by Johnny Cash and pose like the Cash poster in the display. Boak smiles as he grabs the guitar, telling us that Cash had dropped it during a concert, so he was quick to offer Johnny a brand new replacement for it. Cash was more than happy to get a new guitar and Boak now has the prized instrument once owned by The Man in Black for the museum.

After a few glances back at the poster, Boak strikes the famous pose. We laugh and move on.

There’s a small display of Martins including a pitch black Clapton model that’s called Black Beauty and below it is White Beauty. Steve Miller’s koa model is shown along with a John Mayer OMJM Martin guitar.

While we walk through the museum there are distinct pieces that catch the eye, like Martin's attempts at electric guitars that floundered, a trio of archtops, a travel guitar that was the first guitar that reached outer space, and a limited edition FeLiX guitar that's as colorful and humourous as the cartoon character it honors.

We stand in the middle of one of the sections and after some discussion about the Martin company’s one millionth guitar that, appropriately, bears serial number 1,000,000, Dick offers to unlock its display case and let me give it a go.

The guitar is incredibly ornate and maybe a bit over the top for my taste, but it is a remarkable piece of fine craftsmanship created by a group of accomplished artisans and a fitting piece for what it represents.

I strike a few chords, but the guitar is not in tune. Dick had moved the keys around for it to look nicer in the display case. I still pick at it a bit and then gently pass it back to him. He pretends to drop it and my heart sinks. Boak stands there with a Cheshire grin. Yes, that was funny, but I was a bit shaken.

Outside the core of the museum is the new 1833 Shop with all sorts of guitar related items for sale and a room where visitors can play high-end Martins, which should serve as a satisfying end to any guitar fan’s visit.

Before we leave for home, Boak reminds us that the Martin Museum has been a dream of Chris Martin for a long time. And it’s clear to us that he is very proud to have played a key part in making that dream a worthwhile reality.

We expect that the dream will include having the museum serve up some of the music made with Martin guitars over the course of its history, thereby allowing the museum’s beautiful static displays to come to life. As it stands, guitar enthusiasts will be fascinated with the Martin Guitar Museum and delight in the way they’ve pulled together the pieces of the Martin legacy into an entertaining and informative stroll.

Related Links
Christian F. Martin, IV, Interview
Dick Boak Interview
Martin Guitar Company
Michael G. Stewart Photography

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