C. F. Martin Style 20 Carved Top Mandolin (1931)
LOADING IMAGES
C. F. Martin Style 20 Model Carved Top Mandolin (1931), made in Nazareth, PA, serial # 15241, natural lacquer finish, flame maple back and sides, spruce top; maple neck with ebony fingerboard, black tolex hard shell case.
This is a fine playing example of a cool early 1930's Martin rarity, the Style 20 Mandolin. Martin's carved top mandolins are generally overlooked instruments many players are not even aware of, but like all products of Nazareth they are beautifully made and have their own charms. This model is one of the less commonly seen ones, but a cool piece of history in a couple of ways.
During the 1930s C.F. Martin offered several styles of oval and later F-hole carved-top mandolins of which the Style 20 was the earliest and arguably the best. The model first appeared in 1929 but production never again equaled the 101 shipped that first year, likely because the depression immediately killed off most of the mandolin market. Still it was not officially discontinued until WWII, but a total of only 232 were ever produced. 40 of these (this one included) were sold in 1931 with a list price was $75 (Without case) which oddly never changed over the life of the instrument.
The Style 20 is not Martin's most original design; it is heavily "inspired" by the 1910s Lyon & Healy Style B. Like that instrument it is built with a carved curly maple back and arched carved spruce top, but with a sharper neck angle than the L&H or indeed most Gibsons. The bridge is a non-adjustable ebony piece, the tailpiece a standard clamshell type with an engraved cover and the tuners are openback engraved Waverly strips. The mahogany neck has a fairly slim but deep rounded profile with a bound, dot-inlaid ebony fingerboard and rosewood headstock veneer. The crown of the headstock has a decorative cutout borrowed from Vinaccia style Neapolitan bowlback mandolins.
This is a fine sounding and very good playing mandolin, albeit with a shorter scale and different feel from the average Gibson. Its more delicate but well rounded tone records beautifully and can be useful for a number of musical styles. While this is a fairly obscure instrument it boasts one important historic signature user: Earle Bolick of the Blue Sky Boys played an early Style 20 for pretty much the brother duet's entire career. All of their very influential recordings were made with this style instrument, and clearly feature its distinctive tone.
Overall length is 25 in. (63.5 cm.), 10 1/4 in. (26 cm.) across at the widest point, and 1 13/16 in. (4.6 cm.) in depth at side, taken at the end block. Scale length is 13 in. (330 mm.). Width of nut is 1 1/8 in. (29 mm.).
This 90+ year old Martin remains in excellent playing condition with some general wear and tear. The all-original finish has the heaviest checking and weathering to the top, with some notable touch up to the top edge of the soundhole rim, probably from pick wear. The top finish also shows some fairly random dings, dents and scrapes, but the finish on the back, sides and neck is much cleaner. All hardware is original as it left Nazareth in 1931, just as the depression was really kicking in. The original frets have been recently re-crowned and the instrument plays very well with a delightful sound. It rests in a later TKL hard case. Overall Very Good + Condition.
This is a fine playing example of a cool early 1930's Martin rarity, the Style 20 Mandolin. Martin's carved top mandolins are generally overlooked instruments many players are not even aware of, but like all products of Nazareth they are beautifully made and have their own charms. This model is one of the less commonly seen ones, but a cool piece of history in a couple of ways.
During the 1930s C.F. Martin offered several styles of oval and later F-hole carved-top mandolins of which the Style 20 was the earliest and arguably the best. The model first appeared in 1929 but production never again equaled the 101 shipped that first year, likely because the depression immediately killed off most of the mandolin market. Still it was not officially discontinued until WWII, but a total of only 232 were ever produced. 40 of these (this one included) were sold in 1931 with a list price was $75 (Without case) which oddly never changed over the life of the instrument.
The Style 20 is not Martin's most original design; it is heavily "inspired" by the 1910s Lyon & Healy Style B. Like that instrument it is built with a carved curly maple back and arched carved spruce top, but with a sharper neck angle than the L&H or indeed most Gibsons. The bridge is a non-adjustable ebony piece, the tailpiece a standard clamshell type with an engraved cover and the tuners are openback engraved Waverly strips. The mahogany neck has a fairly slim but deep rounded profile with a bound, dot-inlaid ebony fingerboard and rosewood headstock veneer. The crown of the headstock has a decorative cutout borrowed from Vinaccia style Neapolitan bowlback mandolins.
This is a fine sounding and very good playing mandolin, albeit with a shorter scale and different feel from the average Gibson. Its more delicate but well rounded tone records beautifully and can be useful for a number of musical styles. While this is a fairly obscure instrument it boasts one important historic signature user: Earle Bolick of the Blue Sky Boys played an early Style 20 for pretty much the brother duet's entire career. All of their very influential recordings were made with this style instrument, and clearly feature its distinctive tone.
Overall length is 25 in. (63.5 cm.), 10 1/4 in. (26 cm.) across at the widest point, and 1 13/16 in. (4.6 cm.) in depth at side, taken at the end block. Scale length is 13 in. (330 mm.). Width of nut is 1 1/8 in. (29 mm.).
This 90+ year old Martin remains in excellent playing condition with some general wear and tear. The all-original finish has the heaviest checking and weathering to the top, with some notable touch up to the top edge of the soundhole rim, probably from pick wear. The top finish also shows some fairly random dings, dents and scrapes, but the finish on the back, sides and neck is much cleaner. All hardware is original as it left Nazareth in 1931, just as the depression was really kicking in. The original frets have been recently re-crowned and the instrument plays very well with a delightful sound. It rests in a later TKL hard case. Overall Very Good + Condition.