C. F. Martin 1-21 Flat Top Acoustic Guitar (1880)
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Item #12336
C. F. Martin 1-21 Model Flat Top Acoustic Guitar, c. 1880, made in Nazareth, PA, natural finish, Brazilian rosewood back and sides, spruce top; cedar neck with ebony fingerboard, original black coffin case.
The Martin 1-21 is one of the company's more venerable styles dating way back to the 1850s. This was considered a midline rosewood model and was a popular guitar through the latter part of the 19th century. Although the under-13" wide size "1" is considered a very small guitar today, before 1854 it was actually the largest size that Martin made.
The Style 21 is primarily distinguished by its herringbone soundhole rosette, coupled with plain wood trim around the body edge. The now more renowned Style 28 is trimmed along the top edge with herringbone, and for much of the 20th century the 21 was seen as sort of a second choice, the cheapest rosewood guitar Martin offered. That was not the case when this one was built around 1880; Martin's line was more extensive and the 21 sat solidly in the middle.
This guitar still resides in an amazingly well preserved original coffin case with the Martin label intact under the lid confirming its designation as a 1-21. Recent research dates this particular label between 1875 and 1886; the guitar itself does not appear to have any visible internal dating marks. The rosewood body has some lovely figure, especially on the back. The red spruce top is very delicately braced with the traditional scalloped X pattern. The cedar neck has a fairly shallow soft "V" profile, topped with a plain unmarked ebony fingerboard fitted with the traditional Martin bar frets. The C.F. Martin stamp is visible on the back of the headstock, the backstrip and on the heelblock, where it was stamped upside down.
With close to 150 years under it's belt, this little wonder has seen some finish work and repair but escaped the often catastrophic damage to the top caused when these 19th century Martins were steel-strung starting beginning even in the 1920s. This beautifully made and delicately X-braced guitar like all Martins from this era is suited to gut or nylon strings ONLY. It is a lovely and stately guitar that wears its scars proudly and still sings beautifully with a robust and surprisingly powerful sound.
Overall length is 38 in. (96.5 cm.), 12 7/8 in. (32.7 cm.) wide at lower bout, and 4 1/4 in. (10.8 cm.) in depth at side, taken at the end block. Scale length is 24 3/4 in. (629 mm.). Width of nut is 1 13/16 in. (46 mm.).
This charming nearly century-and-a-half old guitar has seen some older work and finish alteration but remains a genuinely fine player, a real testament to the care and craftsmanship that has always been the hallmark of the C.F Martin & Co. organization.
The original finish has been French polished out on the back and sides; it is still quite thin but has somewhat lost its vintage patina. There is a very old thin overfinish on the top, while this looks a bit spotty it retains a more aged appearance than the rest of the body with a decent amount of longitudinal checking and an very ambered patina. There is surprisingly little actual play wear to the finish overall, and some is visible under the overcoated top.
The most noticeable alteration is to the back of neck which has been slightly shaved to achieve a rounder profile, with some loss to decorative diamond on back of headstock. There have been some typical repairs to the rosewood body but the top is amazingly flat and crack-free. Internally the original delicate bracing and bridgeplate are intact with small rosewood cap glued over original bridgeplate. There are strips of bias tape added on the side along upper and lower bout on treble side, and a missing rosewood side brace at the apex of the bass side along the lower bout. A more modern mahogany endblock strip is installed.
The back has three cleated cracks along upper bout and one cleated crack along lower bout, with large but carefully done patches reinforcing the spots internally. The finish work to the back likely accompanied these repairs. Two spots of original kerfing have been replaced along the back on the bass side of the lower bout.
The lovely original engraved plate tuners with bone buttons are still intact and fully functional. The neck was likely reset long ago and the angle is excellent; the original ebony pyramid bridge has been visibly reglued with some disturbance around the edges, particularly on the bass side, under the overfinish. The original bone saddle has been recently shimmed; the ebony bridgepins appear original or at least period.
This small but robust guitar remains an excellent player and a wonderful trip back to the 19th century, an authentic playable museum piece and simply a delightful sounding instrument with gut or Nylon strings. The beautifully made original black-painted wooden coffin case is far more intact than most, still fully functional with some typical wear. The original lining and case lid label have survived amazingly intact as well, enhancing the history of this very venerable guitar. Overall Very Good + Condition.
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The Martin 1-21 is one of the company's more venerable styles dating way back to the 1850s. This was considered a midline rosewood model and was a popular guitar through the latter part of the 19th century. Although the under-13" wide size "1" is considered a very small guitar today, before 1854 it was actually the largest size that Martin made.
The Style 21 is primarily distinguished by its herringbone soundhole rosette, coupled with plain wood trim around the body edge. The now more renowned Style 28 is trimmed along the top edge with herringbone, and for much of the 20th century the 21 was seen as sort of a second choice, the cheapest rosewood guitar Martin offered. That was not the case when this one was built around 1880; Martin's line was more extensive and the 21 sat solidly in the middle.
This guitar still resides in an amazingly well preserved original coffin case with the Martin label intact under the lid confirming its designation as a 1-21. Recent research dates this particular label between 1875 and 1886; the guitar itself does not appear to have any visible internal dating marks. The rosewood body has some lovely figure, especially on the back. The red spruce top is very delicately braced with the traditional scalloped X pattern. The cedar neck has a fairly shallow soft "V" profile, topped with a plain unmarked ebony fingerboard fitted with the traditional Martin bar frets. The C.F. Martin stamp is visible on the back of the headstock, the backstrip and on the heelblock, where it was stamped upside down.
With close to 150 years under it's belt, this little wonder has seen some finish work and repair but escaped the often catastrophic damage to the top caused when these 19th century Martins were steel-strung starting beginning even in the 1920s. This beautifully made and delicately X-braced guitar like all Martins from this era is suited to gut or nylon strings ONLY. It is a lovely and stately guitar that wears its scars proudly and still sings beautifully with a robust and surprisingly powerful sound.
Overall length is 38 in. (96.5 cm.), 12 7/8 in. (32.7 cm.) wide at lower bout, and 4 1/4 in. (10.8 cm.) in depth at side, taken at the end block. Scale length is 24 3/4 in. (629 mm.). Width of nut is 1 13/16 in. (46 mm.).
This charming nearly century-and-a-half old guitar has seen some older work and finish alteration but remains a genuinely fine player, a real testament to the care and craftsmanship that has always been the hallmark of the C.F Martin & Co. organization.
The original finish has been French polished out on the back and sides; it is still quite thin but has somewhat lost its vintage patina. There is a very old thin overfinish on the top, while this looks a bit spotty it retains a more aged appearance than the rest of the body with a decent amount of longitudinal checking and an very ambered patina. There is surprisingly little actual play wear to the finish overall, and some is visible under the overcoated top.
The most noticeable alteration is to the back of neck which has been slightly shaved to achieve a rounder profile, with some loss to decorative diamond on back of headstock. There have been some typical repairs to the rosewood body but the top is amazingly flat and crack-free. Internally the original delicate bracing and bridgeplate are intact with small rosewood cap glued over original bridgeplate. There are strips of bias tape added on the side along upper and lower bout on treble side, and a missing rosewood side brace at the apex of the bass side along the lower bout. A more modern mahogany endblock strip is installed.
The back has three cleated cracks along upper bout and one cleated crack along lower bout, with large but carefully done patches reinforcing the spots internally. The finish work to the back likely accompanied these repairs. Two spots of original kerfing have been replaced along the back on the bass side of the lower bout.
The lovely original engraved plate tuners with bone buttons are still intact and fully functional. The neck was likely reset long ago and the angle is excellent; the original ebony pyramid bridge has been visibly reglued with some disturbance around the edges, particularly on the bass side, under the overfinish. The original bone saddle has been recently shimmed; the ebony bridgepins appear original or at least period.
This small but robust guitar remains an excellent player and a wonderful trip back to the 19th century, an authentic playable museum piece and simply a delightful sounding instrument with gut or Nylon strings. The beautifully made original black-painted wooden coffin case is far more intact than most, still fully functional with some typical wear. The original lining and case lid label have survived amazingly intact as well, enhancing the history of this very venerable guitar. Overall Very Good + Condition.
