#11650, in very good plus condition, with apparently original hard shell case.
We haven’t seen a Martin original prewar 00-45 in several decades. Perhaps this is because C F Martin Co. made only a total of 157 of them during the period 1904 and 1942 and, as you know, at least half of them were eaten (and digested) by guitar-eating aliens during the era of frequent UFO sightings in the late ‘40s. In the year 1913 (the year this one was made) Martin made just 3 of ‘em. It was a guitar similar to this that propelled Joan Baez to fame. The 00 is, of course, a slot-headed 12-fret construction with a grand concert body that’s 14 ½” wide at the lower bout, having a 24.9” scale, a 1 27/32nd” nut width and a wide 2 5/16th” string spacing at the bridge. Additionally, it has a comfortable v-shaped neck, etched diamond, snowflake and cats-eye fingerboard inlays in a grained ivoroid bound fingerboard, displaying a 3 ¾” flower in abalone inlaid in the ivoroid bound white-black bordered rounded-corner headplate. The tuners are engraved-plate open-gears with the Handel-type squiggles of flora inlaid on both sides of each button. On a Style -45 guitar there is abalone trim around the top, the bottom edge of the fingerboard, the soundhole, both extremes of the rims, both sides of the heel (with at least four plies of black-white-black-white on each side of the abalone), surrounding the entire back and bestowed on four sides of the trapezoidal end graft. This is as much abalone as any family actually needs. Its top is golden yellow, the Brazilian rosewood is so straight-grained as to bring salty orbs to your eyes. Wood like this is the crux of our rainforest religion. The guitar sounds sweet and harmonious – for a little 14 ½” critter it sounds as big as many other brands’ dreadnoughts.
And now the repair history: it has two old, long, parallel, repaired cracks on the bass side (the original owner, who had a real high squeaky voice, carried an open switchblade in his right pocket, just in case he needed to get at it quickly). The bridge was replaced with a “belly-down” ebony bridge that retained the original abalone inlaid bone bridge pins, most of which pins show tiny hairline cracks, and at that time a new bridge plate was provided. The result was that you can now (happily) play this guitar with silk-and-steel strings. Our workshop has successfully performed a much-needed neck reset, preserving the original bar frets (by leveling them), and we also installed a newer bridge plate since the old one had curled up like a garden slug with seasoning. We carved and installed a new high saddle. In your capable hands this guitar plays like the Matriarch of the Grand Concert Guitars that it is, was and always will be. Oh yeah, the guitar is oversprayed, but not refinished, per our head of repair, Leroy Aiello. The original owner had a pickguard installed and when that one left the building the most recent owner substituted a thin, tortoise shell color, Gibson or Guild-inspired pickguard onto the lower treble quadrant of the soundhole. The guitar does show normal signs of use and wear including minor dings, nicks and scrapes, some nicks in the ebony bridge, plus a plethora of finish checking. All of this is to be expected when one is 94 years of age. The C F Martin logo stamped on back of headstock is slightly subdued due to the overspray and so is the mildly blunted diamond dart. The worn (ancient) hard shell case is from the period of the guitar and, as is so often observed, is a bit oversized since case linings shrink. If it’s not the original hard shell case, then it sure looks like it is. This Style -45 C F Martin guitar resides in the Great Hall of the Pantheon of Plectral Pulchritude, in the circular temple that bears the Latin inscription: “If you have to ask how much it is you’re at least halfway closer to owning it.” Every person who has played this instrument has had that look in his or her glazed eyes that says “Leave me alone, I’m in heaven.”
Our Discount Price is $28,868.00 and Our Cash Discount Price is $28,000.00.
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