{"product_id":"1850-s-size-2-1-2-parlor-744","title":"1850's Martin Size 2-1\/2 Parlor","description":"The evolution of X-bracing in guitar construction is difficult to trace.  Largely attributed to C.F. Martin Sr., whose instruments employed X-bracing by 1850, there is some speculation as to whether Martin, himself, designed the pattern or was in communication with other builders of the time, sharing ideas and developments.  By 1850 Martin's name was already synonymous with quality, and his instruments were certainly examined by other builders and distributors.  X-braced guitars by Schmidt, Maul, Schatz, and Bruno are known from this era, and there are X-braced instruments that were built in Germany by builders who never encountered any of C.F. Sr.'s guitars - suggesting a convergent evolution towards the X-brace.  The instrument pictured here is among these very first X-braced guitars, and although it shares a list of design similarities with C.F. Martin's instruments it was not built in Nazareth - but either by a German migrant to the northeast US or in the Neukirchen region of Germany. \u003cbr\u003e\u003cbr\u003eA well ornamented instrument, the guitar's measurements are akin to a size 2-1\/2 Martin, with a body width of 11-5\/8\" at the lower bout, a length of 17-7\/8\" and depth of about 3-3\/4\" at the endpin.  Its back and sides are Brazilian Rosewood with an interior spruce lamination as was common in higher-end guitars of the day (a sidenote: many classical builders still spruce-line the insides of their guitars - and particularly the sides - for strength).  Spruce top with rosewood-bound soundhole and quite fancy pearl rosette (another sidenote: If you have Gruhn \u0026amp; Carter's Acoustic Guitars and Other Fretted Instruments - A Photographic History have a peek at page 9; you'll see a nearly identical rosette).  The top's purfling is the same material as was used for the backstrips on later style 42 and 45 Martins, and perhaps more interestingly, the backstrip of this guitar is identical to those of Martins from the same period.  The instrument's mahogany neck features the typical headstock joint of the mid 1800's but without the volute that Martin made forever famous.  Its German silver tuning machines are inlaid flush with the headstock sides and feature bone buttons and hand engravings.  The guitar's ebony fingerboard, T-frets, and bone nut are original; the bridge is most likely a replacement, although the bone and abalone pins are surely original.  Internally, there have been no modifications or repairs made to this guitar; all braces are intact and the bridgeplate is in fine condition.  The top is almost without cracks, except for a small split about 1\/4\" away from the treble side of the fingerboard.  Its back would be without cracks had the spruce lining not shrunk and pulled the rosewood with it, and the sides are crack free.  Overall, the instrument is in remarkably well preserved condition, and is eminently playable.  The fretwork is old and not perfect, but plays moderately buzz free.  Some fret ends could use to be glued and a minor fret dress wouldn't hurt.  Action is set at 7-64ths with silk and steel strings.  We've had this guitar strung with both silk and steels and classical strings, and either work well and sound good. 1-13\/16\" wide nut, contemporary-feeling C-shaped neck, and 24.75\" scale length.  Accompanied by its relined original coffin case this instrument offers a rare glimpse into the acoustic guitar of the mid nineteenth century. ","brand":"C.F. MARTIN \u0026 CO.","offers":[{"title":"Default Title","offer_id":53610392093038,"sku":null,"price":0.0,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0979\/3660\/5550\/files\/german__0608.jpg?v=1790964006","url":"https:\/\/folkwaymusic.com\/products\/1850-s-size-2-1-2-parlor-744","provider":"Folkway Music","version":"1.0","type":"link"}