Considering that pre-1840 Martin guitars are so rare it is remarkable that only a few guitars from the end of Martin's stay in New York can help define Martin's activities as his guitars transitioned from the Stauffer to the Spanish shape. This is one of those guitars (see also entries for serial number 1293 and 1304).
The guitar contains a type 7 Martin & Schatz label AND a Ludecus & Wolter label. The Martin & Schatz label came into use shortly after Martin moved to Cherry Hill in June 1839. Since serial number 1293 was one of the last Martin guitars made in New York, it is only logical to assume that serial number 1296 is one of the first Martin guitars made in the Cherry Hill area.
Martin sold his store inventory to Ludecus & Wolter on May 29, 1839. As part of the sale Ludecus & Wolter also received the Martin sales "agency" for New York. Based on the serial numbers it can be seen that the Ludecus and Wolter agency was not successful and they sold very few guitars, no more than ten guitars between May and August 1839. Martin had a work force of 4 people (himself, C. F. Martin Jr., Henry Schatz and C. F. Hartmann) and could produce 10 or more guitars per month. Since Ludecus & Wolter was only selling 2 or 3 guitars a month, the business relationship could not continue. As a result John Coupa took over the agency, probably in late August 1839.
The guitar no longer has the Stauffer shape Martin had used up to this point and is, in fact, the earliest Martin guitar known with a Spanish shape. However, it is not the fully mature Spanish shape that characterized Martin guitars for the remainder of the 19th century but a transitional Spanish shape that only appeared in 1839. The easiest way to differentiate between the two Spanish shapes is to consider the bottom of the guitar. The bottom of transitional Spanish shape is more rounded than later Spanish-shaped guitars.
The single sound hole ring on the inside of the sound hole is typical for 1830s Martin guitars and not at all like the three ring decoration Martin began to use in 1840.
Back and sides: Brazilian rosewood (one piece back)
Top: European spruce
The chapter on dendrochronology in "The Century that Shaped the Guitar" (Westbrook 2005) convincingly demonstrates the top wood of early Martin guitars is European spruce. The only conclusion that can be drawn is that C. F. Martin Sr. brought a supply of European spruce with him when he emigrated from Saxony. All pre-1840 Martin guitars have this type of top wood. Since Martin made approximately 400 guitars between 1834 and early 1840 this must have been the extent of his original supply
Herringbone purfling (a fancy sub-type and, unusually, pointing in one direction only
Herringbone fillet purfling (beneath the binding on the sides of the guitar)
Ebonized head stock veneer
Ivory veneer around sides of head stock
Ivory fingerboard veneer
Ivory shield bridge with ivory and abalone "ornament"
German silver Vienna machines or, as Martin often called them, one side screws. This type of one side screw differs from the type encountered on earlier Martins. Almost no two have the same engraved pattern.
Single fancy sound hole ring with ivory binding
Elevated fingerboard and adjustable neck screw
Total length: ? Fingerboard width at nut: 1.93" (49 mm)
Body length: 17.24" (438 mm) Fingerboard width at 12th fret: 2.40" (61 mm)
Upper bout: 8.27" (210 mm) Diameter of sound hole: 3.31” (84 mm)
Lower bout: 11.22" (285 mm) Scale length: 23.94" (608 mm)
Depth at upper bout: 3.39" (86 mm) Depth at lower bout: 3.90" (99 mm)”
Photos courtesy of Chris Andrada