A *rare* transitional Martin, stamped from both New York & Pennsylvania, while the company underwent a significant move just before the turn of the century. Sonically speaking, this small guitar is impressive with a well opened up tone even given the restoration work it has received. These comfortable guitars are still favorable amongst finger style players, and collectors appreciate the high grade of craftsmanship as well as the uniqueness from any two examples when they can be found. This style 24 has the 2 1/2 size profile, with an 11 5/8" lower bout and 8 3/8" upper. The 24 model specifically upgrades from the 23 in its marquetry binding and end pin strip, a herringbone patterned rosette also as we see here in this example. The top is constructed out of 1 piece American Red Spruce top with a wide grain at its center, and Brazilian Rosewood back and sides, again with nice straight grain only seen in this era. The top of this example is very clean, with a light finish overspray. The bridge appears to have been removed at some point in its life, but appears original - constructed out of ebony with worn pyramids on either side - the pins replaced with functional ebony pins specifically milled for this instrument. The top is lightly braced internally, with a further back X brace, with one tone bar, a thin maple bridge plate which appears original, and a thin popsicle stick brace underneath the fingerboard extension. The top is in very good condition, with no open cracks or structural cleats added. The back has 9 cleats present throughout, externally hardly visible due to some nicely done finish touch up. The finish touchup does extend into the sides - the back having been off of this instrument to reglue the internal back braces. The repairs are excellent, and yielding strong structural stability, no belly, and surely years of future sturdiness. The center spine brace stamped PA, more below. This example is initialed "CEW" along with 12/26 behind its X brace - according to Martin this "could be from Clarence Werkheiser who worked at Martin from 1917 through the end of the 20's" sent in for factory repair. The neck is designed with a mahogany profile, and an ebony fingerboard. Constructed with a 24" scale length, and a wide 1 13/16" nut width. It has a standard issue V profile, popular for the time frame of these instruments, which has a depth of .86" at the first fret tapering to about .97" at the ninth fret. The neck recently reset, shows some tooling marks in the top around the fingerboard extension, but otherwise was nice and cleanly performed - now yielding an accurate neck angle, and a new tall saddle measuring a hair over 8/64" in height over the slot. Replacement bar frets have been installed during this ones setup, and are yielding great playability - and retain the feel and aesthetics accurate to its original intention. Strung up currently with silk and steel strings, the guitar plays with nice low action that measures about 5/64" in height at the twelfth fret. The tuners appear as era correct but are not stamped as Jeromes. Oval ivory buttons present, the brass mounting plate is also stamped with snowflake impressions, the sprocket gear non adjustable - one give away a single replaced Philips head screw. Included in the sale is an era accurate presumably original coffin case. The hinges have been repaired with leather but are now no longer functioning properly. The finish has been touched up - but overall it is a nice case example suitable for the well loved and repaired instrument it bares.