Many of this mandolin=s appointments have been mentioned earlier. It has the narrower 9" body characteristic of early Martin flat-backs. Later models had a 92" width. Like all Martin flat-backs of Style B or above, its sides and back are rosewood and its top, straight-grained spruce. The neck is mahogany, the peghead overlay is rosewood; the bridge and fingerboard are ebony. The latter has fancy position markers of exceptional-quality white pearl at the 1^st , 3^rd , 5^th, 7^th, 10^th, 12^th, 15^th, and 17^th frets. The neck is bound in grained ivoroid, as are the top and back. Within the top=s ivoroid binding is one of this instrument=s most striking visual features B abalone purfling bordered on each edge by thin black-light-black wood strips. Thus, the top edge is decorated with ivoroid, black-light-black, abalone, and again, black-light-black, from outer to inner. The back edge has ivoroid, a thin strip of rosewood, and a thin strip of holly. The heel cap is also ivoroid. The unfixed bridge is solid ebony carved in a decorative style with spear-like ends. It is compensated for proper intonation. The elliptical sound hole rosette, as mentioned, has a double ring of narrow abalone. To either side of the abalone are concentric rings of wood. The entire pattern, from center outward, is thin black-light-black, holly, thin black, abalone, thin black, abalone, thin black, holly, thin black-light-black. Despite the many elements involved, the rosette appears as a unified and harmonious whole. The abalone on both the edge and soundhole is highly figured with strong highlights of green, pink, gold, and blue. The other eye-catching feature of the top is the genuine tortoise pickguard, lavishly inlaid with white pearl. Although more uniform in color than the abalone, the pearl also shows strong iridescent shades of pink and green when illuminated at certain angles.

Note the remarkable condition of the top.  There are virtually no pick scratches!

Down the back seam is a strip of wood marquetry made up of three components. The outer sections are narrower versions of the dark-light diagonal wood that, when joined edge-to-edge, constitute the famous Martin herringbone. Sandwiched between them in this case, however, is an additional marquetry strip of multicolored wood. The latter includes subtle hues of rose and aqua, as well as light and dark natural wood shades. This same marquetry sandwich continues on the butt seam. The solid mahogany neck has the pointed volute carved at the head joint. This nonfunctional feature is a vestige of the separate-head-and-neck construction that was used on very early Martin guitars. Originally, the pointed volute would have been a reinforcing member for the head joint. After the switch to single-piece construction, the shape was carved at its former location because it was attractive and traditional. It was later discontinued. The entire instrument is finished in a French polished matte lacquer. Although high-gloss finishes are often associated with more expensive instruments of a later period, this matte patina has a very rich, elegant appearance.

Note detailed engraving on tailpiece and tuner covers
and pointed volute where neck and peghead join.

The tailpiece and tuner covers are hand-engraved metal. They are plated in German silver (i.e., nickel-silver) and the plating is in perfect condition. The frets are quite narrow, giving the instrument a fast feel when played. The tuners are standard, four-in-line machines, recessed into the rear of the headstock. Buttons are grained ivoroid. In light of the instrument=s prolonged disuse, I removed and stripped down the tuners for cleaning and lubrication. Although there was no evidence of wear, a fair amount of dust (and a dead bug) had collected under the cover plates. The mechanisms were cleaned with a mild solvent and coated with petroleum jelly both to lubricate and protect them. The tuning mechanism is slightly stiff but very precise. The stiffness appears to be due to the lack of normal wear and was evident even when the tuners were free of string tension and out of the instrument. It=s astounding to see original tuners of this vintage in such pristine condition and it is very clear that they are in perfect working order.

As said above, the condition of this instrument is astonishing. Vintage instruments are frequently described as Amint.@ That should usually be read as, Agreat shape, given how old it is.@ Mint instruments have all the right parts, are all original, and show a level of wear and handling not exceeding what could reasonably be expected for their age. The immaculateness of this mandolin substantially exceeds that standard. There is not a pick scratch on the top or the slightest blemish on the back! It really is as if it were made last month.

When I compared the feel and sound of this instrument to a 1925 Martin Style B, I noted both differences and similarities. The Style D has narrower frets, as mentioned, which gives the neck a fast feel. The action is also somewhat lighter on the D because of slightly lower string height but both are wonderfully responsive and easy to play. The D has a surprising dynamic range, speaking in response to the gentlest brushing of the strings but capable of playing quite loudly as well.  Its clarity, projection, sustain, and resonance are wonderful. Their tones of the B and D are similar, in comparison to the sound of other manufacturers= (e.g., Gibson=s) mandolins, but not identical. The B sounds a trifle warmer, and the D somewhat brighter and noticeably more responsive. Why the difference?  The width of the B might contribute to its warmer sound, as the larger body volume would support more bass resonances. The thicknesses of the tops near the soundhole are within 1/64" of each other, so top thickness does not appear to be a significant factor. But the bracing of the tops differ, with the D's braces being lighter and more aggressively tapered than the B's.  The D's grain pattern is also tighter, especially along the center of the sound board. These structural differences give this Style D mandolin a very pleasing and nuanced sound.  It=s difficult to imagine a more perfect example of a Martin flat-back mandolin than this exceptional instrument.  Hats off toWillis Werkheiser!

Above, details of the fingerboard inlay and the rear backstrip.

The image above shows the fine grain of the top, with strings and bridge providing scale.  Toward the center line of the top, the grain is so tight that it is virtually undetectable, even in this enlarged and enhanced image.  The grain spacing in the area between the left tip of the bridge and the leftmost string is about 25 lines per inch.

This instrument (center, above) has a neck joint style 
that represents a transition from the earlier graft joint
(seen at left on a 1902 Martin Style 5) and the
later simple, neck-to-headstock transition
(seen at right on a 1925 Style B).

Sources

Gruhn, G. (1978). Martin Employee Guitars. Pickin=, May, pp. 53-54.

Ledgin, S. (and the technical staff of Pickin=), 1977. Following C. F. Martin from Germany to
    Nazareth. Pickin=, Vol. 4 No. 2 (June), 4-16.

Werkheiser family and friends.  Among the most valuable resources have been members of the Werkheiser 
    family who have pointed me toward information on Willis and confirmed that I was on the right track.  
    I have omitted names of these contacts out of respect for their privacy.

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Contact me at:  rdevelli@bellsouth.net                                                                 Last updated, 02/03/03