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Guitar
Maker: Gibson, Inc.
Maker: Gibson
Date: 1938
Place Made:Kalamazoo, Michigan, United States, North America
Model: Century Model Style L-C (Century of Progress model)
Serial No: 723D
SignedInlaid in mother-of-pearl on headstock: Gibson
MarkingsRubber-stamped in purple ink on neck block, the number “10” written in red pencil: 723D / 10
Tuner plates stamped: GROVER
Tuner plates stamped: GROVER
DescriptionIn 1933, Chicago held an extravagant fair rivaling even the 1893 World’s Fair, entitled the Century of Progress Exhibition. This event celebrated the 100th anniversary of the incorporation of Chicago, and it "attempt[ed] to demonstrate to an international audience the nature and significance of scientific discoveries, the methods of achieving them, and the changes which their application has wrought in industry and in living conditions." Like the 1893 Fair, the Century of Progress featured numerous temporary buildings, this time in a colorful Art Deco style rather than neoclassical. Dramatically lit buildings housed exhibits about transportation, science, and large corporations like Chrysler. Other attractions included historical reconstructions of Fort Dearborn (1803) and European buildings, as well as open air events such as alligator wrestling. The fair was a fabulous success and it was continued the following summer.
Gibson capitalized on the sensationalism of the event with a new guitar model named in its honor. The Century Model L-C was mostly remarkable for its copious use of white pearloid, a type of celluloid designed to imitate mother-of-pearl. Often called "mother-of-toilet-seat" by today’s collectors, during the 1930s this material was considered modern and attention-grabbing.
Stringing: six steel strings
Soundboard: two-piece spruce: wide grain narrowing toward the flanks
Back: two-piece, semi-slab-cut maple: irregular medium curl, pith flecks; no back stripe
Ribs: two-piece, slab-cut maple: blister figure; no end graft; reinforced on interior with linen strips at waist
Head: mahogany veneered with white pearloid and T-shaped rosewood piece, bound in white celluloid with black celluloid purfling strip; rosewood inlaid with mother-of-pearl notched diamond and mother-of-pearl “Gibson”; pearloid, bell-shaped truss rod cover secured with nickel-plated steel slot-head screws
Neck: mahogany; integral with head
Heel cap: none; neck heel flush with back
Binding: white celluloid; no additional trim
Fingerboard: white pearloid bound in white celluloid with black celluloid purfling strip; 19 nickel-silver frets; rosewood block inlays behind 3rd, 5th, 7th, 9th, 12th, and 15th frets; three mother-of-pearl diamonds inlaid in rosewood blocks behind 3rd, 9th, and 15th frets; two mother-of-pearl diamonds inlaid in rosewood blocks behind 5th, 7th, and 12th frets; single imitation tortoise-shell celluloid side dots behind 3rd, 5th, 7th, 9th, and 15th frets; double imitation tortoise-shell celluloid side dots behind 12th fret
Nut: bone
Bridge: rosewood; angled bone saddle; white plastic bridge pins
Tuners: six chrome-plated steel Grover worm-gear machine tuners with decoratively cut plate outlines; white celluloid heads
Endpin: white celluloid
Rosette: three ply (white-black-white) celluloid purfling strips set in from inside edge
Pick guard: imitation tortoise-shell celluloid
Lacquer: dark red-brown sunburst with fine craquelure
Linings: kerfed maple
Neck block: mahogany
End block: mahogany
Top braces: spruce X-brace, the joint of main cross brace reinforced with white cloth; transverse and finger braces with tapered ends; maple bridge plate
Back braces: spruce back graft; four spruce back braces with tapered ends
Gibson capitalized on the sensationalism of the event with a new guitar model named in its honor. The Century Model L-C was mostly remarkable for its copious use of white pearloid, a type of celluloid designed to imitate mother-of-pearl. Often called "mother-of-toilet-seat" by today’s collectors, during the 1930s this material was considered modern and attention-grabbing.
Stringing: six steel strings
Soundboard: two-piece spruce: wide grain narrowing toward the flanks
Back: two-piece, semi-slab-cut maple: irregular medium curl, pith flecks; no back stripe
Ribs: two-piece, slab-cut maple: blister figure; no end graft; reinforced on interior with linen strips at waist
Head: mahogany veneered with white pearloid and T-shaped rosewood piece, bound in white celluloid with black celluloid purfling strip; rosewood inlaid with mother-of-pearl notched diamond and mother-of-pearl “Gibson”; pearloid, bell-shaped truss rod cover secured with nickel-plated steel slot-head screws
Neck: mahogany; integral with head
Heel cap: none; neck heel flush with back
Binding: white celluloid; no additional trim
Fingerboard: white pearloid bound in white celluloid with black celluloid purfling strip; 19 nickel-silver frets; rosewood block inlays behind 3rd, 5th, 7th, 9th, 12th, and 15th frets; three mother-of-pearl diamonds inlaid in rosewood blocks behind 3rd, 9th, and 15th frets; two mother-of-pearl diamonds inlaid in rosewood blocks behind 5th, 7th, and 12th frets; single imitation tortoise-shell celluloid side dots behind 3rd, 5th, 7th, 9th, and 15th frets; double imitation tortoise-shell celluloid side dots behind 12th fret
Nut: bone
Bridge: rosewood; angled bone saddle; white plastic bridge pins
Tuners: six chrome-plated steel Grover worm-gear machine tuners with decoratively cut plate outlines; white celluloid heads
Endpin: white celluloid
Rosette: three ply (white-black-white) celluloid purfling strips set in from inside edge
Pick guard: imitation tortoise-shell celluloid
Lacquer: dark red-brown sunburst with fine craquelure
Linings: kerfed maple
Neck block: mahogany
End block: mahogany
Top braces: spruce X-brace, the joint of main cross brace reinforced with white cloth; transverse and finger braces with tapered ends; maple bridge plate
Back braces: spruce back graft; four spruce back braces with tapered ends
DimensionsTotal guitar length: 1006 mm (39-5/8″)
Back length: 492 mm (19-3/8″)
Upper bout width: 262 mm (10-5/16″)
Waist width: 213 mm (8-3/8″)
Lower bout width: 374 mm (14-23/32″)
Rib height (including edging) at heel: 87 mm (3-13/32″)
Rib height, at waist: 98 mm (3-27/32″)
Rib height, at end block: 110 mm (4-15/16″)
Head length: 167 mm (6-3/8″)
Head width, top: 69 mm (2-23/32″)
Head width, bottom: 56 mm (2-3/16″)
Neck length (nut to ribs): 349 mm (13-3/4″)
Neck width, nut: 44 mm (1-23/32″)
Neck width, heel: 56 mm (2-3/16″)
Soundhole diameter: 103 mm (4-1/16″)
Vibrating string length (nut to bridge edge): high E: 631 mm (24-27/32″); low E: 635 mm (25″)
Back length: 492 mm (19-3/8″)
Upper bout width: 262 mm (10-5/16″)
Waist width: 213 mm (8-3/8″)
Lower bout width: 374 mm (14-23/32″)
Rib height (including edging) at heel: 87 mm (3-13/32″)
Rib height, at waist: 98 mm (3-27/32″)
Rib height, at end block: 110 mm (4-15/16″)
Head length: 167 mm (6-3/8″)
Head width, top: 69 mm (2-23/32″)
Head width, bottom: 56 mm (2-3/16″)
Neck length (nut to ribs): 349 mm (13-3/4″)
Neck width, nut: 44 mm (1-23/32″)
Neck width, heel: 56 mm (2-3/16″)
Soundhole diameter: 103 mm (4-1/16″)
Vibrating string length (nut to bridge edge): high E: 631 mm (24-27/32″); low E: 635 mm (25″)
Terms
Credit Line: John R. Barmeyer Collection, 2005
Not on view
Object number: 10865