Happy you were able to identify the camera.
I too first read that page when researching C-1s before buying mine. I got it from a Hollywood screenwriter fellow. It was the filthiest camera you could ever imagine. (The seller was very honest, so I knew this in advance.) But I also knew that every single piece of the camera was present, authentic, and unbroken. Even the all of the tightening thumb knobs. The camera had only been used indoors for copy work, so even the original bellows was in really good shape.
I spent an entire winter taking it apart down to the last screw and cleaning, polishing and repainting every single piece. Then carefully reassembling it to be perfectly light-tight. By the following spring it looked better than new. And quite dashing on a sunny day when mounted on my old Zone VI heavy-duty wooden tripod.
It also came with two lenses (305mm and 210mm G-Clarons) that were also filthy. But after a professional clean-up I had the shutters checked and they tested near perfect at all speeds. The glass was flawless, and they also now both look new. Add to that an 8x10 back, a 4x5 rotating back, film holders, a pristine Calumet dark cloth, the best cable release I've ever seen, and a full Lee filter set with compendium shade and mounts for the two lenses, and it was quite a nice find.
I later added the authentic Calumet compendium shade, a still-in-the-sealed-box NOS 5x7 back, a nice condition Calumet 6x7 roll film back, and a bunch of 4x4 b&w contrast filters. This winter I'll probably also add new Steve Hopf ground glasses for all three backs.
The thing itself is so damned outrageously ugly that it's simply gorgeous. The 210mm can be a challenge to use with that portrait camera tailboard focusing design, but it's great fun to set up in public. And nothing beats an 8x10 contact print. Except maybe a 16x20...
Good luck with it, if you make the purchase.