~Sounds from 170 Years Ago~
The Charm of 19th-Century Guitars (Parlor Guitars)
By today’s standards, 19th-century guitars were surprisingly small.
In the “parlors” of that era, there was a culture of family and friends gathering to enjoy music, and the “parlor guitar” was played in those very spaces.
The soft tone produced by its small body symbolized the warmth of home.
The guitars featured here are works by master luthiers from the 19th and early 20th centuries, including a Martin from the 1850s, as well as instruments by Stewart & Bauer and Washburn.
The craftsmanship of artisans dedicated to the pursuit of sound and beauty—such as the use of Brazilian rosewood and mother-of-pearl inlays—is evident throughout.
Combining elegance and delicacy, the parlor guitar is not merely an instrument but also a work of art that reflects the lifestyle and aesthetic sensibilities of its time. Its resonance continues to touch people’s hearts even today, spanning more than 150 years.
Large acoustic guitars, epitomized by models like the D-28 and J-45, are now an indispensable part of the music scene.
From country and blues to rock, their rich volume and powerful resonance have supported countless performances.
These “large acoustic guitars” did not become established until the 20th century.
The Jumbo, introduced by Gibson in 1934, and the D-28 (12-fret model) released by Martin in 1931, were iconic examples of this trend.
Going even further back, the Dreadnought—crafted by Martin in 1916 at the request of the Dittson Company—was the pioneer of this trend toward larger sizes.
I imagine that behind this trend was the need for a guitar with a volume that could rival instruments such as the banjo, mandolin, fiddle, and double bass in the country music of the time.
So, what were guitars like before that?
In the 19th century, sizes that would be surprisingly small by today’s standards were the norm.
Even the “0 (Single-O)” size, which Martin is said to have introduced in 1854, is considered a “small guitar” today, but at the time it was regarded as one of the largest guitars available—so much so that it was listed as the “Largest Concert Size” in price lists from the 1870s.
A trend toward larger sizes can also be seen in the world of classical guitars.
Antonio de Torres, a renowned 19th-century Spanish luthier, sought a volume capable of filling concert halls. He experimented with improvements to the fan bracing and enlarging the body, thereby laying the foundation for the modern classical guitar.
Thus, from the 19th to the 20th century, the guitar underwent a major transformation, evolving from small to large.
The focus of this article is the “parlor guitar”—a small guitar beloved in homes of that era—which deliberately took a direction opposite to this trend toward “larger sizes.”
What Exactly Is a Parlor Guitar?
It is said that the term “parlour” (or “parlor” in the U.S.) originated in medieval Europe as a word referring to “a room in a monastery where conversation was permitted.”
Monks were typically required to observe silence in the cloisters, and the special room where they could speak with outsiders or fellow monks was called a “parlour.”
Eventually, this term was adopted into civilian life,
and in the English-speaking world during the 18th and 19th centuries, it came to be used to mean a reception room or parlor.
As a result, the parlor—as a space for welcoming guests—was the most elegantly decorated room, furnished with works of art and musical instruments, and served as a symbol of middle-class households.
19th-Century Parlor Culture
In the English-speaking world of the 19th century, the parlor (reception room) served not only as a place to receive guests but also as a venue for domestic socializing and musical performances (so-called “parlor music”).
Furnished with high-quality furnishings, it was a space—akin to a home theater—where family and friends gathered to enjoy singing and instrumental music.
As the 20th century began, changes in lifestyle led to the formal parlor gradually falling out of use, and the term “living room” became commonplace in home floor plans and lifestyle magazines.
What Is a Parlor Guitar?
At least in the United States during the late 19th century, the term “parlor” was repurposed, and examples can be found in instrument catalogs of the time where guitars smaller than concert size were introduced as “Parlor Size.”
Even today, in publications such as Martin’s reference books, one can find descriptions that refer to guitars smaller than single-o (concert size) as “parlor guitars.”
It is believed that the term “parlor music” emerged against the backdrop of the “parlor” (reception room) becoming an established space in homes during the 19th century, where people could enjoy music. Consequently, instruments smaller than concert guitars—intended for use in that setting—came to be called “parlor-sized (guitars).”
In other words, the term derives from the performance venue (the parlor) and simultaneously carries the connotation of a size classification.
While it is difficult to provide a strict definition of a parlor guitar, based on the above, it is safest to understand it as an acoustic guitar with a 12-fret joint that is smaller than a single-o (concert) size.
However, if we adopt this narrow definition, the term “parlor guitar” as we commonly use it becomes practically irrelevant, since we rarely have the opportunity to handle guitars smaller than Size 1.
Therefore, in practice, we believe it is acceptable to call any guitar with a slotted head (or solid head), a 12th-fret joint, and a compact size—or, in a broader sense, any compact guitar—a “parlor guitar.”
(We’d rather not hear conversations like, “This guitar is single-O size, so it’s not actually a parlor guitar.”)
With that in mind, this article will not strictly adhere to a specific size definition but will instead broadly cover “antique guitars with parlor-like characteristics.”
The “parlor guitar” was originally created as a small guitar suitable for playing in the parlor.
We’ll explore their charm through photos of antique parlor guitars that have actually arrived at our store.
[Works by 19th-Century Master Craftsmen]
Martin Size 2 Brazilian Rosewood
This is an antique Size 2.
It features beautiful rosette and purfling designs and is a rare specimen with almost no documentation remaining.
Size 2 was called “Ladies’ Size” at the time and was indeed the size corresponding to a parlor guitar.
Incidentally, Size 0 (Single-O) was considered Large Concert Size, and Size 1 was considered Large Size.
The year of manufacture can usually be determined from the serial number stamped on the neck block, but this guitar does not have a serial number stamped on it.
This is because Martin guitars became dateable by serial number only after 1898, so this instrument is presumed to have been made prior to that.
“Prior to that” would mean anywhere from the company’s founding in 1833 to 1897, but by examining the details, it is possible to determine a rough date of manufacture.
First, there is the stamp engraved on the inside of the body back.
Although it has faded slightly, you can make out the stamp that reads “C. F. MARTIN NEW-YORK.”
If you own a current model, it would be interesting to compare the two.
The current stamp should read “C. F. MARTIN & CO. NAZARETH, PA.”
In fact, there are other types of stamps besides these two,
and this is one of the key clues for determining the age of the instrument.
Of particular note is the presence or absence of “& CO.” following “C. F. MARTIN.”
In 1867, when C. F. Martin’s eldest son, C. F. Martin Jr., and his nephew, C. F. Hartman, joined the company, the stamp was changed to “C. F. MARTIN & CO. NEW-YORK.”
Therefore, based on this stamp, we can narrow down the guitar’s year of manufacture to between 1833 and 1867.
Furthermore, the “NEW-YORK” inscription can be seen not only on the center stripe inside the body back but also on the neck block and headstock.
However, the Martin family had moved their production facilities to Cherry Hill in the 1840s and then to Nazareth in the 1860s, where they remain based today.
Consequently, many Martin guitars made after 1840 were actually produced outside of New York.
Nevertheless, the “NEW-YORK” stamp continued to be used because Martin guitars were still distributed via New York at the time; it is believed that this is why the stamp remained in use throughout the 19th century.
A slightly greenish brass plate is engraved with thistle flowers and leaves, and the white bone knobs, showing signs of age, enhance an appearance truly worthy of the term “antique.”
If you look closely at the top of the plate, you can see the “JEROME” stamp.
JEROME is a tuner manufactured in France and used on Martin guitars from the 1840s to the 1850s.
Based on the shape of the gears and the presence of the “JEROME” stamp, it is believed to have been made in the early 1850s.
This part has narrowed down the date of manufacture to the 1850s.
It’s truly moving to imagine that this is part of a Martin’s X-bracing from the 1850s.
Until the 1840s, various styles such as ladder bracing and fan bracing were being experimented with, and it is said that Martin introduced X-bracing in the 1840s.
You can see that this particular instrument has a tone bar installed at the center of the lower part of the body.
This is indeed a pattern seen from the 1850s onward; this design became the standard and continued through the 1860s and beyond.
It is, so to speak, one of the definitive forms of X-bracing.
Regarding the relative positions of the X’s intersections as viewed from the soundhole,
terms like “forward shift” and “rear shift” are used, but you can see that the X’s intersections are quite far apart in this period.
Based on the stamp, tuning pegs, and bracing pattern, I was able to determine that this guitar was likely made in the 1850s.
This guitar, made over 150 years ago, traveled from New York to Pennsylvania, and through repeated trial and error, Martin crafted it in his workshop at the time—you can almost feel the craftsmanship.
Next, I’d like to identify the specific style.
Today, Styles 15, 18, 28, 35, 41, 42, and 45 are the mainstream models, but back then, there were nine distinct styles just in the 20s series—20, 21, 22, 23, 24, 25, 26, 27, and 28—with very detailed specifications.
These vary depending on the wood and decorative elements used, so let’s take a closer look at those.
Brazilian rosewood is used for the body sides and back.
Since rosewood was used starting with the Style-17 back then, we can’t narrow down the style based on this alone.
The same applies to the spruce used for the body top.
Even so, it really makes you think, “What a nice texture.”
The fingerboard and bridge are made of ebony.
Just like the spruce and rosewood used for the body, ebony has been used for over 150 years.
When you consider factors such as rigidity, acoustic properties, and design, you realize once again that this is truly the only material that will do.
Next is the neck wood.
Spanish cedar was also used during this period.
While there are exceptions, this wood was typically used in models from the Style-20 and up.
Models below that used poplar or basswood, and the necks were painted black.
The use of Spanish cedar suggests this is a Style-20 or higher model, so we’ve taken a step forward.
Next, let’s take a look at the decorations.
The body features wood purfling and Brazilian rosewood binding on both the top and back.
The soundhole rosette features a half-diamond design and is also decorated with wood.
The back stripe features a diamond design.
While Style-20 and above models primarily use cedar necks,
on the Style-24, the purfling becomes colored marquetry,
and the end piece follows suit, with various designs.
Therefore, relatively simple decoration like this one is thought to correspond to Styles 20 through 23.
Here is a brief explanation of each style.
Style-20 features more binding than Style-18 and uses colored marquetry.
Herringbone and other styles are used, and it is primarily Size 2.
Style-21 is primarily Size 1.
Although Style-22 and Style-23 are also listed in Martin’s ledger,
it is believed that these numbers did not strictly denote specifications (styles) at the time, as they do today, but were simply symbols representing the selling price ($22/$23). There is no doubt that both 20 and 21 were symbols indicating the prices at that time.
This is just speculation, but a distinctive feature of this particular instrument is the inlay on the endpiece. Since this decoration is rarely seen on Styles 20–22 but appears starting with Style 24, I believe this guitar may have been marketed as a Style 23.
An antique parlor guitar that inspires this much reflection on Martin’s history is simply wonderful.
Stewart & Bauer Parlor
This is an early 20th-century parlor guitar from the Stewart & Bauer brand.
Stewart & Bauer was founded in 1898 by George Bauer, a Philadelphia-based guitar and mandolin maker, and Samuel Swaim Stewart (S. S. Stewart), who was also renowned as a banjo maker.
The two continued their collaboration until around 1910, producing instruments under their respective brand names—Bauer primarily crafted guitars and mandolins, while Stewart focused on banjos.
As evident from its exquisite ornamentation, this instrument is a perfect fusion of the craftsmanship and artistry of that era.
The mother-of-pearl trim encircling the entire body and the rosette still gleam even after more than 100 years, and the fingerboard features delicate inlays depicting flowers and vines.
While this floral pattern shares similarities with the “Tree of Life” motif found on Washburn instruments from the same period, it is characterized by its more intricate execution.
Furthermore, the neck heel is carved with floral motifs similar to those found on S.S. Stewart banjos, and the backstripe decoration features extremely rare mother-of-pearl inlay.
Each decorative element conveys the dedication with which the craftsmen poured their hearts and souls into this guitar, treating it as “a work of art beyond a mere instrument.”
Washburn Model 188 “1896 STYLE NEW MODEL”
The history of Washburn begins with Lyon & Healy.
The company was founded in 1864 by George Washburn Lyon and Patrick Joseph Healy as a Chicago sales office for publications produced by the Boston-based music publisher Oliver Ditson & Co. (Ditson).
Ditson is also known for having commissioned the “Extra Large” models (111/222/333)—the precursors to the Martin Dreadnought—in 1916, which gives a sense of just how significant its influence was on the musical instrument industry.
Now, Washburn—as the name suggests, derived from George Washburn Lyon’s middle name—is Lyon & Healy’s own brand, established in the 1880s. It was officially registered as a trademark in 1887, and this name was applied to the high-quality stringed instruments (guitars, mandolins, banjos, etc.) produced at the company’s Chicago factory.
Today, Washburn is also known in the rock scene for being used by artists such as Paul Stanley and Nuno Bettencourt. Lyon & Healy, on the other hand, is now a company renowned for its concert harps, but back then, it made its mark as a comprehensive manufacturer dealing in mandolins, banjos, parlor guitars, and more.
This particular instrument features a fingerboard lavishly inlaid with mother-of-pearl and boasts striking ornamentation.
Based on the inlays and body size, it is believed to be a Model 188 from the 1890s to the 1900s.
The label is circular.
The center stripe on the back of the body is stamped with “1896 STYLE,” “GEORGE WASHBURN,” and “NEW MODEL.”
The bridge is characterized by its fan-shaped wings on both sides and is named “Durkee’s bridge” after its designer, George Durkee. (Other bridge shapes are also introduced under the same name.)
The strings are threaded through holes cut into the top of the bridge—a novel design.
The tuners feature thick, lustrous mother-of-pearl buttons.
The plate is engraved with a botanical motif, and both ends are cut out in a shape reminiscent of a crown.
This use of parts gives the instrument a unique, antique-like character.
Washburn Grand Concert Guitar
This is a slightly larger “Grand Concert” (approx. 360 mm wide), similar in size to a Martin 00.
Although the exact model cannot be identified, the bridge shape and decorations are similar to those of Model 367.
The back of the headstock is stamped with “WASHBURN,” and the center stripe on the back of the body bears the stamp “LYON&HEALY MAKERS CHICAGO.U.S.A,” evoking the brand’s roots.
Based on the shape of both sides of the plate, the tuners are believed to be Waverly.
Since Waverly tuners began to be used on Martin and other guitars around 1920, we believe this guitar was also made around that time.
The body is crafted from rosewood with a very striking grain pattern.
This is a gorgeous antique guitar with a beautiful harmony between the wood and its ornamentation.
[The Necessity of Beauty] Inherited Ornamentation and Materials
In the “parlor”—a symbol of middle-class households—a small guitar for playing music was placed alongside beautiful furniture and paintings.
When I picture such a scene, I imagine that 19th-century parlor guitars were not merely instruments, but also made their presence felt as works of art that enriched daily life.
And their gentle, delicate resonance must have been a sound that truly symbolized the warmth of the home.
Looking at these antique guitars, where the texture of the wood harmonizes beautifully with mother-of-pearl and period plastic inlays, one can sense how the craftsmen pursued both “sound” and “beauty.”
A small guitar that complemented elegant spaces and connected people’s hearts through music.
I believe that is the very essence of the “parlor guitar” and the reason it continues to captivate us to this day.
A Few Words: “When I think of a parlor guitar, I imagine a ‘compact and easy-to-handle guitar,’ but tracing its roots—and discovering how it transcends the boundaries of a mere instrument to connect directly to the history of Western culture itself—was truly moving. In particular, getting to experience a Martin from the 1850s, the instrument’s formative era, was an irreplaceable experience.”
Author: Inoue, Store Manager at Advance Guitars – Vintage Guitar Expert
An expert who has been involved with musical instruments since childhood and has appraised and sold over several thousand vintage guitars. He maintains strong connections with collectors and dealers overseas. Guided by the belief that “the history of a guitar can change with a single color or stamp,” he strives to provide in-depth and passionate commentary.
Qualifications and Achievements: 8 years as a musical instrument appraiser; contributor and supervising editor for Guitar Magazine and other publications
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