~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 it was in these spaces that the “parlor guitar” was played.
The soft tones produced by their small bodies symbolized the warmth of the home.
The guitars featured here are masterpieces crafted by renowned luthiers of the 19th and early 20th centuries, including Martin from the 1850s, as well as Stewart & Bauer and Washburn.
From Brazilian rosewood to mother-of-pearl inlays, the craftsmanship of artisans dedicated to the pursuit of sound and beauty is evident throughout.
Combining glamour and delicacy, the parlor guitar is not merely an instrument, but also a work of art that reflects the lifestyle and aesthetic sensibilities of the time.
Their resonance continues to touch people’s hearts even today, spanning more than 150 years.
Large acoustic guitars, represented by models such as 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” became established in the 20th century and beyond.
The Jumbo, released by Gibson in 1934, and the D-28 (12-fret model) launched by Martin in 1931 were iconic examples of this trend.
Going even further back, the Dreadnought, which Martin produced in 1916 at the request of the Dittson Company, was the forerunner 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 like the banjo, mandolin, fiddle, and woodBass 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.
In the 19th century, the renowned Spanish luthier Antonio de Torres sought a volume capable of filling concert halls. He experimented with improvements to the fan bracing and enlarging the body, laying the foundation for the modern classical guitar.
Thus, from the 19th to the 20th century, the guitar underwent a major transformation from small to large.
This time, we’ll focus on the “parlor guitar”—a small instrument beloved in homes of the era—which deliberately took a path opposite to this trend toward larger sizes.
What exactly is a parlor guitar?
It is said that the word “parlour” (or “parlor” in the U.S.) originated in medieval Europe as a term referring to “a room in a monastery where conversation was permitted.”
Monks were typically required to maintain silence in the cloisters, so a special room where they could speak with outsiders or fellow monks was called a “parlour.”
Eventually, this term was adopted into everyday life,
and in the English-speaking world of the 18th and 19th centuries, it came to be used to mean a reception room or parlor.
As a result, the parlor (reception room or guest room) served as a space for welcoming visitors; it was the most elaborately decorated room, furnished with works of art and musical instruments, and was 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 for receiving guests but also as a venue for domestic socializing and musical performance (so-called “parlor music”).
Furnished with high-quality furnishings, it was a space where family and friends gathered to enjoy singing and instrumental music—a sort of home stage.
With the onset of the 20th century and changes in lifestyle, the formal parlor gradually fell out of use, and the term “living room” became commonplace in home floor plans and lifestyle magazines.
What is a Parlor Guitar?
In the English-speaking world of the 19th century, the parlor served not only as a place to receive guests but also as a venue for domestic socializing and music-making (so-called “parlor music”).
Furnished with high-quality furnishings, it was a space where family and friends gathered to enjoy singing and instrumental music—a sort of home stage.
With the onset of the 20th century and changes in lifestyle, the formal parlor gradually fell out of use, and the term “living room” became commonplace in home floor plans and lifestyle magazines.
At least in the United States in the late 19th century, the term “parlor” was repurposed, and examples can be found in instrument catalogs of the time introducing guitars smaller than concert size as “Parlor Size.”
Even today, in Martin’s reference books and similar publications, one can find descriptions referring 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 established as a space within the home during the 19th century, where music could be enjoyed, and that 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 venue where the music was performed (the parlor) and simultaneously carried the connotation of a size classification.
While it is difficult to define a parlor guitar strictly, based on the above, it is safest to understand it as referring to 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 play guitars smaller than Size 1.
Therefore, in practice, I believe it is acceptable to call any guitar with a slotted head (or solid head), a 12-fret joint, and a compact size—or, in a broader sense, any compact guitar—a “parlor guitar.”
(I’d rather not hear conversations like, “This guitar is a Single-O size, so it’s not actually a parlor guitar.”)
With that in mind, this article will not strictly adhere to a rigid definition of size but will instead broadly cover “antique guitars with parlor-like characteristics.”
The “parlor guitar” was born as a small guitar suitable for playing in the parlor.
We’ll explore their appeal through photos of antique parlor guitars that have actually arrived at our shop.
[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 known at the time as “Ladies’ Size” and was indeed the size equivalent to a parlor guitar.
Incidentally, “0” (Single O) was considered Large Concert Size, and Size 1 was considered Large Size.
As for the year of manufacture, it 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, butby examining the details, it is possible to determine a rough date of manufacture.
First, there is a 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 instrument’s age.
Of particular note is the presence or absence of “& CO.” following “C. F. MARTIN.”
In 1867, when C. F. Martin Jr., C. F. Martin’s eldest son, and his nephew C. F. Hartman joined the business, 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.
Note that the “NEW-YORK” inscription appears not only on the center stripe inside the body back but also on the neck block and headstock.
However, the Martin family moved their manufacturing operations to Cherry Hill in the 1840s and then to Nazareth in the 1860s, where they are still 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’s instruments were still distributed via New York at the time, and it is believed that this is why the stamp remained in use throughout the 19th century.
A slightly greenish brass plate engraved with thistle flowers and leaves, paired with aged white bone knobs, creates a look 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" engraving, it is believed to have been made in the early 1850s.
This part has significantly narrowed down the date of manufacture to the 1850s.
It’s truly moving to imagine this as 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 body.
This is indeed a pattern seen from the 1850s onward; this design became the standard and continued into the 1860s and beyond.
It is, so to speak, one of the definitive forms of X-bracing.
This refers to the relative position of the X’s intersection points as seen from the soundhole;
and terms like "forward shift" or "rear shift" are used to describe them; however, it is clear that the intersection of the X in this period is quite far apart.
Based on the stamp, pegs, and bracing pattern, we can conclude that this guitar was likely made in the 1850s.
This guitar is over 150 years old. Having traveled from New York to Pennsylvania, and crafted by Martin in his workshop at the time through a process of trial and error, you can almost feel the craftsmanship of that era.
Next, I’d like to identify the specific model.
Today, Style-15, Style-18, Style-28, Style-35, Style-41, Style-42, and Style-45 are the mainstream models, but back then, there were nine distinct models just in the 20s series—20, 21, 22, 23, 24, 25, 26, 27, and 28—with very specific 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 model based on this alone.
The same applies to the spruce used for the top.
Even so, it really makes you think, “What a nice texture.”
The fingerboard and bridge are made of ebony.
Just likethespruce and rosewood used for the body,ebony has been used for over 150 years.
When considering factors such as rigidity, acoustic properties, and design, I realize once again that this is the only material that will do.
Next is the neck wood.
Spanish cedar is sometimes used during this period.
With some exceptions, this wood is used in models from the Style-20 and up.
For models below that, poplar or basswood were used, and the necks were painted black.
The use of Spanish cedar suggests that this is a Style-20 or higher model, which is a step forward.
Next, let’s take a look at the decorative elements.
The body features wood purfling and Brazilian rosewood binding on 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 models from the Style-20 series and above primarily use a cedar neck,
the Style-24 features colored marquetry purfling,
and the endpiece follows suit, with a variety of designs available.
Therefore, relatively simple decorations like the one shown here are likely found on 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 styles, among others, are Recruit, and it is primarily Size 2.
Style-21 is mainly size 1.
Although Style-22 and Style-23 are also listed in Martin’s ledger,
it is believed that these numbers did not strictly indicate specifications (styles) 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 price at that time.
This is just speculation, but a distinctive feature of this particular instrument is that the end piece is also inlaid. Since this decoration is rarely seen on Styles 20–22 but appears on Style 24 and later, I believe this guitar may have been marketed as a Style 23.
An antique parlor guitar that makes one think this deeply about Martin’s history is simply wonderful.
Stewart & Bauer Parlor
This is a parlor guitar from the early 20th century made by the Stewart & Bauer brand.
Stewart & Bauer was founded in 1898 by George Bauer, a guitar and mandolin maker from Philadelphia, and Samuel Swaim Stewart (S. S. Stewart), who was also renowned as a banjo maker.
The two continued their partnership 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 decoration, this instrument is a perfect fusion of the craftsmanship and artistry of that era.
The mother-of-pearl trim and rosette that border the entire body still shine brightly even after more than 100 years, and the fingerboard features delicate inlays with flower and vine motifs.
While this floral pattern shares similarities with the “Tree of Life” motif seen on Washburn instruments of the same period, it is characterized by a 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 also features extremely rare mother-of-pearl inlay.
Every single decorative detail conveys the dedication with which the craftsmen poured their hearts and souls into this guitar, treating it as a "work of art beyond an 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 ordered the "Extra Large" models (111/222/333)—the precursors to the Martin Dreadnought—in 1916, which gives a sense of the company’s significant influence on the instrument industry.
Now, Washburn—as the name suggests, derived from George Washburn Lyon’s middle name—was established in the 1880s as a proprietary brand of Lyon & Healy. It was officially trademarked in 1887, and the name was applied to high-quality stringed instruments (such as guitars, mandolins, and banjos) produced at the company’s Chicago factory.
Today, Washburn is known in the rock scene for being used by artists such as Paul Stanley and Nuno Bettencourt. Meanwhile, Lyon & Healy 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 decorative details.
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 fed 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 character.
Washburn Grand Concert Guitar
This is a slightly larger “Grand Concert” (approx. 360mm wide), similar in size to Martin’s 00 (Double-O) model.
While the exact model cannot be identified, the bridge shape and ornamentation are similar to those of the 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 the plate on both sides, the tuners are believed to be Waverly.
Since Waverly tuners began being used on Martin guitars and others around 1920, we believe this guitar was likely made during that period.
The body is crafted from rosewood with a very distinctive grain pattern.
This is a gorgeous antique guitar with a beautiful harmony between the wood and its ornamentation.
[The Necessity of Beauty] Inherited Decorations and Materials
In the “parlor”—a symbol of middle-class households—small guitars for playing music were 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 that the craftsmen were pursuing both “sound” and “beauty.”
A small guitar that complemented elegant spaces and connected people’s hearts through music.
I believe that is the 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, easy-to-handle instrument,’ but tracing its roots revealed a connection that transcends the instrument itself and leads directly into the history of Western culture—which I found truly moving. In particular, getting to experience a Martin from the 1850s, the instrument’s formative era, was an irreplaceable experience.”
Author: Inoue, Manager of Advance Guitars – Vintage Guitar Researcher
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 detailed and passionate commentary.
Qualifications & Experience: 8 years as a musical instrument appraiser; contributor and supervisor for publications such as Guitar Magazine
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