The allure of 19th-century guitars (parlor guitars)

~Echoes from 170 years ago~

 

19th-century guitars were surprisingly small by today's standards.
In those days, there was a culture of families and friends gathering in "parlors" (reception rooms) to enjoy music, and the "parlor guitar" was played in those spaces.
The soft tones produced by its small body symbolized the warmth of home.

The guitars featured here include Martin guitars from the 1850s, as well as works by master craftsmen from the 19th and early 20th centuries, such as Stewart & Bauer and Washburn.
The craftsmanship of artisans who pursued both sound and beauty is evident in every detail, from the use of Brazilian rosewood to the mother-of-pearl inlays.

Combining splendor and delicacy, the parlor guitar is not merely a musical instrument, but a work of art that reflects the lifestyle, culture, and aesthetic sensibilities of its time.
Its resonance continues to touch people's hearts, even after more than 150 years.

Large acoustic guitars, such as the D-28 and J-45, are now an indispensable part of the music scene.
From country and blues to rock, its rich volume and powerful sound have supported countless genres.

These "large acoustic guitars" only became commonplace after the 20th century.
The Gibson Jumbo, released in 1934, and the Martin D-28 (12-fret version), released in 1931, were iconic examples of this era.
Going back even further, the Dreadnought that Martin produced in 1916 at the request of Ditson was a pioneer in this trend towards larger guitars.


The background to these is the country music of the time, which featured banjo, mandolin, fiddle, and woodwind instruments.BassI imagine there was a need for a guitar with a volume that could compete with those other instruments.

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 guitar, which Martin is said to have introduced in 1854, is considered a "small guitar" today, but at the time it was one of the largest guitars available, and was even listed as "Largest Concert Size" in price lists from the 1870s.

The trend towards larger guitars is also being seen in the world of classical guitars.
In the 19th century, the renowned Spanish craftsman Antonio de Torres sought to produce a volume suitable for concert hall performances, experimenting with improvements to fan bracing and enlarging the body of his guitars, laying the foundation for the modern classical guitar.

Thus, from the 19th to the 20th century, the guitar underwent a major transformation, moving from small to large.
This time, we'll focus on the "parlor guitar," a small guitar beloved in homes at the time, which is deliberately the opposite of this trend of "increased size."

What exactly is a parlor?

The word "parlour" (or "parlor" in the United States) is said to have originated in medieval Europe as a term referring to "a room in a monastery where conversation was permitted."
Monks were usually required to remain silent in the corridors, and a special room for talking with outsiders or fellow monks was called a "parlor."
Eventually, this word was incorporated into daily life.
In English-speaking countries during the 18th and 19th centuries, the term came to be used to mean a reception room or guest room.
Therefore, the parlor (reception room/guest room) was the most luxuriously decorated room, furnished with works of art and musical instruments, and was a symbol of the middle class, serving as a space for receiving guests.

19th-century parlor culture

In 19th-century English-speaking countries, parlors served not only as places for receiving guests but also as venues for socializing and musical practice within the home (so-called parlor music).
It was a space that could be described as a home theater, furnished with fine items, where family and friends could gather to enjoy singing and playing instruments.
As lifestyles changed in the 20th century, formal parlors gradually fell out of use, and the term "living room" became common in house floor plans and lifestyle magazines.

What is a parlor guitar?

In 19th-century English-speaking countries, parlors served not only as places for receiving guests but also as venues for socializing and musical practice within the home (so-called parlor music).
It was a space that could be described as a home theater, furnished with fine items, where family and friends could gather to enjoy singing and playing instruments.
As lifestyles changed in the 20th century, formal parlors gradually fell out of use, and the term "living room" became common in house floor plans and lifestyle magazines.

In the United States, at least in the latter half of the 19th century, the term "parlor" was repurposed, and examples can be found in instrument catalogs of the time that guitars smaller than concert size were described as "Parlor Size."

Even today, Martin's reference books and other publications still describe guitars smaller than a single-O (concert size) as "parlor guitars."

It can be inferred that the term "parlor music" emerged in the 19th century when the "parlor" (living room) space in homes became established and music could be enjoyed there. In this context, smaller instruments than concert guitars, used in such settings, came to be called "parlor-size (guitar)."
In other words, it was a term derived from the performance space (reception room), and at the same time, it also carried the meaning of a size classification.

While it's difficult to define a parlor guitar precisely, it's safe to understand it as an acoustic guitar with a 12-fret joint that is smaller than a single-O (concert) size, based on the above considerations.

However, if we take such a narrow definition, the term "parlor guitar," which we use in everyday life, becomes practically useless because we rarely have the opportunity to handle guitars smaller than Size 1.

Therefore, in practice, I believe that any guitar with a slotted head (or solid head) and a 12-fret joint, and a relatively small size, or more broadly, any small guitar, can be called a "parlor guitar."
(I don't really want to hear conversations like, "This guitar is a single-O size, so it's not actually a parlor guitar.")

Based on the above, this article will not strictly define size, but will broadly refer to "antique guitars with characteristics similar to parlor guitars."

The "parlor guitar" was created as a small guitar suitable for playing in a reception room.

We will introduce their charm with photographs of antique parlor guitars that have actually arrived in our store.

 

[Works by Master Craftsmen of the 19th Century]

Martin Size 2 Brazilian Rosewood

This is an antique, size 2.
This is a rare piece with beautiful rosette and purfling designs, and very few records of it exist.

Size 2 was called "Ladies' Size" at the time, and it was exactly the size of a parlor guitar.
Incidentally, 0 (single O) meant Large Concert Size, and Size 1 meant Large Size.

The year of manufacture can usually be determined from the serial number engraved on the neck block, but this guitar does not have a serial number engraved on it.

This is because Martin guitars could only be dated by serial number after 1898, so this particular guitar is presumed to have been made before that time.

"Before that" would be the period from the founding year of 1833 to 1897,By examining the details, it's possible to roughly determine the age.

First, there's the stamp engraved on the inside of the body bag.

Although slightly faded, the stamp "CF MARTIN NEW-YORK" can be seen.
Those who own the current model might find it interesting to compare them.
The current stamp should say "CF MARTIN & CO. NAZARETH, PA."

In reality, there are other types of stamps besides these two.
That serves as one of the important clues for determining the age.

Of particular note is the presence or absence of "& CO." after "CF MARTIN".
In 1867, when CF Martin's eldest son, CF Martin Jr., and his nephew, CF Hartman, joined the business, the stamp was changed to "CF MARTIN & CO. NEW-YORK".

Therefore, based on this stamp, we can narrow down the manufacturing year of this guitar to between 1833 and 1867.

 

In addition to the center stripe inside the back of the body, the words "NEW-YORK" can also be seen engraved on the neck block and headstock.
However, the Martin family moved their production base to Cherry Hill in the 1840s, and then to Nazareth in the 1860s, where they are still based today.
Therefore, many Martin guitars made after 1840 were actually manufactured outside of New York.
The reason the "NEW-YORK" stamp continued to be used is likely because Martin shoes were still distributed via New York at the time, and therefore this mark continued to be used throughout the 19th century.

 

The slightly greenish brass plate is engraved with thistle flowers and leaves, and the aged white bone knob enhances its antique appearance.

If you look closely at the top of the plate, you can see the inscription "JEROME".

JEROME tuners were made in France and used on Martin guitars from the 1840s to the 1850s.

Based on the shape of the gears and the presence or absence of the "JEROME" mark, it is thought to have been made in the early 1850s.

This part narrowed down the date to the 1850s.

 

It's quite impressive to imagine this as the X-bracing on a Martin 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 invented X-bracing in the 1840s.

This particular unit has a tone bar installed in the center of the lower part of the body.
This pattern can be seen from the 1850s onward, and this form became the standard, continuing into the 1860s and beyond.
This is, in a sense, one of the perfected forms of X-bracing.
This refers to the positional relationship of the X-shaped intersection relative to the soundhole.
We sometimes refer to this as forward shift and rear shift, but you can see that the intersection points of the X symbols were quite far apart at this time.

Based on the stamps, pegs, and bracing pattern, we were able to estimate that this guitar was made in the 1850s.

 

This guitar, made over 150 years ago, was crafted by Martin in his workshop in Pennsylvania after moving from New York, and you can feel the texture and feel of the instrument as he went through trial and error.

Now, the next thing we want to do is identify the style.
Currently, Style-15, Style-18, Style-28, Style-35, Style-41, Style-42, and Style-45 are the mainstream, but back then, there were nine different types just in the 20s series: 20, 21, 22, 23, 24, 25, 26, 27, and 28, with detailed specifications.

These will vary depending on the type of wood and decorations used, so let's take a look at those.

Brazilian rosewood is used for the body sides and back.

Since rosewood was used from Style-17 onwards, this alone cannot determine the style.
The same applies to the spruce top of the body.
Even so, it gives you the impression of having a really nice texture.

The fretboard and bridge are made of ebony.

Similar to spruce and rosewood used as body materials,The use of ebony wood has also continued for over 150 years.
Considering rigidity, acoustic properties, and design aesthetics, I'm reminded once again that this is the only material that will do.

Next up is the neck material.

Spanish cedar is sometimes used during this period.
While there are exceptions, this material is typically used in Style-20 and above models.
Lower-end models used materials such as poplar and basswood, 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 decorations.

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.

Style-20 and above primarily use cedar necks.
In Style-24, the purfling becomes a colored marquetry technique.
The end pieces are similar, with a variety of designs.

Therefore, relatively simple decorations like those in this case are considered to fall under Style-20 to 23.

Here's a brief explanation of each style.

Style-20 has more binding and colored marquetry than Style-18.
Herringbone style, etc.RecruitAnd, mainly size 2.

Style-21 is primarily available in size 1.

Style-22 and Style-23 are also listed in Martin's ledger,
These numbers, at the time, did not strictly indicate specifications (style) as they do today, but were simply symbols representing the selling price ($22/$23). Both 20 and 21 were symbols indicating the price at that time.

This is speculation, but a distinctive feature of this particular guitar is the inlay work on the end piece. This type of decoration is rarely seen on Styles 20-22, and is only found on Style 24 and later, so I believe this guitar may have been released as a Style 23.

This antique parlor guitar, which makes you think so deeply about Martin's history, is simply wonderful.

Stewart & Bauer Parlor

This is a parlor guitar from the early 20th century, made by the brand Stewart & Bauer.

Stewart & Bauer was founded in 1898 by George Bauer, a guitar and mandolin maker from Philadelphia, and Samuel Swaim Stewart (SS Stewart), who was also renowned as a banjo maker.

The two continued their collaborative relationship until around 1910, producing instruments under their respective brand names, with Bauer primarily working on guitars and mandolins, and Stewart on banjos.

As can be seen from its intricate decoration, this instrument is a fusion of the craftsmanship and artistry of the time.

The mother-of-pearl trim and rosette that frame the entire body still shine brightly even after more than 100 years, and the fretboard is adorned with delicate inlays featuring flower and vine motifs.
This floral pattern shares a design similar to the "Tree of Life" motif found in Washburn's works from the same period, but is characterized by its more delicate expression.

Furthermore, the neck heel is engraved with a floral design, similar to that found on SS Stewart banjos, and the back stripe decoration also features extremely rare mother-of-pearl work.

Each and every detail of the decoration conveys the dedication the craftsmen poured into this guitar, treating it as a work of art that transcends mere musical instruments.

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 by the Boston music publisher Oliver Ditson & Co. (Ditson & Co.).

Ditson is also known for ordering the "Extra Large" models (111/222/333), the progenitor of the Martin Dreadnought, in 1916, so it's easy to imagine the significant influence they had on the musical instrument industry.

As the name suggests, Washburn is a brand of Lyon & Healy, derived from the middle name of George Washburn Lyon, and was established in the 1880s. It was officially registered as a trademark in 1887, and the name was given to high-quality stringed instruments (guitars, mandolins, banjos, etc.) produced at the company's Chicago factory.

Currently, Washburn is known in the rock scene, used by artists such as Paul Stanley and Nuno Bettencourt. Lyon & Healy, on the other hand, is now famous for its concert harps, but in the past, it was a major manufacturer of mandolins, banjos, parlor guitars, and other instruments.

This particular instrument is a model that boasts a fretboard lavishly adorned with pearl and other ornate decorations.

Based on the inlays and body size, it is presumed to be a Model 188 from the 1890s-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 design that spreads out on both sides, and is named "Durkee's bridge" after its designer, George Durkee. (Other bridge shapes are also described under the same name.)
The strings are threaded through holes in the top of the bridge, a truly innovative design.

The tuners feature thick, lustrous mother-of-pearl buttons.
The plate features carvings of plant motifs, and both ends are punched out in a shape reminiscent of a crown.

This use of parts gives the piece a unique antique feel.

Washburn Grand Concert Guitar

This is the slightly larger "Grand Concert" (approximately 360mm wide), which is close to the size of Martin's 00 (double-O) model.

While we cannot identify the exact model, the bridge shape and decorations 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 is stamped with "LYON&HEALY MAKERS CHICAGO.USA," giving a sense of the brand's roots.

Based on the shape of the plate on both sides, the tuner appears to be made by Waverly.
Waverly tuners began to be used by Martin and other manufacturers around 1920, so I believe this guitar was also made around that time.

The body is made of Brazilian rosewood, which has a very striking wood grain.

This antique guitar boasts a beautiful harmony of wood and ornamentation, exuding a sense of elegance.

[The inevitability of beauty] Inherited decorations and materials

In the parlor (reception room), a symbol of the middle class, a small guitar for playing music was placed alongside beautiful furniture and paintings.

When I picture such scenes, I imagine that 19th-century parlor guitars were not merely musical instruments, but also works of art that enriched people's lives.

And that gentle, delicate sound must have truly symbolized the warmth of home.

Looking at these antique guitars, where the texture of the wood and the decorations of mother-of-pearl and the plastic of the time are in perfect harmony, you can feel that the craftsmen were pursuing both "sound" and "beauty."

A small guitar that complemented sophisticated spaces and connected people's hearts through music.

That, I believe, is the essence of the "parlor guitar" and the reason why it continues to fascinate us to this day.

one thing:"When you think of a parlor guitar, you imagine a 'guitar that's easy to handle,' but tracing its roots led me to a point where it transcended the boundaries of a musical instrument and connected to the history of Western culture itself, which I found incredibly moving. In particular, being able to experience a Martin from the early 1850s was an invaluable experience."

Author of this article:Advance Guitars Store Manager Inoue - Vintage Guitar Researcher

Having been involved with musical instruments since childhood, he is an expert who has been involved in the appraisal and sale of thousands of vintage guitars. He has strong connections with collectors and dealers overseas. Believing that "the history of a guitar changes with even a single color or stamp," he strives to provide detailed and passionate explanations.

Qualifications and experience: Eight years of experience as a musical instrument appraiser, contributing articles and supervision to Guitar Magazine and other publications.

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