Echoes from 170 Years Ago
The Charm of Antique Parlor Guitars
Nineteenth-century guitars were surprisingly small by today's standards.
In the parlors of that era, a culture existed where family and friends gathered to enjoy music, and the instrument played in that space was the parlor guitar.
The soft tones produced by its small body symbolized the warmth of home.
The guitars featured here are masterpieces crafted by renowned luthiers from the 19th and early 20th centuries, including Martin from the 1850s, Stewart & Bauer, and Washburn.
The craftsmanship of artisans pursuing both sound and beauty is evident throughout, from Brazilian rosewood to mother-of-pearl inlays.
The parlor guitar, combining elegance and delicacy, is not merely an instrument but also an artistic piece reflecting the lifestyle and aesthetic sensibilities of its era.
That resonance continues to resonate in people's hearts even now, spanning over 150 years.
Large acoustic guitars like the D-28 and J-45 are now indispensable in the music scene.
From country and blues to rock, its rich volume and powerful resonance have supported countless scenes.
These "large acoustic guitars" became established only after the 20th century.
The Gibson Jumbo introduced in 1934 and the Martin D-28 (12-fret model) released in 1931 were iconic examples.
Looking further back, the dreadnought battleship Martin built for Dittson in 1916 was the forerunner of this trend toward larger ships.
Behind them lay the banjo, mandolin, fiddle, and woodBassI imagine the reason was that guitars needed to be loud enough to compete with instruments like those.
So, what about guitars before that?
In the 19th century, surprisingly small sizes by today's standards were the norm.
Even the "0" size, said to have been introduced by Martin in 1854, is considered a "small guitar" today, but at the time it was regarded as one of the largest guitars available. Price lists from the 1870s even listed it as the "Largest Concert Size."
The trend toward larger sizes is also evident in the world of classical guitars.
Antonio de Torres, the renowned 19th-century Spanish luthier, sought to achieve a volume suitable for concert hall performances. 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, evolving from smaller to larger sizes.
This time, we're focusing on the "parlour guitar"—a beloved small guitar from that era that deliberately took the opposite approach to this "oversizing" trend.
What exactly is a parlor?
The word "parlour" (known as "parlor" in the United States) is said to have originated in medieval Europe, where it referred to "a room in a monastery where conversation was permitted."
Monks were typically required to maintain silence in the cloisters, and a special room for conversing with outsiders or fellow monks was called a "parlor."
Eventually, this phrase became incorporated into everyday life,
In the 18th and 19th centuries, the term came to be used in the English-speaking world to mean a reception room or parlor.
Therefore, the parlor (reception room/guest room) served as the space for receiving visitors. As the most exquisitely decorated room, furnished with art pieces and musical instruments, it symbolized the middle-class household.
19th-century parlor culture
In 19th-century English-speaking countries, the parlor served not only as a place to receive guests but also as a venue for domestic socializing and musical practice (so-called parlor music).
It was a space that could be called the home's stage, furnished with fine furnishings, where family and friends gathered to enjoy singing and instrumental music.
As the 20th century began, changes in lifestyle led to the gradual decline of the formal parlor, and the term "living room" became commonplace in residential floor plans and lifestyle magazines.
What is a parlor guitar?
In 19th-century English-speaking countries, the parlor served not only as a place to receive guests but also as a venue for domestic socializing and musical practice (so-called parlor music).
It was a space that could be called the home's stage, furnished with fine furnishings, where family and friends gathered to enjoy singing and instrumental music.
As the 20th century began, changes in lifestyle led to the gradual decline of the formal parlor, and the term "living room" became commonplace in residential floor plans and lifestyle magazines.
At least in late 19th-century America, the term "parlor" was repurposed, and examples can be found in contemporary instrument catalogs introducing guitars smaller than concert size as "Parlor Size."
Even today, Martin's reference books describe guitars smaller than a single-o (concert size) as "parlor guitars."
It is speculated that the term "parlor music" emerged from the establishment of the "parlor" (reception room) as a dedicated space within the home during the 19th century, where music could be enjoyed. Consequently, a smaller instrument than the concert guitar, designed for use in this setting, came to be called a "parlor-size guitar."
In other words, it was a term derived from the performance space (the parlor), while simultaneously carrying connotations of size classification.
While it's difficult to strictly define a parlor guitar, it's safe to understand it as an acoustic guitar smaller than a single-O (concert) size with a 12-fret joint.
However, if we adopt such a 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, I believe it is acceptable to refer to a guitar with a slotted (or solid) headstock and a 12-fret joint that has a compact size, or more broadly, any compact guitar, as a "parlour guitar."
(I'd rather not hear conversations like, "This guitar is a single-zero size, so it's not actually a parlor guitar.")
Based on the above, this article will broadly cover "antique guitars with characteristics similar to parlor guitars" without strictly defining size.
The parlor guitar, born as a small guitar suitable for playing in the parlor.
We'll introduce its charm alongside photos of the antique parlor guitar that has actually arrived at our store.
【Antique Parlor Guitar】
Martin Size 2 Brazilian Rosewood
This is an antique Size 2.
This is a rare specimen with beautiful rosette and parfling designs, and very few records remain in the archives.
Size 2 was called "Ladies' Size" at the time and was precisely the size equivalent to a parlor guitar.
Incidentally, 0 (single-zero) was designated as Large Concert Size, while Size 1 was designated as Large Size.
The year of manufacture can usually be determined from the serial number stamped on the neck block, but this guitar has no serial number stamped on it.
This is because Martin guitars can be dated by their serial numbers only from 1898 onwards, and this particular instrument is presumed to have been made before that date.
Prior to that, it would be the period from the founding year of 1833 to 1897, butBy examining the details, it is possible to determine the approximate age.
First is the stamp engraved on the inside of the body bag.
Although slightly faded, the stamp "C. F. MARTIN NEW-YORK" can be confirmed.
If you own the current model, you might find it interesting to compare the two.
The current stamp should read "C. F. MARTIN & CO. NAZARETH, PA."
In reality, there are other types of stamps besides these two,
This serves as one of the key clues for dating.
Particular attention should be paid to whether "& CO." appears after "C. F. MARTIN."
In 1867, when C. F. Martin Jr., the eldest son of C. F. Martin, and his nephew C. F. Hartman joined the management, the stamp was changed to "C. F. MARTIN & CO. NEW-YORK".
Therefore, based on this stamp, we can narrow down the guitar's manufacturing year to between 1833 and 1867.
Additionally, the "NEW-YORK" inscription can be seen not only on the center stripe inside the body bag, 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.
Therefore, many Martin guitars made after 1840 were actually manufactured outside of New York.
Nevertheless, the "NEW-YORK" stamp continued to be used because Martin's goods were still distributed via New York at that time, and it is thought that this mark continued to be used throughout the 19th century.
A brass plate with a slight green tint features engraved thistle flowers and leaves, while the aged white bone knob enhances its antique-worthy appearance.
Upon closer inspection of the top of the plate, you can see the engraving "JEROME".
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 or absence of the JEROME stamp, it is thought to have been made in the early 1850s.
This part narrows it down significantly to the 1850s.
It's truly moving to imagine this is Martin's X-bracing from the 1850s.
Various styles such as ladder bracing and fan bracing were being experimented with until the 1840s, and it is said that Martin created X-bracing in the 1840s.
This unit has a tone bar installed in the center of the lower body.
This pattern, observable since the 1850s, became the standard form and continued into the 1860s and beyond.
It is essentially one of the perfected forms of X-bracing.
Regarding the positional relationship of the X-shaped intersection relative to the sound hole,
We refer to forward shift and rear shift, but you can see that the intersection point of the X is quite far apart these days.
Based on the stamp, pegs, and bracing pattern, we have determined that this guitar was likely made in the 1850s.
A guitar from over 150 years ago, moved from New York to Pennsylvania, crafted by Martin in his workshop through trial and error—its texture still resonates today.
Now, the next step is to identify the style.
Currently, Style-15, Style-18, Style-28, Style-35, Style-41, Style-42, Style-45, etc. are mainstream, but back then, there were 20, 21, 22, 23, 24, 25, 26, 27, 28—nine types just in the 20 series alone—with specifications being quite detailed.
These vary depending on the wood used and the decorations, so we'll take a look at those.
Brazilian rosewood is used for the body sides and back.
Since rosewood was used starting with Style-17 at that time, this alone is insufficient to narrow down the style.
The same applies to the spruce used for the body top.
Even so, it makes you think, "What a nice texture."
The fingerboard and bridge are ebony.
Similar to spruce and rosewood used as body materials,The use of ebony wood has also continued for over 150 years.
Considering factors such as rigidity, acoustic properties, and design appeal, I realize once again that this material is truly indispensable.
Next is the neck material.
Spanish cedar is also used during this season.
While there are exceptions, this material is used in Style-20 and higher models.
Lower-end models used poplar or basswood, and the neck was painted black.
The use of Spanish cedar suggests it's 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 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.
Style-20 and above primarily use cedar necks, but
In Style-24, the purfling becomes stained marquetry,
End pieces also come in a variety of designs.
Therefore, relatively simple decorations like this one can be considered to fall under Style-20 to 23.
Here is a brief explanation of each style.
Style-20 features more bindings than Style-18 and is a colored marquetry design.
Herringbone styles are used, primarily in size 2.
Style-21 is primarily size 1.
Style-22 and Style-23 are also recorded in Martin's ledger, but
These numbers were not intended to strictly indicate specifications (styles) as they are 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 defining feature of this instrument is the inlay work applied to the endpiece. Considering this decoration is rarely seen in Styles 20–22 and first appears in Style 24, I believe this guitar was likely marketed as a Style 23.
An antique parlor guitar that makes you 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 brand Stuart & Bauer.
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 well known as a banjo maker.
The two continued their collaboration until around 1910, producing instruments under their respective brand names, with Bauer mainly working on guitars and mandolins, and Stuart working on banjos.
This piece, as evident from its exquisite decoration, is a fusion of the craftsmanship and artistic sensibility of its time.
The pearl shell trim and rosette that outline the entire body still shine brightly even after more than a century, while the fingerboard features delicate inlays depicting flowers and vines.
This floral motif shares design elements with the "Tree of Life" pattern seen in Washburn pieces from the same period, yet it is characterized by a more delicate expression.
Furthermore, the neck heel features floral carvings also seen on S.S. Stuart banjos, and the back stripe decoration utilizes extremely rare mother-of-pearl inlay.
Each and every ornament conveys how the craftsmen poured their heart and soul into this guitar as an "artwork beyond an instrument."
Washburn Model 188 "1896 STYLE NEW MODEL"
The history of Washburn began with Lyon & Healy.
The company was founded in 1864 by George Washburn Lyon and Patrick Joseph Healy as a Chicago sales office for publications handled by Boston music publisher Oliver Ditson & Co. (Ditson).
Ditson is also known for ordering the "Extra Large" model (111/222/333) in 1916, the progenitor of the Martin Dreadnought. One can imagine the immense influence this had on the musical instrument industry.
Now, Washburn, as the name suggests, is Lyon & Healy's own brand derived from George Washburn Lyon's middle name, established in the 1880s. It was officially trademarked in 1887, and this name was given to the high-quality stringed instruments (guitars, mandolins, banjos, etc.) produced at the company's Chicago factory.
Today, Washburn is known in the rock scene for being used by Paul Stanley and Nuno Bettencourt. Meanwhile, Lyon & Healy, now renowned for concert harps, was once a comprehensive manufacturer that defined an era by handling mandolins, banjos, parlor guitars, and more.
This particular model features a fingerboard generously inlaid with pearl and captivating, ornate decorations.
Based on the inlay and body size, it is believed to be model 188 from the 1890s to the 1900s.
The label is circular.
The center stripe on the body bag is stamped with "1896 STYLE," "GEORGE WASHBURN," and "NEW MODEL."
The bridge is characterized by its fan-shaped spread 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 pass through a hole opened in the upper part of the bridge, a novel design.
The tuner features thick, lustrous mother-of-pearl buttons.
The plate features carved plant motifs, with both ends punched into a crown-like shape.
These parts possess the unique patina that only antiques can offer.
Washburn Grand Concert Guitar
This is a slightly larger "Grand Concert" size (approximately 360mm width), similar to Martin's 00 (Double-O) size.
While the exact model cannot be identified, the bridge shape and decorations are similar to the Model 367.
The back of the headstock bears the stamp "WASHBURN," while the center stripe on the back of the body features the stamp "LYON&HEALY MAKERS CHICAGO.U.S.A," evoking the brand's heritage.
The tuners are likely Waverly-made based on the shape of both sides of the plate.
Waverly tuners began being used on Martin guitars and others around 1920, so I believe this guitar was also made around that time.
The body features a striking rosewood with a very distinctive grain pattern.
This antique guitar features a beautiful harmony of wood and ornamentation, possessing a splendid elegance.
The Inevitable Nature of Beauty
In the parlor, a symbol of middle-class households, a small guitar for playing music sat alongside beautiful furniture and paintings.
When I picture such scenes, I imagine that 19th-century parlor guitars were not merely instruments, but also served as artistic objects that added color to daily life.
And that gentle, delicate sound was surely the very symbol of the warmth of home.
Looking at these antique guitars, where the texture of the wood, the mother-of-pearl inlays, and the period plastic decorations harmonize beautifully, one senses that the craftsmen pursued both "sound" and "beauty."
A small guitar that accompanied refined spaces, connecting people's hearts through music.
That is the very essence of the "parlor guitar," and I believe it is the reason why it continues to captivate us to this day.
Advance Guitars Manager Inoue