{"title":"Harp Guitars","description":"","products":[{"product_id":"gibson-style-u-modified-harp-guitar-4950","title":"Gibson Style U (modified) Harp Guitar","description":"Gibson Style U (modified) Model Harp Guitar, made in Kalamazoo, Michigan, red\/black sunburst finish, brown gig bag case. Rebuilt Gibson Style U Harp Guitar, modified with Knudsen-style resonating chamber, cut-away, super octave, and custom inlays of mastadons, stars and comets using fossilized mastadon tusk ivory.\u003cbr\u003e \u003cbr\u003e Generally Excellent Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46852873060492,"sku":"4950","price":3200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_c68d0747-1bf2-4783-bf8b-3b40e8d685f6.jpg?v=1774328555"},{"product_id":"zimmermann-russian-style-harp-guitar-1890-5061","title":"Zimmermann Russian Style Harp Guitar (1890)","description":"Zimmermann Russian Style Model Harp Guitar, c. 1890, probably St. Petersberg, natural finish, handmade hard shell case. \u003cbr\u003e \u003cbr\u003eOverall length is 41 in. (104.1 cm.), 14 1\/8 in. (35.9 cm.) wide at lower bout, and 3 1\/16 in. (7.8 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 11\/16 in. (43 mm.). Quite a few repairs both old and new but very playable; built for 7 strings on the play neck (in the traditional Russian mode) but currently set up with 6, with 4 sub-bass strings. Includes a fantastic period HSC. Overall Very Good + Condition.","brand":"Zimmermann","offers":[{"title":"Default Title","offer_id":46852965793932,"sku":"5061","price":2200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_7cad5ebf-e8eb-4fde-a045-cba83d56ec72.jpg?v=1774328997"},{"product_id":"larson-brothers-maurer-harp-guitar-1915-5260","title":"Larson Brothers Maurer Harp Guitar (1915)","description":"Maurer Model Harp Guitar, made by Larson Brothers, c. 1915, made in Chicago, natural varnish finish, mahogany back and sides, spruce top; mahogany necks with ebony fingerboards, black gig bag case. \u003cbr\u003e \u003cbr\u003eOverall length is 45 1\/2 in. (115.6 cm.), 17 in. (43.2 cm.) wide at lower bout, and 4 7\/8 in. (12.4 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 7\/8 in. (48 mm.). Generally Excellent Condition.","brand":"Larson Brothers","offers":[{"title":"Default Title","offer_id":46852996366476,"sku":"5260","price":10000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_4541fc2f-2383-401a-832e-3e488d8d394e.jpg?v=1774329973"},{"product_id":"luigi-mozzani-chitarra-lyra-lyre-harp-guitar-1910-3501","title":"Luigi Mozzani Chitarra-Lyra Lyre Harp Guitar (1910)","description":"Luigi Mozzani \"Chitarra-Lyra\" Model Lyre Harp Guitar, c. 1910, made in Cento, Italy, natural top, dark stained back and sides finish, figured maple back and sides, spruce top, ebonized neck, black tolex hard shell case. \u003cbr\u003e \u003cbr\u003eOverall length is 33 in. (83.8 cm.), 17 1\/2 in. (44.4 cm.) wide at lower bout, and 2 5\/8 in. (6.7 cm.) in depth, measured at side of rim. Scale length is 20 1\/2 in. (521 mm.). Width of nut is 2 in. (51 mm.). Excellent Condition.","brand":"Luigi Mozzani","offers":[{"title":"Default Title","offer_id":46852996857996,"sku":"3501","price":14000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_3e96634b-a497-44c1-91ce-3791031a6130.jpg?v=1774330003"},{"product_id":"larson-brothers-dyer-symphony-harp-style-5-harp-guitar-1918-4934","title":"Larson Brothers Dyer Symphony Harp Style #5 Harp Guitar (1918)","description":"Dyer Symphony Harp Style #5 Model Harp Guitar, made by Larson Brothers, c. 1918, made in Chicago, natural top, dark stained back and sides finish, mahogany body and neck, spruce top, ebony fingerboard. \u003cbr\u003e \u003cbr\u003eOverall length is 42 in. (106.7 cm.), 15 5\/8 in. (39.7 cm.) wide at lower bout, and 3 15\/16 in. (10 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 7\/8 in. (48 mm.). Well played, but no major damage or abuse. A LOT of topwear around the strings (even the sub-basses) the top has a deep wear spot below the high E. Dings, scrapes and general finish wear overall but no large areas of loss or added finish. Center split through bridge repaired, but no other cracks. A very original example, like all of these a truly wonderful sounding instrument.\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"\/\/www.youtube.com\/embed\/qU7q8Q7mkmg\" frameborder=\"0\" allowfullscreen\u003e\u003c\/iframe\u003e Overall Excellent Condition.","brand":"Larson Brothers","offers":[{"title":"Default Title","offer_id":46852996890764,"sku":"4934","price":6750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_d491fff6-966b-43c4-b471-78c27d7bb792.jpg?v=1774330006"},{"product_id":"ludwig-reisinger-harp-guitar-late-19th-century-662","title":"Ludwig Reisinger Harp Guitar (late 19th Century)","description":"Ludwig Reisinger Harp Guitar (late 19th Century), made in Vienna, natural top, dark stained back and sides finish, spruce top, maple back and sides, mahogany neck. \u003cbr\u003e\u003cbr\u003eA fascinating example of a Germanic Harp-Guitar, as used in accordion and string bands and various types of semi-classical and folk ensembles over the last 200 years or so. \u003cbr\u003e\u003cbr\u003eThis instrument has two conjoined necks, with a lower six string guitar fingerboard and upper long unfretted extension for sub-bass strings. The necks share a single cone heel (a very large cone!) with a Stauffer-style clock-key adjustor. Guitar neck has slotted headstock, bone nut, bone tuner buttons and barrels with the tuner strips having stamped border design with floral motifs. The dyed maple fingerboard has pearl dot inlay with a six-pointed star at the ninth fret, and the extension is floating over the top in the Stauffer style. \u003cbr\u003e\u003cbr\u003eThe upper neck has a long scroll extension holding eight open harp strings with ebony friction pegs and individual ebony nut pieces, and the headstocks are smoothly joined by a seamless carved bridge. The ladder braced top is triple bound in wood with an unbound back, and the bridge is a single long piece of ebony with decorative ends and a fretwire saddle. \u003cbr\u003e\u003cbr\u003eA metal support tube extends through the body not unlike some Larson Bros. Guitars from Chicago in the 1930's. There is a cord hole drilled in the headstock and a later metal strap holder attached to the body by the heel, probably evidence of use by a strolling player.\u003cbr\u003e\u003cbr\u003eLudwig Reisinger was a well-regarded luthier in Vienna in the late nineteenth century; he apprenticed and worked with Ignatz Johann Bucher until 1887, when he set up his own shop. As Bucher had been a student of Stauffer, this guitar is a direct descendant of Stauffer's designs, as can be seen in the neck heel and floating fingerboard. \u003cbr\u003e\u003cbr\u003eThe guitar is undated but obviously saw much hard use both up to and after the Second World War. There are four different repair labels inside from Robert Freibe, Berlin, dated 1933 and 1935, and also Willy Dreier, Berlin, 1950 and 1954. Guitars of this type were popular in Germany but much rarer in the US, although an American cousin can be seen as our stock #1406, a Stella harp-guitar built by the firm of Oscar Schmidt, himself a German immigrant. \u003cbr\u003e\u003cbr\u003eThis is a wonderful historical piece that with some restoration can also be a playable instrument.\u003cbr\u003e \u003cbr\u003eOverall length is 45 3\/4 in. (116.2 cm.), 15 1\/4 in. (38.7 cm.) wide at lower bout, and 3 1\/8 in. (7.9 cm.) in depth at side, taken at the end block. Scale length is 24 7\/8 in. (610 mm.). \u003cbr\u003e\u003cbr\u003eSubstantially original condition, fine for display but not currently set up to play. Numerous top cracks and split in bridge, cracked back brace, great patina with surprisingly little playwear in top, much general handling wear especially to back. \u003cbr\u003e\u003cbr\u003eWe will be happy to restore this guitar as desired, price on request. Sold as is, condition as described.","brand":"Ludwig Reisinger","offers":[{"title":"Default Title","offer_id":46853029724300,"sku":"662","price":1600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_86fe343d-4dbb-4951-8683-31357db8e73a.jpg?v=1774331174"},{"product_id":"lyon-healy-american-conservatory-harp-guitar-1910-2771","title":"Lyon \u0026 Healy American Conservatory Harp Guitar (1910)","description":"Lyon \u0026amp; Healy American Conservatory Model Harp Guitar, c. 1910, made in Chicago, natural varnish finish, Brazilian rosewood body, spruce top,, brown original canvas case. \u003cbr\u003e\u003cbr\u003eA rare and beautiful Lyon \u0026amp; Healy harp guitar in spectacularly fine original condition. While the body is relatively small for a double necked instrument, the sound is full and lush with six sub-bass strings contributing a host of overtones if desired.\u003cbr\u003e \u003cbr\u003eOverall length is 38 1\/4 in. (97.2 cm.), 14 1\/2 in. (36.8 cm.) wide at lower bout, and 4 1\/4 in. (10.8 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). \u003cbr\u003e\u003cbr\u003eWe rarely find instruments this old in this sort of condition�it looks to have been rarely played in 90+ years. There is a repaired crack through the heel block and a couple of small rosewood grain cracks in the area. Otherwise, the instrument is unaltered and the finish is exceptionally well preserved. Excellent + Condition.","brand":"Lyon \u0026 Healy","offers":[{"title":"Default Title","offer_id":46853172265100,"sku":"2771","price":3000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_6bb54c24-3d84-47e4-af51-e41bc45e0e10.jpg?v=1774331540"},{"product_id":"edward-light-apollo-lyre-harp-guitar-1817-2168","title":"Edward Light Apollo Lyre Harp Guitar (1817)","description":"Apollo Model Lyre Harp Guitar, labeled Edward Light, c. 1817, made in London, gold leaf, varnish finish, spuce top. \u003cbr\u003e\u003cbr\u003eThis was the third of three harp-like designs developed by London organist Edward Light (b. 1747). Later versions by Light were more lyre in style. Most had a multiple stave construction for the back, making this one piece version somewhat out of the ordinary. \u003cbr\u003e\u003cbr\u003eThese instruments were most likely made by Barry \u0026amp; Harley of London, who were craftsmen active from 1798 to 1820. Light advertised in the London Times, 27th of January, 1817, his improved lyre of 12 strings. Around 1813, T. Bolton wrote a tutor for the Edward Light Harp-lute and Apollo Lyre.\u003cbr\u003e\u003cbr\u003eSimilar to the extant example in London's Victoria and Albert Museum, this unique instrument was first publicized in 1815. The Harp-lute, and somewhat more common six string Lyre-guitar and Harp-guitar, became popular for a brief period \"reflecting times when ladies' fashions extended to small musical instruments, in this case married to the neo-classical pose\" (Baines).\u003cbr\u003e \u003cbr\u003e\u003cbr\u003eRecent re-gilding of sun ray pattern rosette and lyre arms. Overall Excellent + Condition.","brand":"Edward Light","offers":[{"title":"Default Title","offer_id":46853293637772,"sku":"2168","price":9000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_7c015e15-a27f-4d4e-82bd-fc66cc4e51ba.jpg?v=1774333388"},{"product_id":"a-barry-lights-patent-dital-harp-1825-3220","title":"A. Barry Light's Patent Dital Harp (1825)","description":"A. Barry Light's Patent Dital Harp, c. 1825, made in London, ebonized wood finish, ebonized wood, ivory and iron. \u003cbr\u003e\u003cbr\u003eHere is an interesting example of the final and most complex step of the evolution of the harp lute, called the dital harp. The body bears hand painted gold script reading \"Lights Patent Dital Harp 43. Gt. Marylebone Street London, W\" on top edge behind neck. Harp-style column on the bass side and short fretted lute neck with wide fingerboard on the treble side. \u003cbr\u003e\u003cbr\u003eThe entire instrument is decorated with scrolling grape vines, acanthus leaves, musical trophies, and the British Royal Arms. The column is surmounted by a bird in flight which was probably added shortly after the instrument was made. This instrument has a seven stave curved back with double slot shaped sound hole at center. Seventeen gut strings with ten ditals. \u003cbr\u003e\u003cbr\u003eEdward Light, 1747-1832, was an inventor, composer, and organist who patented this British harp lute, later called the dital harp, in 1816. That same year he published \"The New and Complete Directory to the Art of Playing on the Patent British Lute Harp\". Similar to the extant example in London's Victoria and Albert Museum, this unique instrument was first publicized in 1815. The harp lute, and somewhat more common six string lyre-guitar and harp-guitar, were considered at the height of style for a brief period \"reflecting times when ladies' fashions extended to small musical instruments, in this case married to the neo-classical pose\" (Baines).\u003cbr\u003e\u003cbr\u003eDr. Busby, in his \"Concert Room Anecdotes\" published in 1925, said, \"This instrument is the most eligible accompaniment to the human voice\". Thirty-one years earlier, he published \"The Art of Playing the Guitar\" and, in 1798, he invented a type of harp-guitar. This was a guitar with the body shaped like that of a harp -- this later developed into the dital harp. \u003cbr\u003e\u003cbr\u003eRobert Bruce Armstrong wrote in his book \"English and Irish Musical Instruments, Edinburgh, 1908\": \"The Dital Harp is both in forma and tone, vastly superior to the Spanish guitar\".\u003cbr\u003e \u003cbr\u003eHeight is 33 in. (83.8 cm.), 13 5\/8 in. (34.6 cm.) width, and 4 1\/2 in. (11.4 cm.) in depth at side, taken at the end block. \u003cbr\u003e\u003cbr\u003eRecent restoration and re-touching of restoration gilding. Excellent Condition.","brand":"A. Barry","offers":[{"title":"Default Title","offer_id":46853296062604,"sku":"3220","price":4500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_fb0ec83b-4613-43fa-91ca-f3c2be28471a.jpg?v=1774333478"},{"product_id":"bruno-12-string-harp-guitar-1915-5700","title":"Bruno 12-string Harp Guitar (1915)","description":"Bruno 12-string Model Harp Guitar, c. 1915, made in New York City, serial # 16914, natural finish, mahogany back, sides and necks; spruce top, gig bag case. \u003cbr\u003e \u003cbr\u003eOverall length is 40 1\/2 in. (102.9 cm.), 14 1\/4 in. (36.2 cm.) wide at lower bout, and 4 1\/16 in. (10.3 cm.) in depth at side, taken at the end block. Scale length is 25 in. (635 mm.). Width of nut is 1 15\/16 in. (49 mm.). Well-worn overall but still substantially original, with a number of old repairs this is actually a surprisingly playable guitar. The top finish was stripped off long ago, so the top appears very dirty and has a number of visible splices behind the bridge. There are also several repaired back cracks, the neck(S) look to have been reset with some repair to the headstock bridge between the two. Appears to be the original finish on body with some polish-out, the neck finish appears a mix of original varnish with some wear through and touch-up. A lot of original components still intact including the bridge, bridgepins, tuners and frets. Definitely a bit funky overall but an amazing eccentric fully playable antique, with a truly fine sound. Overall Very Good Condition.","brand":"Bruno","offers":[{"title":"Default Title","offer_id":46853306450060,"sku":"5700","price":2000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_a1d1c091-fab5-41d7-8ca1-8d7d77566c6b.jpg?v=1774333940"},{"product_id":"a-barry-harp-guitar-1805-3020","title":"A. Barry Harp Guitar (1805)","description":"Harp Guitar, from the workshop of A. Barry, c. 1805, made in London, ebonized wood finish, ebonized plain wood back and neck, ebonized spruce or pine top, ivory frets. \u003cbr\u003e\u003cbr\u003eThe harp guitar was invented by Edward Light in 1798 and made by A. Barry in London. This was the beginning of a series of instruments invented by Light which included the harp-lute, the harp-lute guitar, the dital harp (see catalog #3220), and ended with the Apollo lyre around 1825. It's called a harp guitar because of the harp-like back and the guitar-like neck. \u003cbr\u003e\u003cbr\u003eThe top of this instrument is painted with gold grape vines, musical trophies, and an urn and floral motif and has a fretwork gilt rosette. The fingerboard has 12 ivory frets and the peghead has six ebony pegs and is painted with a gold floral branch. The bottom rib has an original turned ivory button.\u003cbr\u003e\u003cbr\u003eFormerly in the estate of Rose Augustine.\u003cbr\u003e \u003cbr\u003eHeight is 31 1\/2 in. (80 cm.), 12 1\/4 in. (31.1 cm.) width. Scale length is 18 1\/2 in. (470 mm.). \u003cbr\u003e\u003cbr\u003eSome cracks in top and minor scratches. Very Good Condition.","brand":"A. Barry","offers":[{"title":"Default Title","offer_id":46853351768204,"sku":"3020","price":3000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_0b60d2f0-e9d8-43e5-890c-be7717ee44d6.jpg?v=1774335653"},{"product_id":"knutsen-18-string-symphony-harp-guitar-1901-5421","title":"Knutsen 18-string Symphony Harp Guitar (1901)","description":"Knutsen 18-string Symphony Model Harp Guitar, c. 1901, made in Port Townshend, WA, natural varnish finish, mahogany back and sides, spruce top, rosewood fingerboard, gig bag case. \u003cbr\u003e\u003cbr\u003eOne of America's most creative-if least celebrated-20th century luthiers was Chris Knutsen, who hand-built his always amazingly eccentric instruments on the west coast from the 1890's through the 1920's. His hollow-neck Hawaiian guitar designs were popularized by Hermann Weissenborn and his Symphony harp guitars by the Larson Brothers (under the Dyer label) but Knutsen himself never made the leap from craftsman to manufacturer. He tinkered endlessly with his highly original stringed instrument concepts, and each completely hand-made instrument is distinctive, often appearing to be built from found woods and whatever hardware was available. \u003cbr\u003e\u003cbr\u003eThis Symphony Harp guitar dates to around 1901, and is a wonderful example of Knutsen's earlier style work. Unusual features include slanted frets (70 years before Rickenbacker tried the same idea) and a bank of 7 super-treble strings augmenting the 5 sub-bass strings. Knutsen's elaborate original label which gives the proper sub-bass tuning is still intact. This is an excellent playing and sounding piece of American musical art.\u003cbr\u003e \u003cbr\u003eOverall length is 39 in. (99.1 cm.), 14 7\/8 in. (37.8 cm.) wide at lower bout, and 4 1\/4 in. (10.8 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 13\/16 in. (46 mm.). Recently restored to excellent playing condition-this is one of the most playable Knutsen-made instruments in the world! The neck has been re-set and moved forward slightly to correct the intonation and the top expertly re-braced. All external components are original except the play string saddle (the metal wire replaced with bone) and new frets. The sound is dry and woody but expansive, with very clear sub-bass response and an amazing tight, clear ring from the bank of super-treble strings. Includes an excellent modern custom gig bag.\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"\/\/www.youtube.com\/embed\/qU7q8Q7mkmg\" frameborder=\"0\" allowfullscreen\u003e\u003c\/iframe\u003e Overall Excellent Condition.","brand":"Knutsen","offers":[{"title":"Default Title","offer_id":46853352325260,"sku":"5421","price":6750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_48b6a6bc-ef55-4a94-b494-2ecf804ed790.jpg?v=1774335688"},{"product_id":"knutsen-harp-guitar-1899-4793","title":"Knutsen Harp Guitar (1899)","description":"Knutsen Harp Guitar, c. 1899, made in Port Townshend, WA, natural varnish finish, mahogany back, walnut sides, spruce top;, black tolex hard shell case. \u003cbr\u003e \u003cbr\u003eOverall length is 41 in. (104.1 cm.), 15 1\/4 in. (38.7 cm.) wide at lower bout, and 4 1\/2 in. (11.4 cm.) in depth at side, taken at the end block. Scale length is 25 1\/4 in. (641 mm.). Width of nut is 1 13\/16 in. (46 mm.). An amazingly good-playing example of this spectacularly rare guitar. Some internal repair, several well-cleated cracks but overall quite original, some evidence of heavy play long ago. Includes a modern fitted HSC. Generally Excellent Condition.","brand":"Knutsen","offers":[{"title":"Default Title","offer_id":46853352358028,"sku":"4793","price":6000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_b66192d4-b650-4084-8c08-04e7c2cf5dd5.jpg?v=1774335689"},{"product_id":"knutsen-9-string-harp-guitar-1912-4415","title":"Knutsen 9-String Harp Guitar (1912)","description":"Knutsen 9-String Model Harp Guitar, c. 1912, made in Tacoma, Washington, black top,natural back and sides finish, burl mahogany back and sides, spruce top; poplar neck with rosewood fingerboard, original brown hard shell case. \u003cbr\u003e\u003cbr\u003eOne of America's most creative -- if least celebrated -- 20th century luthiers was Chris Knutesn, who hand-built his his always eccentric instruments on the West Coast from the 1890s through the 1920s. While his Hawaiian guitar designs were popularized by Hermann Weissenborn and his harp guitars by the Larson Brothers (under the Dyer label), Knutsen himself seems to have never been interested in becoming a manufacturer. He tinkered endlessly with his highly original stringed concepts, and each instrument is distinctive, often appearing to be built from found woods and whatever hardware was available. This 9-string harp guitar is typical of Knutsen's later multi-string instruments.\u003cbr\u003e \u003cbr\u003eOverall length is 39 3\/4 in. (101 cm.), 15 1\/8 in. (38.4 cm.) wide at lower bout, and 4 5\/8 in. (11.7 cm.) in depth at side, taken at the end block. Scale length is 24 1\/2 in. (622 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eSome small repairs, but overall better preserved (and less re-worked) than most surviving Knutsen instruments. Appears completely original includung the hand-carved wooden bridge pins and celluloid-button strip tuners. All original finish with some small areas of touch-up over several repaired areas. There is a repaired crack on either side of the sound hole, a long-ago repaired grain split from the top of the harp string headblock, and one long repaired back crack on the lower bout. The back center seam has been re-sealed as well. The neck angle is good, the original bridge solid, and playability is excellent by Knutsen standards.\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"\/\/www.youtube.com\/embed\/qU7q8Q7mkmg\" frameborder=\"0\" allowfullscreen\u003e\u003c\/iframe\u003e Overall Very Good + Condition.","brand":"Knutsen","offers":[{"title":"Default Title","offer_id":46853352390796,"sku":"4415","price":5000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_98d2754c-dd05-45eb-9895-624460b50780.jpg?v=1774335691"},{"product_id":"knutsen-11-string-harp-guitar-1915-9937","title":"Knutsen 11 String Harp Guitar (1915)","description":"Knutsen 11 String Model Harp Guitar, c. 1915, made in Seattle, WA, natural re- finish, Spruce top, koa back, sides and neck. \u003cbr\u003e\u003cbr\u003eOne of America's most creative (if least celebrated) 20th century luthiers was Chris Knutsen, who hand-built his always amazingly eccentric instruments on the West Coast from the 1890s up into the 1920s. His original design for a hollow-neck Hawaiian guitar was popularized by Hermann Weissenborn and his Symphony harp guitars by the Larson Brothers (under the Dyer label), but Knutsen himself never made the leap from craftsman to manufacturer. He tinkered endlessly with his unique and highly original stringed instrument concepts, coming up with one highly eccentric instrument design after another. Each completely handmade instrument is distinctive, often appearing to be built from found woods and whatever hardware was available.\u003cbr\u003e\u003cbr\u003eThis large-bodied Harp guitar dates to around 1915, towards the end of his fascination with these multi-sub-bass-string creations. It carries no label, date or other markings but the shape and Hawaiian style wood trim mark it as a late example, built in the mid-teens when Knutsen's attentions had mostly shifted to lap-style instruments. Despite 100+ years of sometimes less-than-perfect repairs it remains an amazingly good sounding and quite playable example of Knutsen's work. \u003cbr\u003e\u003cbr\u003ePractically everything about this guitar is unconventional. Except for a standard lower bout the lines are fluid to the point of abstract shape; even the headstocks have a liquid sculpture look. The large 16 1\/4' wide body has typical signature Knutsen features, including a sharp lower cutaway and the bank of 5 sub-bass strings mounted on a sweeping hollow upper-body extension. The neck is secured to the body with screw brackets, and is (to a limited degree) adjustable for angle. \u003cbr\u003e\u003cbr\u003eThe bridge is a massive carved affair, with the play and adjacent harp strings sharing a long fretwire saddle. The top is bordered in wood marquetry similar to the early Hawaiian ukes and guitars of the period and the dot-inlaid fingerboard is elaborately trimmed the same way. The sound hole has multiple wooden rings and a similar \"zipper' pattern rosette. The neck is very wide with a shallow \"C\" profile, not unlike an exaggerated version of the famously flat-feeling 1960 Gibson neck. This is not a guitar for the conservative or faint-hearted player, but rewards the adventurous picker with a huge and surprisingly sweet and versatile sound, even if the sub-bass strings are ignored.\u003cbr\u003e \u003cbr\u003eOverall length is 40 in. (101.6 cm.), 16 1\/4 in. (41.3 cm.) wide at lower bout, and 4 3\/8 in. (11.1 cm.) in depth, measured at side of rim. Scale length is 25 in. (635 mm.). Width of nut is 2 in. (51 mm.). \u003cbr\u003eDespite its eccentric design and extensive repair history this remains a very playable instrument, albeit an odd-feeling one to many pickers. It sounds really excellent with power and projection to spare and a more-useful-than-many sub-bass section. These are more conveniently arrayed for the picking hand than some and with a little practice can be used to good effect\u003cbr\u003e\u003cbr\u003eThe entire instrument was refinished long ago in a clear natural lacquer, not a thoroughly professional job but not obnoxiously heavy as some older refins can be. There is some subsequent wear to this finish mostly small dings, dents and scrapes but no wholesale loss. There are a number of very noticeable top cracks, all solidly but visibly sealed, some with splices that are also not really pro-caliber work and can be felt as well as seen. There is also a repaired crack through the upper-extension heel that continues a bit along the outer side of the harp extension. This is more neatly sealed up. \u003cbr\u003eThere is another small side crack above the endpin, and one rather jagged back crack by the lower rim. There are also solidly sealed. \u003cbr\u003e\u003cbr\u003eThe oddly shaped bridge is original, as are the large wood screws securing it (another Knutsen trademark) while the fretwire saddle is newer. The guitar has been very nicely refretted with a new nut, an excellent job and the neck is straight and very playable. There are modern tuners on the six play strings; the original zither peg tuning for the harp strings is intact, functional if not particularly convenient as a wrench is required to tune them. This is neither the cleanest or most original of Chris Knutsen's off-the-wall masterpieces we have had, but it is one of the best sounding and easily the finest playing. Many surviving Knutsen instruments are interesting museum pieces, this is a functional instrument well suited to actual use by an adventurous player. There is no case but we were able to find a modern gig bag that is a functional fit. Overall Very Good + Condition.","brand":"Knutsen","offers":[{"title":"Default Title","offer_id":46853410586764,"sku":"9937","price":2950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_b2e5ab86-7cfc-42c1-96db-1830e283cd23.jpg?v=1774337972"},{"product_id":"luigi-mozzani-lyre-harp-guitar-1905-5933","title":"Luigi Mozzani Lyre Harp Guitar (1905)","description":"Luigi Mozzani Lyre Harp Guitar, c. 1905, made in Italy, serial # 111, varnish finish, poplar back and sides, spruce top; ebony neck, black hard shell case. \u003cbr\u003e\u003cbr\u003eThis unique guitar has an unparalleled history, having been the personal property of and played by both its creator Luigi Mozzani and his greatest pupil\/successor, Mario Maccaferri. Mozzani's creations -- including this type of Lyre guitar -- represent a wonderfully distinctive branch of European lutherie, completely original in both concept and execution. \u003cbr\u003e\u003cbr\u003eThe celebrated Selmer\/Maccaferri guitars of the 1930s are directly indebted to the earlier Mozzani instruments in both stylistic and construction details. This instrument is visible in vintage materials being played by both Mozzani and Maccaferri and appears to have been a personal favorite of both men. \u003cbr\u003e\u003cbr\u003eLuigi Mozzani is certainly one of the most important Italian luthiers of the last century, and by any standard one of the most original of all time. These \"Chitarra Lyra\" instruments with a double-arm body were built by him and his student luthiers at his own workshop\/school in Cento (later Bologna), Italy in the early years of the 20th century. \u003cbr\u003e\u003cbr\u003eEach of these instruments was essentially unique; while they were built to a generally standard pattern, and the details show much variation. The unique body shape is not only decorative; the neck is actually attached at both heel and headstock and is adjustable via bolts to change the angle. \u003cbr\u003e\u003cbr\u003eThe entire instrument has a stunning Art Nouveau aesthetic unlike any other guitars from this (or really any!) era; the closest American parallels for aesthetic originality would be Orville Gibson or Chris Knutsen. \u003cbr\u003e\u003cbr\u003eThis guitar's sweeping curved body is built using a fairly plain wood for the back and sides; the top is fairly wide-grained spruce with only a very thin sealer as finish, in the tradition of some European luthiers. \u003cbr\u003e\u003cbr\u003eThe rest of the body finish is a medium-tinted violin-style varnish, with a clear finished neck. The multiple soundholes are edged in decorative ebony, and the front body edges have wood edging and purfling. \u003cbr\u003e\u003cbr\u003eThe bridge is an elaborately carved fanciful ebony shape with a three-part saddle and purple plastic pins molded from Maccaferri's favorite Dow Styron material. The neck has a flat contour typical of Maccaferri with a very thin back-to-front profile.\u003cbr\u003e \u003cbr\u003eOverall length is 37 1\/2 in. (95.2 cm.), 18 7\/8 in. (47.9 cm.) wide at lower bout, and 3 in. (7.6 cm.) in depth, measured at side of rim. Scale length is 24 in. (610 mm.). Width of nut is 2 in. (51 mm.). \u003cbr\u003e\u003cbr\u003eThis instrument has had some substantial repair and redesign work over its lifetime by both Mario Maccaferri, who used it personally for many years, and more recently a general restoration by noted luthier John Monteleone. \u003cbr\u003e\u003cbr\u003eThere are several repaired cracks around the neck attachment area, fully sealed but still evident with no overfinish. The top has several long grain cracks; one behind directly behind the bass side of the bridge has a minimal splice added. The sides have some old repaired cracks as well, and there are spots where the back\/side join shows old separations. \u003cbr\u003e\u003cbr\u003eThe neck is believed by classical guitar authority R. E. Brune to be a later replacement made of solid blocks of ebony laminated together by Mario Maccaferri himself; the necks on these instruments are bolted to the body at both the heel and head and are easily removed. \u003cbr\u003e\u003cbr\u003eThe tuning pegs for the three sub-bass strings have been re-located farther up on the bout, likely to increase the speaking length of the strings. There is spruce patched into this area of the top just below the engraved pegbox. This re-work was performed by Maccaferri himself and is visible in pictures of him playing the instrument. \u003cbr\u003e\u003cbr\u003eEven with (or perhaps because of) the varied repair and re-working this guitar has received, it remains a wonderful-playing and sounding instrument, far more playable than many would assume from its unorthodox appearance. The sound is rich and rather sweet, not as loud as many more modern concert guitars, but with far more tonal complexity than most. \u003cbr\u003e\u003cbr\u003eA wonderful piece of 20th century guitar history, worthy of the finest collection or museum display. This Nouveau masterpiece stands as a tribute to both its inventor\/builder Luigi Mozzani and its longtime conservator, Mario Maccaferri. Includes a newer (c. 1970s) deluxe HSC. Very Good + Condition.","brand":"Luigi Mozzani","offers":[{"title":"Default Title","offer_id":46853445386380,"sku":"5933","price":20000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_3ff200ad-243a-4cfd-8a9c-de0f9ae802c8.jpg?v=1774338680"},{"product_id":"stella-contra-bass-507dn-harp-guitar-1921-1406","title":"Stella Contra Bass #507DN Harp Guitar (1921)","description":"Stella Contra Bass #507DN Model Harp Guitar, c. 1921, made in Jersey City, NJ, natural varnish finish, spruce top, birch body. \u003cbr\u003e\u003cbr\u003eThis double-neck Oscar Schmidt Stella harp guitar is contemporary with the Dyer (Larson) and Gibson harp guitars of the teens and twenties, although built to the more common German-style pattern with a fretted neck for chording and an unfretted neck carrying six sub-bass strings. The two Stauffer-esque slotted single-line headstocks meet in the center creating an unusual profile. \u003cbr\u003e\u003cbr\u003eThe auditorium-sized birch body has a single oversized pyramid bridge with twelve pins in a straight line and is finished in Stella's faux-rosewood stain. The top and sound hole are ivoroid bound with oversize herringbone marquetry. There is a somewhat worn but still legible \"Stella Guitar -- Made in America\" label inside the sound hole. \u003cbr\u003e\u003cbr\u003eThis guitar is listed in the 1921 Oscar Schmidt catalog at a price of $15.00, a princely sum for a Stella in that era. The long scale gives some of the deep resonance of the famous Stella 12-string guitars, particularly in lower tunings, and the sub-bass strings provide many sympathetic overtones. One can even play fretless bass guitar on the upper neck, although this was probably not an intended feature of this design! Even played as a standard six-string this is a spectacular-sounding guitar and a highly unusual find in such playable condition.\u003cbr\u003e \u003cbr\u003eOverall length is 42 in. (106.7 cm.), 14 1\/2 in. (36.8 cm.) wide at lower bout, and 3 7\/8 in. (9.8 cm.) in depth at side, taken at the end block. Scale length is 26 1\/2 in. (673 mm.). \u003cbr\u003e\u003cbr\u003eThis instrument has been restored to excellent playable condition. The top center seam has been spliced and the necks have been reset. All finish is original except minor touch-up as required; the instrument has not been refinished. Bridge, tuners, and bone saddle and nuts original as well. \u003cbr\u003e\u003cbr\u003eModerate play wear to finish overall. For some reason lost to history, a previous owner marked the numbers \"6-5-4-3-2-1\" under the corresponding strings near the bridge on the treble side -- this is only noticeable on close inspection. Minor repaired back cracks; the back binding between the necks has been replaced. Overall an unusually well-preserved and functional example of this very rare and somewhat fragile instrument.\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"\/\/www.youtube.com\/embed\/qU7q8Q7mkmg\" frameborder=\"0\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"Stella","offers":[{"title":"Default Title","offer_id":46853482676364,"sku":"1406","price":3500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_e272dbe1-cc1b-4eff-81dc-b33c2b17d709.jpg?v=1774339794"},{"product_id":"knutsen-harp-mandolin-1912-8086","title":"Knutsen Harp Mandolin (1912)","description":"Knutsen Harp Mandolin, c. 1912, made in Seattle, WA, natural varnish finish, Koa wood body, poplar neck. \u003cbr\u003e\u003cbr\u003eOne of America's most creative (if least celebrated) early 20th century luthiers was Chris Knutsen, who hand-built his always amazingly eccentric instruments on the West Coast from the 1890s up into the 1920s. His original design for a hollow-neck Hawaiian guitar was popularized by Hermann Weissenborn and his Symphony harp guitars by the Larson Brothers (under the Dyer label), but Knutsen himself never made the leap from craftsman to manufacturer. He tinkered endlessly with his unique and highly original stringed instrument concepts, and each completely handmade instrument is distinctive, often appearing to be built from found woods and whatever hardware was available. \u003cbr\u003e\u003cbr\u003eThis unusual Harp mandolin dates to around 1912, towards the end of Knutsen's fascination with harp guitars and similar instruments at a time when he was increasingly embracing the Hawaiian music trend. Although not a particularly Hawaiian-style instrument, this mandolin is built of Hawaiian koa wood, an early indicator of his shift in this direction. He built a series of similar designs labeled \"The New Hawaiian Family,\" and this mandolin is an early example of this style. There are photographs of actual authentic Hawaiian musicians performing in the 1910s with Knutsen mandolins of this type.\u003cbr\u003e\u003cbr\u003eThe design is highly eccentric, but the instrument itself is a wonderful example of Knutsen's better work. The lines are fluid to the point of abstract shape; the headstock and harp extension to the body are entirely nonconventional with a liquid sculpture look. The unusually large body has typical signature Knutsen features, including a lower body extension on the treble side and a hollow upper body extension with a long sweeping curve from the tip down to the bottom body edge. The bridge is a floating carved affair, with the strings continuing on to a conventional tailpiece. The top is bound in Hawaiian-style \"zipper\" wood marquetry, and the fingerboard is bound the same way. The sound hole has multiple wooden rings with the largest being similar wood inlay. \u003cbr\u003e\u003cbr\u003eThe wood-bound fingerboard is inlaid with small dots and ends in an angled point over the sound hole. The neck is thicker than most mandolins with a nut width of 1 3\/8\". The profile is a fairly deep \"C.\" The tuners have a typically Knutsen random air, mounted in echelon with enough pull to the bass side that the nut is secured with a pin to keep it from pulling the side. There is a metal bracket joining the headstock to the body extension secured with large wood screws, allowing a slight amount of neck angle adjustment. \u003cbr\u003e\u003cbr\u003eThe internal workmanship on this mandolin is cleaner and better executed than many of this maker's surviving creations, some of which have braces that appear to be random wood leftovers. Despite over 100 years of tension, the instrument remains solid. While obviously a supremely eccentric instrument, this is a good-playing and excellent-sounding piece of American musical art, a most striking Knutsen creation. The sound is quite good, with a deeper, sweeter tone than many mandolins due to the larger body cavity.\u003cbr\u003e \u003cbr\u003eOverall length is 25 in. (63.5 cm.), 10 3\/4 in. (27.3 cm.) wide at lower bout, and 2 3\/4 in. (7 cm.) in depth, measured at side of rim. Scale length is 13 1\/2 in. (343 mm.). Width of nut is 1 3\/8 in. (35 mm.). \u003cbr\u003e\u003cbr\u003eConsidering its age and relative fragility, this unusual Knutsen creation remains in very fine original condition, showing not a lot of signs of use. There is corrosion to the metal parts, but overall the finish is in very good shape. The finishing on Knutsen instruments is often inconsistent; it is possible the top has been polished out and the neck worn down a bit, but it is difficult to say for sure. There has been some regluing at the eccentric neck\/body junction (there is no heel), but everything is solid. Overall an exceptional example of one of the most eccentric mandolins ever made and a good-sounding (if wildly unconventional) piece of 8-string history. Excellent - Condition.","brand":"Knutsen","offers":[{"title":"Default Title","offer_id":46853486248076,"sku":"8086","price":2750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_8016590d-d3cf-469e-9786-c748f413c413.jpg?v=1774339935"},{"product_id":"larson-brothers-dyer-symphony-style-5-harp-guitar-1910-5936","title":"Larson Brothers Dyer Symphony Style 5 Harp Guitar (1910)","description":"Dyer Symphony Style 5 Model Harp Guitar, made by Larson Brothers, c. 1910, made in Chicago, natural varnish finish, mahogany back, sides and neck, spruce top, ebony fingerboard, black tolex hard shell case. \u003cbr\u003e \u003cbr\u003eOverall length is 42 1\/4 in. (107.3 cm.), 15 3\/4 in. (40 cm.) wide at lower bout, and 4 in. (10.2 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 2 in. (51 mm.). Very fine playing condition overall; one of the best handling and sounding of these fantastic Larson creations we have yet had. There is general average light play wear and some old repairs; The bridge is an exquisitely crafted correct reproduction by renowned luthier John Monteleone. There is a small piece of spruce spliced in to the top on the bass side of the neck joint, and the top has had a very light overfinish added over most of the lower half. There are two long back cracks just above the center seam stemming from what looks like a small impact mark on the bottom edge, and one shorter one below with some light touch up applied. Everything is solidly repaired and the instrument plays very well, with a truly expansive sound. Includes a modern oblong hard shell case.\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"\/\/www.youtube.com\/embed\/qU7q8Q7mkmg\" frameborder=\"0\" allowfullscreen\u003e\u003c\/iframe\u003e Overall Excellent - Condition.","brand":"Larson Brothers","offers":[{"title":"Default Title","offer_id":46853487886476,"sku":"5936","price":8500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_8ae9d33e-c148-4eaf-9a84-7459a6dc9efe.jpg?v=1774339994"},{"product_id":"gibson-style-u-harp-guitar-1917-9687","title":"Gibson Style U Harp Guitar (1917)","description":"Gibson Style U Model Harp Guitar (1917), made in Kalamazoo, Michigan, serial # 39406, sunburst top, dark cherry stained back and sides finish, birch back and sides, spruce top; magogany neck with rosewood fingerbord, original black hard shell case. \u003cbr\u003e\u003cbr\u003eOf all the greater glories of Gibson, the Style U harp guitar is one of the most impressive -- visually, at least! For many years this multi-string behemoth topped the company's line, providing sonic underpinning for the mandolin orchestras that were the main outlet for Gibson products. In the 1900s \"aught years\", the Gibson company was full of new ideas, being the most radical and successful instrument innovator of the time. They offered several styles of harp-guitar from their beginnings in 1903, but soon settled on this one model -- the Style U. \u003cbr\u003e\u003cbr\u003eWhile in 1917 guitars were still less important sales-wise to the company than the mandolin family, they made considerable advertising capital out of the harp guitar, certainly their most impressive looking instrument. It typically got a double-page spread in the catalogs, described as the \"elevator to success\" and the \"piano\" of the guitar world, all others being now \"harpsichords\" and doomed to extinction. In 1917 this guitar and the best hardshell case were offered at a \"net\" price of $161.50. \u003cbr\u003e\u003cbr\u003eFor their Style U masterpiece, Gibson used their at-the-time proprietary hand-carved arched top on an 18 1\/2\" wide asymmetrical oval-hole body with a long solid arm extension above the neck carrying the tuners for 10 sub-bass strings on a large curved wooden block. These strings were intended to be tuned chromatically down from G#; a very different practice from most others. This system was credited to Walter A. Boehm, \"one of the most competent Harp-guitarists in America\" as per the company. \u003cbr\u003e\u003cbr\u003eGibson's ads enumerated the advantages of their harp-guitar against \"the best of the old construction\", i.e. a flat top. \"Long sub-basses are retained to give bigness of the foundation tones\" offering \"An open bass for every chord...eliminates long reaches...the flat keys...as easy as the favorite keys\" and concluding with \"Write for Harp-Guitar treatise\", which presumably explained how to play the instrument. \u003cbr\u003e\u003cbr\u003eThis Style U has typical features for the period, with a bound red sunburst finished top on the red-finished birch body, high maple bridge with an ebony cap, and a very elaborate tailpiece with two trapeze sections but a single celluloid pin block to hold the strings. The neck is big and chunky with a heavy \"V\" profile and a bound ebony fingerboard. The sub-bass array are tuned with a zither-style wrench, which fortunately is still present in the amazing original hard case.\u003cbr\u003e\u003cbr\u003eWhile the Gibson harp-guitars are not generally considered the sonic equals of the Larson-built Dyers that were their primary competitors, the Style U is one of the most visually impressive and imposing fretted instruments ever made, and does have a sound all its own. This one is set up to play (although you'll have to figure out how to use the harp strings yourself!) and despite some cosmetic wear is the best example of this glorious beast we have ever handled.\u003cbr\u003e \u003cbr\u003eOverall length is 46 in. (116.8 cm.), 18 1\/2 in. (47 cm.) wide at lower bout, and 3 1\/2 in. (8.9 cm.) in depth, measured at side of rim. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 3\/4 in. (44 mm.). \u003cbr\u003eWell past its 100th birthday, this Style U shows some use but is relatively well-preserved overall. There are no major cracks or repairs, which is very unusual for this model where a multi-laminated heel block makes neck heel cracks almost ubiquitous. All hardware is original and complete except the pickguard is long gone, resulting in some fairly heavy pick wear to the finish in the area it originally covered. There is a small patched-in area of veneer at the tip of the headstock. \u003cbr\u003e\u003cbr\u003eEverything works as intended and the harp section is strung and tuned as per Gibson's 1917 pattern, in a chromatic array from G# down to B. The ebony bridge had been subtly re-contoured to make the action more friendly to a modern player, and this is a very playable guitar -- if you have the reach to hold it, that is! It is still complete with the enormous HSC it was born into, a fantastic Art Nouveau survivor and an absolute centerpiece for any fretted collection! Excellent - Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853513740428,"sku":"9687","price":9500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_f077fa7f-d805-4e14-ad83-bf3a2ff0fd18.jpg?v=1774340654"},{"product_id":"knutsen-jumbo-11-string-harp-guitar-1912-8107","title":"Knutsen Jumbo 11 String Harp Guitar (1912)","description":"Knutsen Jumbo 11 String Model Harp Guitar, c. 1912, made in Seattle, WA, black top, dark stained back and sides finish, Spruce top, Mahogany back and sides, original black hard shell case. \u003cbr\u003e\u003cbr\u003eOne of America's most creative (if least celebrated) 20th century luthiers was Chris Knutsen, who hand-built his always amazingly eccentric instruments on the West Coast from the 1890s up into the 1920s. His original design for a hollow-neck Hawaiian guitar was popularized by Hermann Weissenborn and his Symphony harp guitars by the Larson Brothers (under the Dyer label), but Knutsen himself never made the leap from craftsman to manufacturer. He tinkered endlessly with his unique and highly original stringed instrument concepts, and each completely handmade instrument is distinctive, often appearing to be built from found woods and whatever hardware was available. \u003cbr\u003e\u003cbr\u003eThis exceptionally large-bodied Harp guitar dates to around 1912, towards the end of his fascination with harp guitars, and is a wonderful example of Knutsen's best work. The lines are fluid to the point of abstract shape; even the headstocks are nonconventional with a liquid sculpture look. The unusually large body has typical signature Knutsen features, including a lower body extension and a bank of 5 sub-bass strings mounted on a sweeping hollow upper-body extension. \u003cbr\u003e\u003cbr\u003eThe bridge is a massive abstract carved affair, with the lowest play string and the adjacent harp string sharing a pin hole. The top is triple-bound in wood, and the fingerboard is side-bound the same way. The sound hole has multiple wooden rings and there is a small discreet pickguard set into the top, decorated with a pearl crescent moon inlay. \u003cbr\u003e\u003cbr\u003eThe wood-bound fingerboard is inlaid in a rather random pattern of shaped pearl pieces, including a large star, slotted diamonds, and dots. The neck has a radical taper as it moves to the body, so while the nut width is a narrow 1 5\/8\" (very unusual for the time), the fingerboard width over the body joint is 2 1\/4\". The profile is a shallow \"C,\" which is very unusual for a guitar from the 1910s. The tuners on both headstocks have a typically Knutsen random air about the mounting pattern, and there are two separate metal brackets joining the headstocks front and back secured with large wood screws. \u003cbr\u003e\u003cbr\u003eThis body of this guitar at over 18\" wide is the largest Knutsen instrument we have seen. The internal workmanship is cleaner and better executed than many of this maker's surviving creations, some of which have braces that appear to be random wood leftovers. Despite over 100 years of tension, the top remains solid with just a bit of arching around the bridge. Knutsen's elaborate original label which states \"sole patentee of the 11-string harp guitar\" and helpfully gives the proper sub-bass tuning is still completely intact. \u003cbr\u003e\u003cbr\u003eWhile obviously a supremely eccentric guitar, this is a good-playing and excellent-sounding piece of American musical art, one of the most striking and best-made of Knutsen's creations. By any standards this enormous harp-guitar is a stand-alone piece, a testament to its maker's singular visions of fretted glory and as unique as they come.\u003cbr\u003e \u003cbr\u003eOverall length is 44 in. (111.8 cm.), 18 1\/2 in. (47 cm.) wide at lower bout, and 4 1\/2 in. (11.4 cm.) in depth, measured at side of rim. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 1\/2 in. (38 mm.). \u003cbr\u003e\u003cbr\u003eThis instrument remains in very playable condition, which considering its age and the sometimes quixotic methods of its maker is no mean feat. This spectacularly rare guitar shows both general age and play wear but no major damage over 100+ years. There are several well-repaired grain cracks to the top and back but overall the guitar remains internally and externally very original, with some evidence of moderately heavy play long ago. The top is not perfectly flat but is stable and all braces are solid (and sizable, in some cases!). There is wear to the top below the fingerboard that has been touched up with dark pigment but not oversprayed. \u003cbr\u003e\u003cbr\u003eThe original carved rosewood bridge has been reglued, probably more than once but there is only light touch-up around the edges. It is secured by several large wood screws; this is as Chris Knutsen built it. The back of the neck has some old long scrapes that look to have been caused by a primitive capo long ago. The fingerboard shows some divoting in the first position, but the frets (which are very narrow wire and appear original) remain in very good condition with only light wear. This is easily the best-sounding Knutsen we have had, with a very powerful bass response on the harp strings without losing clarity up the neck. Includes (amazingly!) the original case, which is essentially an oversized piece of pasteboard luggage. Very Good + Condition.","brand":"Knutsen","offers":[{"title":"Default Title","offer_id":46853515739276,"sku":"8107","price":5000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_817bfc3f-cd7b-429e-a4e5-34e6c46c5cad.jpg?v=1774340741"},{"product_id":"gibson-style-u-harp-guitar-1908-12346","title":"Gibson Style U Harp Guitar (1908)","description":"Gibson Style U Model Harp Guitar (1908), made in Kalamazoo, Michigan, serial # 7554, black top, natural back and sides finish, birch back, mahogany sides, spruce top; magogany neck with ebony fingerbord, Mark Leaf molded fiberglass hard shell case. \u003cbr\u003e\u003cbr\u003eOf all the glories of Gibson over the last 100+ years, the Style U harp guitar is one of the most impressive -- visually, at least! This is an extremely rare and early example dating to the second half of 1908, still featuring Orville's ghostly face peering from the label inside. It would be one of the last of the original pattern pin-bridge, 21\" wide models. The Style U was scaled down a bit and re-styled soon after to an \"only\" 18 1\/2\" wide behemoth with the new floating trapeze tailpiece. Having played this one we think that revision was a mistake, because the huge sound of this Style U is vastly superior to any later example we have heard!\u003cbr\u003e\u003cbr\u003eWhile in 1908 guitars were still less important sales-wise to the company than mandolins, Gibson made considerable advertising capital out of the harp guitar. In the 1900s \"aught years\" the Gibson company was full of ideas, the most radical instrument innovator of the time. They offered several styles of harp-guitar from their beginnings in 1903, but by this point had settled on just one model, the Style U. For many years this multi-string behemoth topped the company's line, mostly intended to provide sonic underpinning for the mandolin orchestras that were the main outlet for Gibson products.\u003cbr\u003e\u003cbr\u003eThis early Style U is built on a massive 21\" wide body, with an elaborate upper scroll. The ebony-finished hand-carved spruce top and sports a wide oval soundhole trimmed with half-herringbone and ivoroid. Internally the body has two massive longitudinal braces running from front to rear edge not touching the top or back. A long octagonal solid arm extension emerges from the scroll above the neck supporting the tuners for the 10 sub-bass strings. These sub-bass array are tuned with a zither-style wrench, the tuners mounted in echelon on a swooping carved wooden block with daintily scrolled ends. These strings were intended to be tuned chromatically down from D#, slightly different from Gibson's later system. There is a turn-buckle adjustor running to the join of the headstock pieces, presumably intended to offset the extreme tension involved. \u003cbr\u003e\u003cbr\u003eThe long carved 16-string pin bridge with scrolled ends has a bone saddle for the play strings, with a wire saddle for the sub-basses. It is supplemented by a very elaborate metal \"Gibson bridge stay\" spanning the lower top screwed both to the bridge and the endblock. The neck is huge and chunky with a heavy \"V\" profile and a bound, dot inlaid ebony fingerboard. The headstock is rounded on the top, solidly attached to the harp-string pin block on its upper edge. It has a pearl \"the Gibson\" logo and the familiar engraved-plate strip tuners used on most period guitars from Kalamazoo.\u003cbr\u003e\u003cbr\u003eWhile the Gibson harp-guitars are not generally considered the sonic equals of the Larson-built Dyers that were their primary competitors, this early Style U is quite a bit more powerful and sweeter sounding than the more familiar later examples. The pin bridge construction seems to be a major sonic advantage here, and the larger body gives better life to sub-bass strings. It is also one of the most visually impressive and imposing fretted instruments ever made This one is set up to be playable (although you'll have to figure out how to use the harp strings yourself!) and even with some old repair and cosmetic wear is the coolest and absolutely the best sounding example of this glorious beast we have ever handled.\u003cbr\u003e \u003cbr\u003eOverall length is 47 1\/2 in. (120.6 cm.), 21 in. (53.3 cm.) wide at lower bout, and 3 1\/2 in. (8.9 cm.) in depth, measured at side of rim. Scale length is 25 3\/4 in. (654 mm.). Width of nut is 1 3\/4 in. (44 mm.). \u003cbr\u003e\u003cbr\u003eThis early Style U is a fantastic Art Nouveau survivor and would be the absolute centerpiece for any fretted collection! Well past its 115th birthday, this Style U shows some fairly minor wear and repair but considering its age and size is relatively well-preserved overall. There are several long grain splits to the spruce top and one on the back, all solidly but visibly repaired with some light touch up. The ebony varnish top finish appears to have been polished out when this work was done but not overfinished. Apart from this the finish remains original and mostly fairly clean, showing some wear and scratches on the upper back and especially on the upper rim, where it looks like some sort of case rubbing resulted in heavier scratching at the apex of each bout. There is a small repair at the join of the headstocks solidly but visibly done. \u003cbr\u003e\u003cbr\u003eAll hardware is original and complete; this early model never had a pickguard. There is a small screw hole in the center of the metal bridge stay; we are not sure why. The ebony fingerboard was neatly refretted and rebound, the wire is somewhat larger then the period pattern but definitely more comfortable to play. \u003cbr\u003e\u003cbr\u003eEverything on the instrument works as intended and the harp section is strung and tuned as per Gibson's 1910's pattern, in a chromatic array from the D# below the low E string down. The bone saddle has been subtly re-contoured to make the action a bit more friendly to a modern player, and this is a playable guitar if you have the reach to hold it! It resides in an absolutely enormous Mark Leaf Fiberglass HSC that is larger than some refrigerators, so shipping on this piece will be unusually costly. Overall Excellent - Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853530321036,"sku":"12346","price":12500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_fb59ec8c-189d-4b9f-8d10-6c902e46b964.jpg?v=1774341309"},{"product_id":"harmony-supertone-12e-650-14-harp-guitar-1918-11693","title":"Harmony Supertone #12E 650 1\/4 Harp Guitar (1918)","description":"Supertone #12E 650 1\/4 Model Harp Guitar, most likely made by Harmony, c. 1918, made in Chicago, natural top, faux grained back and sides finish, birch back and sides, spruce top; mahogany necks with ebonized fingerboards, original canvas soft shell case. \u003cbr\u003e\u003cbr\u003eIf one was perusing the Sears \u0026amp; Roebuck catalog around, say, 1918 and happened to wonder \"what is the top of the line, most expensive guitar this merchant would offer?\" the answer is you're looking at it here. The full title was the \"Model #12E 650 1\/4\" for reasons known only to Sear's catalogers, and it was a standout piece in their late 1910s Supertone listings. While it's uncertain how many of Sears customers were looking for a double-neck harp guitar, the giant retailer carried it for a few years anyway. The earliest listing offers it for $22.45, while the 1918 catalog price was $29.95 with the canvas case, quite a bit more than any other guitar. This one has lost any label it may have had so may have been originally sold elsewhere, but it is an EXACT match to the known Supertone model. \u003cbr\u003e\u003cbr\u003eThis imposing guitar is certainly a product of Chicago, most likely made by Harmony (which company Sears had recently purchased) or possibly the Lyon \u0026amp; Healy factory, who had more experience with such things. It is built to a fairly conventional layout (in so much as any double neck acoustic can be called \"conventional\") with the standard six play strings on a lower fretted neck and six sub-bass strings on an unfretted neck above. Both of these necks have a deep round profile and it is theoretically possible to set up the top neck as a fretless guitar, although the oddly canted nut would make intonation even more challenging than usual! The lower headstock is slotted, while the upper is solid. The headstocks are joined by a decorative metal cap. \u003cbr\u003e\u003cbr\u003eThe 17\" wide body is built of birch or some other indeterminate wood, carefully camouflaged internally with a dark stain and finished externally with a beautifully executed faux rosewood grain which could easily fool the casual observer. The fairly wide-grain spruce top is trimmed with half-herringbone marquetry on the edge and soundhole rim, bound in ivoroid. The bracing is a fairly simple ladder style wit the typical wide flat bridge plate. The instrument is neatly built, and considering its catalog-company origins a fairly high-grade piece.\u003cbr\u003e\u003cbr\u003e \"An instrument of wonderful depth and power\" Sears claimed \"a valuable addition to any mandolin club...also very effective as a solo instrument\". We have to agree this is a very powerful and fine sounding guitar, even if one ignores the sub-bass strings. It plays very well too, and is a fine survivor of the original harp-guitar era, before fast-moving 20th century music made them mostly redundant.\u003cbr\u003e \u003cbr\u003eOverall length is 39 in. (99.1 cm.), 17 in. (43.2 cm.) wide at lower bout, and 4 11\/16 in. (11.9 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis large and imposing instrument has survived for something like 105 years showing not a lot of wear but some visible repair work, both older and newer. There is a clear lacquer overspray over the entire instrument that appears to have been done decades ago; the look of the original finish (including the beautiful faux graining) is intact, but the patina is newer. There is only light play wear to this finish. The play neck has been reset more than once; there is a visible seam in the lower neck heel which was a stacked heel from the factory but has been visibly reglued during the neck reset process. There is also some old scarring to the sides of the heels. \u003cbr\u003e\u003cbr\u003eThe top has an old center seam reglue (under the overfinish) and some smaller grain split repairs in the area of the lower fingerboard\/soundhole junction. Considering its size and fairly light construction it is somewhat remarkable that there are no other crack repairs. The top is fitted with an old slightly oversize repro bridge with a wire saddle; this shows a repaired crack through the pins. There are a few small grain pulls repaired off the front edge of this, again under the overspray. \u003cbr\u003e\u003cbr\u003eThe ladder bracing is original and undisturbed except for an angled brace added on either side of the soundhole to stabilize that otherwise unsupported area of the large top. This very rare instrument plays quite well, is less cumbersome to handle than many of these large harp guitars and has a lovely powerful sound. We have the guitar tuned to D standard where it seems happiest and has a rich resonance, with some sympathetic accents from the sub-bass array. This has been a single-family instrument for over 100 years and still lives in the original WWI era canvas case which is functional for storage anyway. Overall Very Good + Condition.","brand":"Harmony","offers":[{"title":"Default Title","offer_id":46853532876940,"sku":"11693","price":2950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_89107572-ac8e-4f4c-8e22-9f8b37a1b25a.jpg?v=1774341402"},{"product_id":"unlabelled-wappen-15-course-contra-bass-harp-guitar-1900s-12733","title":"unlabelled Wappen 15 Course Contra Bass Harp Guitar (1900s)","description":"Wappen 15 Course Contra Bass Model Harp Guitar (unlabelled), c. 1900s, made in Austria, cherry sunburst re- finish, maple back and sides, spruce top; maple necks with rosewood fingerboard, grey gig bag case. \u003cbr\u003e\u003cbr\u003eThis rather unusual looking (by American standards at least) guitar is a Wappen Harp guitar likely made in Austria sometime around the early 20th Century. \"Wappen\" is a German term referring to a shield bearing a coat of arms used to identify soldiers attached to a particular \"clan.\" The shape was developed in the 19th century primarily by luthiers in Vienna and Munich. The twin bound soundholes on opposing sides of the fingerboard is anther unusual facet of this design. This is a traditional Germanic form of guitar but rarely seen this large of with this extensive a sub-bass string array. The neck is attached with the traditional Stauffer Viennese clock-key device and is adjustable for angle. This guitar has been heavily rebuilt and refinished but remains structurally largely original, a fretted conversation piece for sure.\u003cbr\u003e \u003cbr\u003eOverall length is 47 in. (119.4 cm.), 17 1\/4 in. (43.8 cm.) wide at lower bout, and 2 3\/4 in. (7 cm.) in depth at side, taken at the end block. Scale length is 24 3\/8 in. (619 mm.). Width of nut is 1 3\/4 in. (44 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar has been completely refinished with a heavier coat than the original style and a cherry sunburst top, not typical of the traditional look of these guitars. It is certainly a visual standout! There are numerous old repaired cracks under the finish and some dings, scratches and dents above. The harp tuners appear original to the late 19th\/early 20th century but the 6-string tuners date to the 1950s or '60s. This is a quite playable instrument, decent sounding but perhaps has its greatest appeal as a display piece. Unfortunately there is no case available. Overall Very Good Condition.","brand":"unlabelled","offers":[{"title":"Default Title","offer_id":46853688590476,"sku":"12733","price":2750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_8c24db5d-280e-4d91-9879-07bd980d9e83.jpg?v=1774343027"},{"product_id":"tonedevil-s-12-symphony-harp-guitar-13031","title":"Tonedevil S-12 Symphony Harp Guitar","description":"Tonedevil S-12 Symphony Model Harp Guitar, made in Sandpoint, Idaho, serial # 194, natural finish, mahogany back, sides and neck, Englemann spruce top; rosewood fingerboard, black gig bag case. \u003cbr\u003e\u003cbr\u003eThis is a nicely made and comparatively affordable modern re-creation of the classic Knutsen\/Dyer Symphony Harp Guitar, often considered the finest vintage instrument of its type ever built. The Tonedevil S-12 follows the general pattern of the 1900-era Knutsen design with a modern clean look and a very thin satin finish. All play and harp strings are held by enclosed geared tuners and there are clear flamenco-style tap plates on both lower bouts for percussive effects. This one has been adapted for amplified use with dual magnetic pickups for the play and harp strings, coupled with the original under bridge piezo system all wired to two endpin jacks. \u003cbr\u003e\u003cbr\u003eThe company describes this model thusly: \"The S-12 is the very first U.S.A. made, all solid wood, production line modern harp guitar. This instrument was designed to sound and play great. It was engineered to be light weight without compromising structural integrity or acoustic tone. Having carefully examined several early 1900's original Knutsen and Larson harp guitars, this design was modeled after these famous vintage classics. It is improved with some modern advancements including higher geared guitar tuners for easier tuning, adjustable truss rods, and CNC duplicated neck carving for precision and consistency. Without neglecting traditional construction methods a great sounding instrument was achieved with exceptional play-ability for today's professionals.\"\u003cbr\u003e \u003cbr\u003eOverall length is 43 in. (109.2 cm.), 15 3\/4 in. (40 cm.) wide at lower bout, and 4 1\/16 in. (10.3 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 13\/16 in. (46 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar shows signs of light use but no damage or repair, only the added electronics. It plays excellent and comes in the original custom Tonedevil gig bag with some literature from the company. This is an eminently practical and playable and unusually affordable modern 12-course harp guitar, an instrument still not fully appreciated even 130 or so years along! Overall Excellent Condition.","brand":"Tonedevil","offers":[{"title":"Default Title","offer_id":46853690884236,"sku":"13031","price":2500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_a3cd43fa-d2ef-4dc6-9716-9b15fb132f75.jpg?v=1774343079"},{"product_id":"larson-brothers-dyer-symphony-style-5-harp-guitar-1914-11034","title":"Larson Brothers Dyer Symphony Style 5 Harp Guitar (1914)","description":"Dyer Symphony Style 5 Model Harp Guitar, made by Larson Brothers (1914), made in Chicago, natural varnish finish, mahogany back, sides and neck, spruce top, rosewood fingerboard, black hard shell case. \u003cbr\u003e\u003cbr\u003eThe fantastic looking and sounding Symphony Harp guitars are one of the most renowned of the Larson Brothers' many fretted creations, made exclusively for W.J. Dyer \u0026amp; Bro of St. Paul in the first decades of the 20th century. These Dyer Harp guitars are considered among most enthusiasts as the best of their kind ever made, and many modern luthiers currently use them as a pattern. Since their re-discovery in the 1980s by Michael Hedges and his followers, the Dyer Symphony Harp Guitar has been generally considered the de facto standard design for guitars with sub-bass strings.\u003cbr\u003e\u003cbr\u003eA family of both guitars and mandolin family instruments were marketed by Dyer well before the First World War, based on the design patents of Chris Knutsen but mostly actually built by the Larson Brothers in Chicago. The guitars were the first to be offered from around the early aught years of the last century, and by far the most successful. This \"Style 5\" is the second model up the line and has a mahogany body and neck with a spruce top bound around the edge, along with a simple sound wood marquetry hole ring. The Style 5 was seemingly the most popular of the Dyer models, and based on most recent research the hand-inked serial number on the label would date this guitar to around 1914. \u003cbr\u003e\u003cbr\u003eAll \"Dyer Symphony\" instruments feature a hollow upper body extension; on the guitars this serves to hold the banjo-style tuners for the sub-bass string array. Even if these strings are ignored, the extended body with a larger air cavity definitely enhances the instrument's tonal character, giving a depth and airiness unusual in a flat-top guitar of any design. Actually, flat-top is a bit of a misnomer -- while not carved like the Gibsons, the Dyer guitars are \"built under tension\" with a subtle but noticeable arch to the top and back. \u003cbr\u003e\u003cbr\u003eThis is a superb original example and a very fine-sounding instrument, very different from both the heavy carved Gibsons and the typical double-neck flat-top German-style harp guitars of the period. It is extremely well-preserved for its age, and really does not appear to have been much played over the last century. Despite a production history spanning a couple of decades, there are only a limited number of these Symphony Harp guitars in existence, and each one is a masterpiece of both style and sound. This is about the nicest and most original we have had, an excellent player with a huge sound.\u003cbr\u003e \u003cbr\u003eOverall length is 41 1\/2 in. (105.4 cm.), 15 5\/8 in. (39.7 cm.) wide at lower bout, and 4 1\/16 in. (10.3 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 7\/8 in. (48 mm.). \u003cbr\u003e\u003cbr\u003eThis fantastic Larson brothers creation remains in exceptionally fine condition overall; about the cleanest, most original, and best-sounding of these gems we have had. There is some light finish wear but the instrument remains in every practical way pretty much as the brothers built it well over a century ago. There are dings, scrapes and dents to the finish, but none of the common pickwear spots and no large areas of finish loss. There is more wear to the back than the face, and some heavier scuffing on the upper side of the extension from rubbing against something on the case interior. There is one small sealed crack in this area as well.\u003cbr\u003e\u003cbr\u003eThe lower part of the top center seam appears re-sealed as well, but apart from this the instrument shows no cracks. The original bridge is completely solid and does not appear to have lifted; both of these conditions are quire rare for this particular instrument. The saddle for the six play strings is bone, while the harp strings have one of fretwire; this appears to have been the way it was made. The top veneer of the pin block has a pattern of hairline surface cracks, but this is not a structural issue. \u003cbr\u003e\u003cbr\u003eEverything on this guitar appears original with no notable alterations. The interior is very clean; the Dyer label is nicely intact and legible. The tuners are original, as are the spacing pins for the harp strings. The original frets show very little wear and the instrument as a whole plays extremely well, with a huge expansive sound. It is housed in a very well fitted shaped hard shell case that appears to date to the 1960s. That is a real find in itself, but overall this is simply the finest Symphony Harp guitar we have seen, a true gem in every way. Overall Excellent Condition.","brand":"Larson Brothers","offers":[{"title":"Default Title","offer_id":46853696782476,"sku":"11034","price":8500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_48d52321-d61f-46f7-9828-0dae807acc57.jpg?v=1774343360"},{"product_id":"larson-brothers-dyer-symphony-style-5-harp-guitar-1907-8178","title":"Larson Brothers Dyer Symphony Style 5 Harp Guitar (1907)","description":"Dyer Symphony Style 5 Model Harp Guitar, made by Larson Brothers, c. 1907, made in Chicago, natural varnish finish, mahogany back, sides and neck, spruce top, rosewood fingerboard, black hard shell case. \u003cbr\u003e\u003cbr\u003eThe fantastic-looking Symphony Harp guitars are one of the most renowned of the Larson Brothers' many fretted creations, made exclusively for W.J. Dyer \u0026amp; Bro of St. Paul in the first decades of the 20th century. These Dyer Harp guitars are considered among most harp guitar enthusiasts as the best of their kind ever made, and many modern luthiers currently use them as a pattern. Since their re-discovery in the 1980s by Michael Hedges and his followers, the Dyer Symphony Harp Guitar has been generally considered the de facto standard design for guitars with sub-bass strings.\u003cbr\u003e\u003cbr\u003eA whole family of both guitars and mandolin family instruments were marketed by Dyer before the First World War, based on the design patents of Chris Knutsen but after the first few years actually built by the Larson Brothers in Chicago. The guitars were the first to be offered from around the early aught years of the last century, and by far the most successful. This \"Style 5\" is the second model up the line and has a mahogany body and neck with a spruce top bound around the edge, along with a simple sound hole ring. This is a fairly early example of the Style 5, seemingly the most popular of the Dyer models, and still has inventor Chris Knutsen's signature on the patent label. \u003cbr\u003e\u003cbr\u003eAll \"Dyer Symphony\" instruments feature a hollow upper body extension; on the guitars this serves to hold the banjo-style tuners for the sub-bass string array. Even if these strings are ignored, the extended body with a larger air cavity definitely enhances the instrument's tonal character, giving a depth and airiness unusual in a flat-top guitar of any design. Actually, flat-top is a bit of a misnomer -- while not carved like the Gibsons, the Dyer guitars are \"built under tension\" with a subtle but noticeable arch to the top and back. \u003cbr\u003e\u003cbr\u003eThis is a superb original example and a very fine-sounding instrument, very different from both the heavy carved Gibsons and the typical double-neck flat-top German-style harp guitars of the period. It is extremely well-preserved for its age, and although it has some old repairs does not appear to have been much played over the last century. Despite a production history spanning a couple of decades, there are only a limited number of these Symphony Harp guitars in existence, and each one is a masterpiece of both style and sound.\u003cbr\u003e \u003cbr\u003eOverall length is 41 1\/2 in. (105.4 cm.), 15 5\/8 in. (39.7 cm.) wide at lower bout, and 4 1\/16 in. (10.3 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 7\/8 in. (48 mm.). \u003cbr\u003e\u003cbr\u003eThis fantastic Larson brothers creation remains in very fine condition overall; one of the cleanest, most original, and best-sounding of these gems we have yet had. There is some light finish wear and some old repairs, but the instrument remains in every practical way as the brothers built it well over a century ago. There are small dings and dents to the finish, but none of the common pickwear spots and no large areas of finish loss. There appears to have been a strip of tape (or something similar) stuck to the face on the lower treble bout under the fingerboard, leaving some small marks. \u003cbr\u003e\u003cbr\u003eThe bridge has been very neatly reattached and there are four long and one short spruce grain cracks just behind it running to the rim. Several appear to have been sealed long ago, a couple are more recent, but everything is completely solid. The back and sides also show a number of sealed grain splits to the mahogany. There is an old laminate split to the rear side of the harp string pin block, off the inside edge of the body extension. This did not go through the block itself and is again solidly sealed up, but visible. The top veneer of the pin block has a pattern of hairline cracks, but this is not a structural issue. \u003cbr\u003e\u003cbr\u003eEverything on this guitar is cleanly repaired, with no notable alterations from the original. The interior is unaltered; the early-style Dyer label is present but shows some deterioration, and unfortunately the ink-stamped portions are heavily faded, making the serial number impossible to read. All tuners are original, as are the spacing pins for the harp strings, which themselves appear to be original or at least period and still sound fantastic! The frets show very little wear and the instrument as a whole plays extremely well, with a big expansive sound. It is currently housed in a truly enormous modern rectangular hard shell case. Overall Excellent - Condition.","brand":"Larson Brothers","offers":[{"title":"Default Title","offer_id":46853701664908,"sku":"8178","price":7250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_0bc8e277-84a8-49cb-b612-c61add89c842.jpg?v=1774343609"},{"product_id":"larson-brothers-dyer-symphony-style-8-5-bass-harp-guitar-1910-13636","title":"Larson Brothers Dyer Symphony Style 8 5-Bass Harp Guitar (1910)","description":"Dyer Symphony Style 8 5-Bass Model Harp Guitar, made by Larson Brothers, c. 1910, made in Chicago, natural varnish finish, mahogany back, sides and neck, spruce top, rosewood fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThe fantastic looking and sounding Symphony Harp guitars are one of the most renowned of the Larson Brothers' many fretted creations, and this is the top-of-the-line #8, the showpiece of the line. These magnificent instruments were made exclusively for the W.J. Dyer \u0026amp; Bro. Company of St. Paul in the first decades of the 20th century. Dyer Harp guitars are considered by most enthusiasts as the best instruments of their kind ever made, and many modern luthiers continue to use them as a pattern. Since their re-discovery in the 1980s thanks mainly to Michael Hedges and his followers, the Dyer Symphony Harp Guitar has been generally considered the de facto standard design for guitars with sub-bass strings.\u003cbr\u003e\u003cbr\u003eAn entire line of guitars and mandolin family \"Symphony Harp\" instruments were marketed by Dyer well before the First World War, originally based on the patented design of Chris Knutsen but mostly built by the Larson Brothers in Chicago. The guitars were the first to be offered from around the early aught years of the last century, and by far the most successful. This \"Style 8\" is the top model up the line, with superbly elaborate decorative elements added to the basic formula. \u003cbr\u003e\u003cbr\u003eAs with all Dyers the body on this Style 8 is made of mahogany a spruce top; these were never built with rosewood; finding pieces large enough was likely a challenge! The body is bound around the edge with ivoroid and colorful abalone inlaid all along the top edge set off with wood strips. The main soundhole is bound with a pearl rosette and additional wood marquetry rings, the secondary soundhole has a pearl ring as well. The bound ebony fingerboard on the mahogany neck has an incredibly elaborate tree of life design in inlaid pearl along practically the entire length. Small pearl accents adorn both headstocks and the elaborate carved ebony bridge. The Style 8 was a later addition to the line made in very limited quantities, even compared to other Dyer models; examples are extremely rare today. Unfortunately this one has lost the paper label carrying the serial number but as a 5 sub bass model this is probably on the earlier side, roughly in the early 1910s period.\u003cbr\u003e\u003cbr\u003eAll \"Dyer Symphony\" instruments are distinguished by their hollow upper body extension; on the guitars this serves to hold the banjo-style tuners for the 5 sub-bass string array. Even if these strings are ignored, the extended body with a larger air cavity definitely enhances the instrument's tonal character, giving a depth and airiness unusual in a flat-top guitar of any design, especially as the sub-bass strings add an extra resonance even if not plucked. \u003cbr\u003e\u003cbr\u003eThis is a very fine-sounding instrument, sonically completely different from both the heavy carved Gibsons and the typical double-neck flat-top German-style harp guitars of the period. It has had some restoration but is structurally well-preserved for its age. Despite a production history spanning a couple of decades, there are only a limited number of these Symphony Harp guitars in existence, and the Style 8 is extremely rare compared to the less decorated models. Each one is a masterpiece of both style and sound; this a feast for the eyes as well. This is the only Style 8 we have ever had, a dazzling showpiece in every way with a huge sound.\u003cbr\u003e \u003cbr\u003eOverall length is 41 1\/2 in. (105.4 cm.), 15 5\/8 in. (39.7 cm.) wide at lower bout, and 4 1\/16 in. (10.3 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 7\/8 in. (48 mm.). \u003cbr\u003e\u003cbr\u003eThis fantastic Larson Brothers creation remains in structurally fine condition overall, but has seen some finish work. There is an old light lacquer overfinish over pretty much of the entire instrument, which looks like it was done decades ago. The Larson's original finish remains intact beneath this, with an amber tint to the top and August's dark rosewood-like stain to the mahogany. Very little wear is evident from before or after this revision. The only area showing much distress is the top veneer of the pin block which has a pattern of hairline surface cracks; this seems to be common with these but is not a structural issue. There is a small finish chip off the bass side of the headstock in an inconspicuous spot just above the nut. \u003cbr\u003e\u003cbr\u003eApart from the added finish the instrument remains pretty much as the Brothers built it well over a century ago. There is really very little wear, none of the common pickwear spots and no large areas of loss. We can also find no structural cracks anywhere on the guitar, which for an instrument of this size, age and delicacy is amazing. The original bridge is intact including the original fretwire saddle; it has been reglued but with minimal scarring around it. At some point three retaining dowels were added through the bridge and bridgeplate; these have been removed and the round holes in the bridge top and bridge plate patched. \u003cbr\u003e\u003cbr\u003eThe Dyer label is missing, which is unfortunately fairly common with these. Both sets of tuners are original. There is some fairly heavy divoting to the fingerboard just in the first position; someone definitely played there long ago, but the pearl all remains intact. The frets we must assume were replaced, but the wire is thin and looks period correct. These show some wear again only in the lower positions. The action is 4\/32\" bass and treble, the instrument as a whole plays nicely. We find it seems to respond especially well tuned a whole step down to D standard, the harp strings are especially reverberant there giving the instrument a huge expansive sound. It is housed in a very well fitted shaped hard shell case that appears to date to the 1970-80s. That is a real find in itself, but overall this is simply a stunner, the only Style 8 Symphony Harp guitar we have had the pleasure to offer, a stunner in every way. Overall Very Good + Condition.","brand":"Larson Brothers","offers":[{"title":"Default Title","offer_id":46853704056972,"sku":"13636","price":34500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_f9408d91-3bfc-429a-8a0f-1c7aec943fdf.jpg?v=1774343705"},{"product_id":"knutsen-10-string-harp-guitar-1915-13591","title":"Knutsen 10 String Harp Guitar (1915)","description":"Knutsen 10 String Model Harp Guitar, c. 1915, made in Los Angeles, natural varnish finish, Spruce top, red gum wood back and sides, poplar neck with rosewood fingerboard, black gig bag case. \u003cbr\u003e\u003cbr\u003eOne of America's most creative (if least celebrated) early 20th century luthiers was Chris Knutsen, who hand-built his always amazingly eccentric instruments on the West Coast from the 1890s up into the 1920s. His original design for a hollow-neck Hawaiian guitar was popularized by Hermann Weissenborn and his Symphony Harp guitars perfected by the Larson Brothers (under the Dyer label), but Knutsen himself never made the leap from craftsman to full-scale manufacturer. He tinkered endlessly with unique and highly original stringed instrument concepts, coming up with one wildly eccentric instrument design after another. Each completely handmade instrument is distinctive, often appearing to be built from found woods and whatever hardware was available.\u003cbr\u003e\u003cbr\u003eThis medium-sized Harp guitar dates to sometime after his move from Seattle to Los Angeles in 1914, towards the end of his fascination with these multi-sub-bass-string creations. It carries no date markings but the configuration and Hawaiian style wood trim mark it as built in the mid-teens when Knutsen's attentions had mostly begun shifting to lap-style instruments. An illustrated label under the soundhole pronounces this as part of \"C. Knutsen's New Hawaiian Family\" and indeed some genuine Hawaiian musicians were pictured playing Knutsen's creations in the 1910s. After well over 100+ years this remains a good sounding and quite playable example of Knutsen's work.\u003cbr\u003e\u003cbr\u003ePractically everything about this guitar is unconventional. Except for a standard lower bout the lines are fluid to the point of abstract shape; even the headstocks have a liquid sculpture look. The 15 9\/16\"' wide body is smaller than some of his multi-string models but has typical signature Knutsen features. The sharp pointed lower cutaway has a solid carved block at its apex, as does the extended arm above the neck holding the bank of 4 sub-bass strings. This is much slimmer with less hollow area the earlier \"Symphony Harp\" design, and the entire guitar is far less bulky and easier to handle. The 4 harp strings are tuned with zither pegs, a light and cheap if not particularly user-friendly way of securing them. The top is bordered in alternating wood marquetry similar to Hawaiian ukes and guitars of the period and the fingerboard is elaborately trimmed the same way. The sound hole has multiple wooden rings and a similar \"zipper\" pattern rosette, with a comically small decorated inlaid pickguard coming off the lower edge. \u003cbr\u003e\u003cbr\u003eThe round-backed, surprisingly modern feeling one piece neck has a well-decorated bound rosewood fingerboard; it is secured to the body with screw brackets at the heel and headstock and is (to a limited degree) adjustable for angle. The bridge is a large abstract carved affair, the play strings have an added bone saddle while the adjacent harp strings retain the original fretwire saddle. This is not a guitar for the conservative or faint-hearted player, but rewards the adventurous picker with a powerful and surprisingly sweet and versatile sound, even if the sub-bass strings are ignored. Chris Knutsen was certainly one of the most original designers of fretted instruments in history, but his craftsmanship is somewhat uneven. The instruments of his early Los Angeles period are more \"professionally\" built than some of his creations (he may have had some help there!) and often are the best playing of his oeuvre; this guitar certainly bears this out.\u003cbr\u003e \u003cbr\u003eOverall length is 38 3\/4 in. (98.4 cm.), 15 9\/16 in. (39.5 cm.) wide at lower bout, and 3 5\/8 in. (9.2 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eDespite its eccentric design this remains a very playable instrument, albeit an odd-feeling one to many pickers. It sounds really excellent with power and projection to spare and a more-useful-than-many sub-bass section. These are more conveniently arrayed for the picking hand than some and with a little practice can be used to good effect.\u003cbr\u003e\u003cbr\u003eThe instrument is in structurally excellent condition and retains the original very thin varnish finish. This shows average wear consisting of mostly small dings, dents and scrapes but no wholesale loss. There is an area of finger wear to the wood just in front of the diminutive pickguard. The back of the neck has some wear through to the wood but very little in the way of dings and dents. \u003cbr\u003e\u003cbr\u003eThere are a no top cracks, which is kind of amazing on a Knutsen. The top bracing and bridgeplate are -- literally -- little more than scraps of wood in some places but all remain intact and original with a cleat added under the pickguard. There is a long repaired jagged crack line running through much of the center of the back that has been solidly but visibly sealed up, with some topical finish touch up and polish out. This appears due mostly to inherent instability in the large (and probably unseasoned) piece of wood used. There is another very small side crack at the tip of the cutaway block, and one resealed back\/side seam on the lower rim above the waist. These have been sealed and more heavily touched up. \u003cbr\u003e\u003cbr\u003eThe oddly shaped bridge is original, as are the large wood screws securing it (another Knutsen trademark) while the bone saddle for the play strings is newer. The frets and even the nut appear original, with some wear to the wire and filling\/re-cutting of the nut slots. The neck is surprisingly straight and quite playable. The tuners on the six play strings remain original and work as well as they ever did, the original zither peg tuning for the harp strings is intact, functional if not particularly convenient as a wrench is required to tune them. This is about cleanest and one of the most original of Chris Knutsen's off-the-wall masterpieces we have had, very good sounding and better playing than many. Many surviving Knutsen instruments are interesting mostly as museum pieces, this is a functional instrument still suited to actual use by an adventurous player. There is no case but we were able to find a modern gig bag that is a functional if inexact fit. Overall Very Good + Condition.","brand":"Knutsen","offers":[{"title":"Default Title","offer_id":46853704351884,"sku":"13591","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_1c6b3f69-b267-4ec5-b218-645d3f8f7105.jpg?v=1774343724"},{"product_id":"knutsen-16-string-harp-guitar-1914-13592","title":"Knutsen 16 String Harp Guitar (1914)","description":"Knutsen 16 String Model Harp Guitar, c. 1914, made in Los Angeles, natural varnish finish, koa top, back and sides; Douglas fir neck with rosewood fingerboard, black gig bag case. \u003cbr\u003e\u003cbr\u003eOne of America's most creative (if least celebrated) early 20th century luthiers was Chris Knutsen, who hand-built his always amazingly eccentric instruments on the West Coast from the 1890s up into the 1920s. His original design for a hollow-neck Hawaiian guitar was popularized by Hermann Weissenborn and his Symphony Harp guitars perfected by the Larson Brothers (under the Dyer label), but Knutsen himself never made the leap from craftsman to full-scale manufacturer. He tinkered endlessly with unique and highly original stringed instrument concepts, coming up with one wildly eccentric instrument design after another. Each completely handmade instrument is distinctive, often appearing to be built from found woods and whatever hardware was available.\u003cbr\u003e\u003cbr\u003eThis 16\" wide Harp guitar dates to soon after his move from Seattle to Los Angeles in 1914, towards the end of his fascination with these multi-sub-bass-string creations. It carries no date markings but the configuration and Hawaiian style wood trim mark it as built in the mid-teens when Knutsen's attentions had mostly begun shifting to lap-style instruments. An illustrated label under the soundhole pronounces this as part of \"C. Knutsen's New Hawaiian Family\" and indeed some genuine Hawaiian musicians were pictured playing Knutsen's creations in the 1910s. After well over 100+ years this remains a good sounding and quite playable example of Knutsen's work.\u003cbr\u003e\u003cbr\u003ePractically everything about this guitar is unconventional. Except for a standard lower bout the lines are fluid to the point of abstract shape; even the headstocks have a liquid sculpture look. The 16\"' wide body is large for the time and has many signature Knutsen features. The sharp pointed lower cutaway anchors six \"super treble\" strings, which run to their own small bridge ahead of the \"main\" bridge, secured by pins directly through the top. This treble array is a fairly rare feature even for Knutsen, seen on only a small proportion of his instruments. A small oblong tortoiseshell pickguard sits below these strings, decorated with a lovely pearl butterfly inlay. \u003cbr\u003e\u003cbr\u003eThe extended arm above the neck holds a bank of 4 sub-bass strings. This is much slimmer with less hollow area the earlier \"Symphony Harp\" design, so the entire guitar is far less bulky and easier to handle. The 4 harp strings are tuned (like the super-trebles) with zither pegs, a light and cheap if not particularly user-friendly way of securing them. The top is bordered in alternating wood marquetry similar to Hawaiian ukes and guitars of the period and the fingerboard is elaborately trimmed the same way. The sound hole has multiple wooden rings and a similar \"zipper\" pattern rosette.\u003cbr\u003e\u003cbr\u003eThe round-backed one piece neck has an asymmetrical carve, thicker on the bass side. This idea has cropped up repeatedly over the last century tried by Gretsch in the 1940s and Rickenbacker in the '60s. The neck is secured to the body with screw brackets at the heel and headstock and is (to a limited degree) adjustable for angle, and topped by a well-decorated \"zipper\" bound rosewood fingerboard with mixed dots and pearl diamonds. \u003cbr\u003e\u003cbr\u003eThe bridge is a large abstract carved affair, the play strings have an added bone saddle while the adjacent harp strings retain the original fretwire saddle. There are two ebony struts glued to the top forward of the bridge under the outside bass strings adding support to the top; we cannot guarantee they are Knutsen's original work but appear to have been there a very long time and are the sort of thing he might well have done, especially if the instrument was returned for repair at some point. The three large bolts through the bridge ARE typical of Knutsen's work. \u003cbr\u003e\u003cbr\u003eThis is not a guitar for the conservative or faint-hearted player, but rewards the adventurous picker with a powerful and surprisingly sweet and versatile sound, even if the sub-bass and super-treble strings are ignored. Chris Knutsen was certainly one of the most original designers of fretted instruments in history, but his craftsmanship is somewhat uneven. The instruments of his early Los Angeles period are more \"professionally\" built than some of his creations (he may have had some help there!) and often are the best playing of his oeuvre; this guitar certainly bears this out.\u003cbr\u003e \u003cbr\u003eOverall length is 39 in. (99.1 cm.), 16 in. (40.6 cm.) wide at lower bout, and 4 1\/4 in. (10.8 cm.) in depth, measured at side of rim. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 3\/4 in. (44 mm.). \u003cbr\u003e\u003cbr\u003eDespite its wildly eccentric design this remains a surprisingly playable instrument, albeit an odd-feeling one. It sounds very nice with power and projection to spare and a more-useful-than-many sub-bass section, plus those zither-like treble strings. These are all more conveniently arrayed for the picking hand than some and with a little practice can be used to good effect.\u003cbr\u003e\u003cbr\u003eThe instrument is in structurally excellent condition and retains the original very thin varnish finish. This shows really pretty light wear for 110 or so years on Earth consisting of small dings, dents and scrapes but no wholesale loss. The back of the body has some deeper scrapes, the back of the neck has some wear through to the wood and a few feelable dings and dents.\u003cbr\u003e\u003cbr\u003eThere are a no top cracks, which is kind of amazing on a Knutsen, especially one with 16 strings! The vaguely A-pattern top bracing and bridgeplate are fully intact; these are-- literally -- little more than scraps of wood in some places but all remain intact and original with some cleats here and there also look original, as there are no cracks above them. There are a several old repaired cracks to both the treble and bass side waist areas that has been solidly but visibly sealed up, and a larger jagged split on the turn of the lower bass bout off the top edge. These appear due mostly to inherent instability in the large (and probably unseasoned) pieces of wood bent into shape for the sides, by the look of it somewhat reluctantly!\u003cbr\u003e\u003cbr\u003eThe fluidly shaped carved bridge is original, as are the large bolts securing it (another Knutsen trademark) while the bone saddle for the play strings is newer. The ebony reinforcing struts in front of the bridge are anyone's guess, but appear to have aided in keeping the top in one piece anyway. The original small bridges for the treble strings are held in place by pins, as is the nut; this all appears to be Knutsen's work. There is an extra screw hole in the headstock face below the low E tuner barrel; what this resulted from we do not know!\u003cbr\u003e\u003cbr\u003eThe frets and bone nut are original, and the neck is surprisingly straight and playable. The strip tuners on the six play strings remain original and work as well as they ever did, the original zither peg tuners for all the harp strings are intact, functional if not particularly convenient as a Zither wrench is required to tune them. This is one of the cleanest and most original of Chris Knutsen's off-the-wall masterpieces we have had, a spectacular looking instrument that is also good sounding and better playing than many. Many surviving Knutsen creations are interesting mostly as museum pieces, this is a functional instrument still suited to use by an adventurous player. There is no case but we were able to find a modern gig bag that is a functional if inexact fit. Overall Very Good + Condition.","brand":"Knutsen","offers":[{"title":"Default Title","offer_id":46853708185740,"sku":"13592","price":4750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_909e28a2-153e-4767-afce-d508dd82316b.jpg?v=1774344010"},{"product_id":"unlabelled-13-course-schrammel-contra-harp-guitar-1950s-12146","title":"unlabelled 13 Course Schrammel Contra Harp Guitar (1950s)","description":"13 Course Model Schrammel Contra Harp Guitar (unlabelled), c. 1950s, probably Viennese, natural top, mahogany stained back and sides finish, maple back and sides, spruce top; maple necks with rosewood fingerboard, black gig bag case. \u003cbr\u003e\u003cbr\u003eA staple of Viennese and Bavarian folk music for close to two centuries, the Schrammel guitar is mostly little known elsewhere. These are also called contra-guitars and traditionally are primarily used in accordion or string bands and various types of semi-classical and folk ensembles. It is played as a standard 6-string with the range is extended by additional bass-strings vibrating freely. These sub-bass strings can be plucked, but also resonate sympathetically and provide a fuller sound. These guitars have been built to the same pattern for well over a century so are difficult to date exactly; this one appears to have been made in the 1950s or 1960s. \u003cbr\u003e\u003cbr\u003eThe 7 drone strings are traditionally tuned in semitones, down from the D# below the low E; some modern (and non-traditional) users prefer a more diatonic approach. This instrument has two conjoined necks, with a lower six string guitar fingerboard and upper long unfretted extension for sub-bass strings. The necks share a single cone heel (a very large cone!) with a Stauffer-style clock-key adjustor. The guitar neck has slotted headstock, zero fret and typical German tuner strips. \u003cbr\u003e\u003cbr\u003eThe rosewood fingerboard has three pearl dots and the extension is floating over the top in the Stauffer style. The upper neck has a long scroll extension holding the seven open harp strings with a single tuner strip and individual ebony nut pieces, and the headstocks are smoothly joined by a seamless carved bridge. The ladder braced top is multi bound in wood with an unbound back, and the bridge is a single long piece of ebony with decorative ends and a wire saddle. A metal support tube extends through the body not unlike some Larson Bros. Guitars from Chicago in the 1930's. Guitars of this type are still familiar in Germany but much rarer in the US, this one was brought back from Vienna some time ago.\u003cbr\u003e \u003cbr\u003eOverall length is 42 1\/4 in. (107.3 cm.), 14 7\/8 in. (37.8 cm.) wide at lower bout, and 3 3\/16 in. (8.1 cm.) in depth at side, taken at the end block. Scale length is 25 in. (635 mm.). Width of nut is 1 3\/4 in. (44 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar shows general signs of use but remains in good playing condition. There is some typical finish wear overall with picking marks to the top and scratching to the back, with small dings, scrapes and dents to the finish overall. The bridge has been reglued, a couple of seams resealed and a small grain split to the front edge of the top just below the lower neck sealed. The large center back brace has repaired crack on the bass side. The instrument plays well with silk \u0026amp; steel strings (traditional German players would use Nylon) and has a sweet sound. As a budget harp guitar these are hard to beat, not as powerful as some vintage American designs but handier than most and fun to play. Overall Excellent - Condition.","brand":"unlabelled","offers":[{"title":"Default Title","offer_id":46853710577804,"sku":"12146","price":2650.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_5e77204e-df55-41e9-9d3f-ece9a7d5c5e6.jpg?v=1774344192"},{"product_id":"wulschner-regal-contra-bass-harp-guitar-1900-11395","title":"Wulschner Regal Contra Bass Harp Guitar (1900)","description":"Regal Contra Bass Model Harp Guitar, made by Wulschner, c. 1900, made in Indianapolis, Indiana, serial # 9994, sunburst top, natural back and sides finish, rosewood back and sides, spruce top; mahogany neck with rosewood fingeroard. \u003cbr\u003e\u003cbr\u003eThis spectacular and super striking harp guitar has had a bit of a checkered history to this point, but has survived over 120 years as a playable conversation piece, at the very least! It was built by the original Regal company of Indianapolis (the ancestor of the more familiar Chicago firm) right around 1900. That firm was out of business completely by 1904, and this unique design has never been repeated since. At some point along the way the body was refinished with a sunburst top, something pretty much unknown when it was made. The guitar was part of the famous Chinery Collection for a time, pictured on page 29 of the 1996 book documenting that assembly of instruments.\u003cbr\u003e\u003cbr\u003eThe now obscure Wulschner \u0026amp; Sons of Indianapolis were the original owners of the Regal tradename, active just before the turn of the 20th century. By 1900 the brand was already in flux, re-organized several times before 1904. After that the name was sold to Lyon \u0026amp; Healy, then reborn an independent Chicago company in the early 1920s. While later Regals are mostly remembered as budget-brand instruments, these first Indianapolis made instruments are fine quality pieces, comparable to many of the better guitars of the period. This one has both a paper label and pressed wooden disc under the soundhole proclaiming as much! The label reads in part \"All Regal guitars are made by hand and the very finest material obtainable is used\". Looking at the heavily figured rosewood and tight grain spruce on the top they were not kidding! \u003cbr\u003e\u003cbr\u003eThere are a small number of these very large Regals surviving in the 21st century, of which this is the best known example. As noted the sunburst top is not an original feature, but now makes this a one-of-a-kind piece. The enormous rosewood body is over 19\" wide, and 4\" deep as well; that's a LOT of Brazilian there! The spruce top is multi-bound and braced in a modified \"A\" pattern with a very large bridgeplate which has kept it solid for well over a century. The eccentric and distinctive design has a separate solid upper body extension holding the sub bass tuners instead of a second neck or Knutson-style hollow extension.\u003cbr\u003e\u003cbr\u003eThe mahogany neck is substantial but round-backed, not the \"V\" shape common in this period and more comfortable for it. The rosewood fingerboard is unbound with small shaped pearl inlay, the headstock is bound with similar ornament. The \"Regal\" logo is inlaid in pearl script on the face of the harp extension, which is also bound. This is a huge sounding guitar, with plenty of volume and a very deep resonance. The sub-bass strings are shorter than many harp guitars; while not as strong alone as some designs they do a nice job of resonating sympathetically when the guitar is played, adding an extra element to the sound. Eccentric for sure, but this is actually a very nice instrument and despite its size handier and better balanced than many harp guitars.\u003cbr\u003e \u003cbr\u003eOverall length is 40 in. (101.6 cm.), 19 1\/4 in. (48.9 cm.) wide at lower bout, and 4 1\/2 in. (11.4 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eAs noted this guitar has seen a lot of work over the last 120+ years, but remains a fully playable piece. The body was refinished long ago in a matte lacquer with a shaded sunburst on the top and natural rosewood on the back and sides; the finish on the neck remains original with some checking, while the harp extension was also refinished but possibly at a different time. \u003cbr\u003e\u003cbr\u003eThere are several long sealed cracks in the rosewood back, looking to have been first repaired long ago before the finish work. There is some light flaking, mostly along the backstrip. The sides have a few old sealed cracks as well, the massive top has only a couple of tight grain splits off the back edge and is amazingly flat and true. The ebony bridges appear original, or very old replacements if not. They have been reglued in any case. The frets also appear original, of if replaced again it was done long ago. They show only minimal wear. \u003cbr\u003e\u003cbr\u003eThe tuners for the harp strings were re-worked at some point; they are banjo style friction pegs without buttons (except for the lowest one) and require a banjo or zither style wrench to tune. This is not particularly convenient but they do hold tune decently once gotten to pitch. This is wonderful sounding guitar, even ignoring the harp strings which even unused add a sort of subliminal depth. Based on period photographs several prominent vaudeville players used this style of instrument well over a century ago, when it was one of the largest and most visually impressive guitars available. It still makes quite an impression today, both aesthetically and sonically! Very Good + Condition.","brand":"Wulschner","offers":[{"title":"Default Title","offer_id":46853714903180,"sku":"11395","price":6000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_a923064a-0f32-481b-9ad5-3b91777e570b.jpg?v=1774344382"}],"url":"https:\/\/retrofret.com\/collections\/harp-guitars.oembed?page=3","provider":"RetroFret","version":"1.0","type":"link"}