WEYMANN LOCATIONS around Philadelphia 1864-1930

I want to thank Michael Wright for putting together all these addresses in Philadelphia that either the members of the Weymann family, or the Weymann business (H.A. Weymann & Son) occupied through the years.

I’m hoping, over time, we can add photos of the buildings if they still exist today.  Michael has started going around to see what is still standing, but this is difficult in these times of Covid 19. We’re open to receiving photos from anyone who would like to contribute😊.

First of all just a quick list of family members relating to the business, H.A. Weymann & Son, that are mentioned below (yes, it can be very confusing!):
Henry Arnold (H.A.) Weymann (1829-1892) – Founder of H.A. Weymann and Son.
Harry William (H.W.)Weymann (1866-1930) – Son of H.A. Weymann and main driver of the company after his father died.
William A. Weymann (1869-1918) – Another son of H.A. Weymann who worked for and who had shares in the business.
Albert Conrad Weymann (1874-1953) – Another son of H.A. Weymann who worked for and and who had shares in the business.
Harry Power Weymann (1889-    ) – A son of William A. Weymann (3rd generation).

Continue reading “WEYMANN LOCATIONS around Philadelphia 1864-1930”

WEYMANN INSTRUMENT REGISTRY – Insights – 300 Instruments

I now have 300 Weymann instruments registered with their serial numbers and other information.

Please keep registering your Weymann instruments, the information is invaluable.  I’ll provide further updates as the numbers grow, but for now here are some findings and insights from the 300 instruments registered so far: Continue reading “WEYMANN INSTRUMENT REGISTRY – Insights – 300 Instruments”

SMALL WEYMANN GUITAR, c.1905 – small guitar, large sound-hole

(with radical headstock repair)

The small Weymann (left) compared to a standard sized budget Weymann, both early 1900’s. Both
have spruce soundboards and faux rosewood painted on maple back and sides.

I believe this guitar (on the left of the photo) is a good example of a H.A. Weymann & Son’s attitude to their craft .  Many guitars, especially in the early 1900’s appear to be one-off instruments, this could well be one of those.  This experimentation and innovation of the company, and attention to detail, is why I like this company.

This guitar, besides having the larger sound hole compared to the standard Weymann ‘Parlor’ guitar of the era , is narrow in depth but still has a 24 ½” scale like it’s big brother (or sister). Continue reading “SMALL WEYMANN GUITAR, c.1905 – small guitar, large sound-hole”

A WEYMANN 12 STRING GUITAR – Extremely Rare!

Any early 20th Century 12 string guitar is very rare, a Weymann 12 string even more so.

Tom Giachero’s Weymann 12 string guitar c.1908-1909

A reader, Tom Giachero, registered this guitar on my WEYMANN INSTRUMENT REGISTER and graciously provided photos for this post.  It is only one of two Weymann 12 String guitars known to exist.  The other one is owned by British 12 string guitarist, Paul Brett (YouTube link to that guitar further into this post).

There’s a bit of work needed to bring this guitar to prime playing condition, which Tom plans to do over time.  Some more photos (click on first image and scroll through):

Continue reading “A WEYMANN 12 STRING GUITAR – Extremely Rare!”

The WEYMANN “JIMMIE RODGERS” Special Model 890

and Jimmie Rodgers’ personalized Weymann Guitar

James Charles Rodgers (September 8, 1897 – May 26, 1933) was an American country, blues and folk singer, songwriter and musician in the early 20th century, and became known known as “The Father of Country Music”.

Jimmie Rodgers with his personalized Weymann Guitar

He was a huge star in his day and most likely influenced more artists than any other singer, including Elvis Presley and Bob Dylan.

Continue reading “The WEYMANN “JIMMIE RODGERS” Special Model 890″

Article about H. A. WEYMANN & SON – from Musical Merchandise magazine, 29 April 1929

When I first bought a H. A. Weymann & Son guitar, there was very little known about the maker. One of the reasons for my site is to bring to light and preserve as much as I can about the Weymann Company.

I’m having a Weymann post blitz at the moment to get as much up about the company and clear out some of my files on the computer.  So, for the Weymann geeks and history nuts out there this post features a magazine article about H. A. Weymann & Son published in 1929.  It tells a lot about the company in 1929, when the Great Depression and the death of the principal driving force behind the company were both looming.  I’m preserving the article here for posterity!

Music Merchandise magazine 29 April 1929 p.38. Thanks to Tom Walsh for finding and sharing this article.

Written in April 1929, in the Musical Merchandise magazine, the entire article reads:

Continue reading “Article about H. A. WEYMANN & SON – from Musical Merchandise magazine, 29 April 1929”

NEIL RECK’S WEYMANN 870 Guitar

Continuing with featuring another readers’ Weymann guitar, I present this instrument owned by Neil Reck, Weymann aficionado and a collector of Weymann quality guitars. The latest addition to his stable is this Weymann guitar style 870:

Neil Reck’s Weymann 870 Orchestra Guitar

In the words of Neil, it is as “exactly as described in the catalogue and is a powerhouse of a OM guitar.”

Continue reading “NEIL RECK’S WEYMANN 870 Guitar”

JOHNNY DEPP’S WEYMANN ‘f’ Sound-hole Guitar- Style 748

Related Post: WEYMANN ‘f’ HOLE Guitars – Styles 24, 30, 648, 748 & 848

Johnny Depp owns a Weymann ‘f’ sound-hole guitar, and he played it briefly in a YouTube clip he made with Paul McCartney in a recording of Paul’s song, My Valentine (YouTube link below with Johnny Depp deaf language signing lyrics to McCartney’s song). When Paul McCartney first saw the guitar, he said “that’s a good-looking guitar, with those ‘f’ holes there’s something romantic about it.” And that’s true, these vintage Weymann ‘f’ hole guitars have a certain ‘mystique’ about them. They are valued highly by their owners and rarely do they come up for sale.

Johnny Depp and Paul McCartney with Johnny Depp’s Weymann on the set prior to recording ‘My Valentine’

Continue reading “JOHNNY DEPP’S WEYMANN ‘f’ Sound-hole Guitar- Style 748”

JUDY FREEMAN’S WEYMANN c.1911 Tailpiece Guitar

H. A. Weymann & Son was a different type of wholesaler because they had a very stable and large retail outlet to augment the production from their workshop. They produced many different designs of guitars, often in small runs, but I suspect they also made guitars to order, or to satisfy the creativity of their crafts people. Consequently, the variety of their guitar styles never ceases to amaze.

I have photos of various Weymann guitars I want to feature in individual posts.  I’m going to start with this guitar owned by a very nice lady,  Judy Freeman, who has given me permission to share photos and information about her guitar.  Whether this is a one-off instrument or a limited run, I guess we’ll only know if another turns up:

Weymann c.1911 Brazilian rosewood guitar

Continue reading “JUDY FREEMAN’S WEYMANN c.1911 Tailpiece Guitar”

PLEASE REGISTER YOUR WEYMANN

For research purposes, I have set up a page with a form so that Weymann owners can register their stringed instruments (Banjos, Mandolins, Ukuleles, Guitars, Mandolutes etc.).

My aim is to gain information that will help make dating these instruments more accurate as well as providing general information.

Please take a minute and Register your Weymann(s)

I really do hope that if you own a Weymann instrument  you will kindly register it on my page with the registration form. It only takes a minute and all contact information will kept confidential.  Here’s where to Register:

REGISTER YOUR WEYMANN INSTRUMENT

So far I have almost 100 instruments registered.  As more are added,  more information is unlocked. It’s early days but already some interesting facts have come to light, and I will do a post about this in the near future.

UPDATE 20th May 2019:   There are now over 200 instruments registered.  Keep them coming in.  I hope to do a post soon of some of the insights that are revealed from the registration of these 200 instruments.

Many thanks  . . . . .Charles