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:
This guitar is special for a number of reasons:
- Brazilian rosewood back and sides.
- The size is large for an early 1900’s guitar. It is approximately the size of a Martin 12 fret – 6 string 00 guitar, but a bit longer in total length, 39” (Martin’s 00 is 37 ¾”).
Total length 39”
Body length 19 ½”
Width (Lower Bout) 14 ½”
Upper Bout 10”
Depth at End Pin 4 3/8”
- This is the first use of the distinctive Weymann ‘W’ metal caste tail piece I have come across. This style of tailpiece was used right up to the early 1930’s for Weymann’s ‘f’ hole koa wood and mahogany guitar styles 648, 748, and 749 (post to follow soon on these styles). This is the best design for a metal tailpiece I’ve seen, I’m surprised they didn’t patent it:
The guitar has a serial number of 11321 and no style number. This is not unusual because style numbers were not introduced on Weymann instruments until serial number approximately 15000 or later. Just about all instruments with the early gold decal as this guitar has, didn’t have style numbers.
Some more photos showing the beautiful herringbone binding, the early gold decal, engraved mother-of-pearl fret markers, the original tuners and the Brazilian rosewood back and sides:
Thanks again Judy!