Keystone State’ labeled, Philadelphia based H. A Weymann and Son c.1922 rare guitar. Ladder braced, spruce top, very beautifully grained dark rich red mahogany back and sides, mahogany neck and headstock, original ebony fretboard. I read where someone thought that Weymann used Cuban mahogany on their guitars, that makes sense.
When acquired, this guitar needed quite a bit of work to get it to this condition, carried out by Matthew Bryant of Matt’s Guitar Service, Brisbane, Australia (see LINKS). The fretboard had been pushed down into the soundhole and someone had added a large classical guitar bridge. A new handmade ebony bridge was made based on similar guitars in a 1924 Weymann catalog. The color on top was hard to reproduce again (I’ve since heard we were not the only ones who had this problem), so we decided to go with the natural wood finish which has this beautiful honey color. Other work included a repaired split in the back, neck reset and refret, recycled bone nut and new fossilized bone bridge pins.
Nice original tuners, action so smooth! But at some stage the knobs on one side have been changed. Original ‘Keystone State’ decal on the back of the headstock is in great condition Nicely appointed purling, binding and rosette). Nice original bone end pin.
Clearly defined impressed model and serial numbers into the top of the headstock dates this as c.1922. Weymann, who made mandolins, banjos and ukuleles as well a small number of guitars seems to have used a sequential system for their serial numbers, that is, they were given a number in sequence as they were produced, regardless of the instrument type. (See this post for dating Weymann stringed instruments).
This is an extremely well made instrument that screams quality. It is sometimes thought Martin made some of the Weymann guitars. This is because there are a lot of similarities in look and construction to Martin instruments of the period . For example almost identical headstock and fretboard, same style of straight neck joint, similar shaped bracing and even some of the finishes look the same as Martins.
However there seems no doubt that this is an instrument made in Weymann’s own factory. It was confirmed to me in a letter from Martin that says “The only thing I can find about Weymann & Son is that we made some Ukuleles and Taro –Patches for them in about 1925. There is no information about any guitars or banjos being affiliated with Weymann”. At some stage Weymann also sold guitars made by Harmony and possibly other Chicago makers. Some of these appear in a 1931 Weymann catalog.
Scale Length: 25 1/4″
Lower Bout: 13″
Upper Bout: 9 1/4″
Body Length: 18″
Overall Length: 38″
Nut Width: 1 7/8″
Max Body Depth: 3 3/4″
(This is a H.A. Weymann and Son c.1922 Style 630 ‘Parlor’ Guitar played by guitarist and kirtan artist PRALAD, singing the George Harrison song “My Sweet Lord”).