Harwood Harp Guitars
   by Gregg Miner

Jenkins ad, 1902 - this "new 14-string" instrument may have preceded the 18-course New York Harwoods, or it could have been a later "improvement."

Evidence points to the latter, as there is a dated 1898 12-bass Harwood.

Michael Holmes of Mugwumps Online posted this bit of Harwood trivia on his Q & A page: "Harwood was a brand name used by J. W. Jenkins Company, a Kansas City, MO musical instrument dealer and wholesaler. They introduced the Harwood brand in 1885, which they may not have actually manufactured. Circa 1895 they established a factory and produced guitars and mandolins under the Clifford and the Washington brand names. Some guitars marked "Harwood, New York" have been seen. It is not known if these are also by Jenkins".

So - "Harwood" was a brand, not a maker as I had originally thought. Further corroboration: soon after I learned of this, I received the article on the left from friend Kelly Williams. It's from The Music Trades, dated July 26, 1902. It shows what may be the first Harwood harp guitar, though the name is not mentioned. Clues are the last fret marker (on both necks, in this case) - a bone rectangle engraved "HARWOOD" (as seen above in several instruments), the carved bridge that matches some of the known specimens, the joined headstock, and the position of the necks on the body. Lastly, it's advertised as the new guitar from J. W. Jenkins' Sons Music Co (a continuation of the Jenkins Company referred to above?). Interestingly, they don't call it a harp guitar or similar - just a 14-string guitar. The eight bass strings utilize geared tuners, and the two necks are centered on the body. I've yet to see this model in the flesh.

At this point we still have no idea who (individual or factory) built the New York Harwoods.  Frank Ford, who has examined some of the parlor guitars, believes that they are nearly comparable to Martin quality (but not made by Martin).  There are many mandolins known - bowlbacks mostly, but also flatbacks and even a mandolinetto - and many 6-string guitars, most parlor-size, but a few oversize.  Appointments range from plain to full presentation grade.

Above are all the Harwood harp guitar specimens I am aware of.  All extant specimens appear to be made with stunning Brazilian rosewood back and sides.  Amazingly, my specimen has a perfectly flat top, strung with 18 steel strings, yet is only ladder braced.  Perhaps this is helped by the fact that amongst the evenly-spaced braces (~ every 2-1/2"), one is situated directly above the bridge, and the bridge plate itself appears to be a solid thin piece of ? that completely fills the space between the braces and from side to side.  Left to right, 1st, 2nd row:

  • 8 sub-basses, 1 soundhole and symmetrical necks, geared tuners, 2 neck logos, from Jenkins ad
  • 12 sub-basses, one soundhole and main neck centered over soundhole, bass neck terminates at body, friction tuners, no neck logo, from American Lutherie Journal #29, Spring 1992.
  • 12 sub-basses, same headstock and tuners, but two symmetrical soundholes, the main neck centered over the right hole, 2 neck logos, from a dated historical photo (Aeolian Mandolin Orchestra, Guthrie OK, 1898).
  • (Seemingly) identical specimen to the previous, except that it has 9 strings on the neck.  The top 3 strings are doubled; though the tuners all match, the 3 extra strings seem a later add on (full details here).
  • My specimen, identical to the previous, but only 1 neck logo. 19" wide (presumably the others are also). On these last 3 specimens, note that the main neck is centered over its soundhole, but the other is not (i.e.: the soundholes are symmetrical on the body, but the necks are not quite centered on the body.  However, the strings almost are).  Note that neck logos do not always occur on the same fret.
  • An unusual specimen with the same headstock but only 9 sub-basses, and oval soundholes.
  • A parlor size (14-1/2" lower bout) specimen, 6-sub-basses, geared tuners.
  • An instrument that clearly has a very different headstock, and appears to have a slightly narrower upper bout and body shape, yet seems to have the bone neck logo.  Of course, other makers could have inserted a similar plaque there as well.

The shot at left shows the gorgeous grain and color of the Brazilian rosewood sides of my "double-barrel".

Inlaid bone engraved fret marker

No, this isn't a harp guitar - but a standard Harwood parlor guitar, albeit perhaps the fanciest specimen known. Whomever built them, they were unmatched in quality and appointments!

(courtesy of David Jorgensen) 

harwood_6-string-David_Jorgensen.jpg (42280 bytes)

harwood_6-string3-David_Jorgensen.jpg (45181 bytes)

harwood_6-string2-David_Jorgensen.jpg (75461 bytes)

The 1930 Tonk Bros catalog contains this advertisement for Harwood instruments - referring to their "thirty-year history."

Quite a long reign, and a quality line - and still no one knows who built them, where or when!

This 6-string likely has the exact same 19" Brazilian rosewood body as the harp guitars above. A final bit of  intriguing bit of history. In the 'sixties, collector Jim Reynolds acquired the estate of an ex-Jenkins employee. Amongst the files was this rather unusual design for a true (6-sub-bass) harp mandolin! It's unlikely that one was built - it's frustrating to imagine how close we perhaps might have come to a Harwood harp mandolin!

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