1902 Grunewald 12-string Natural, Excellent, Hard, $3,650.00

This is an important and rare example of a 12-string parlor guitar made early in the evolution of the 12-string. The twelve-string guitar has had a somewhat murky history. The oft-told Mexican/Italian multi-course string idea has been a leading facet of that history.

Recently, information gleaned from early music trade magazines and catalogs have come to light which support an additional narrative. In 1896, inventor Carl Brown patented a multi-course instrument said to combine the mandolin and guitar, or the harp and guitar, and dubbed it ‘the harp guitar’. At about the same time, Grunewald and Sons in New Orleans created ten and twelve-string guitars in their workshops under Brown’s patent, and in Baltimore, Holzapfel and Beitel built twelve-strings at least as early as 1900.

Interestingly, in the promotional ad copy for the Grunewald ten and twelve-strings, the point of these multi-course guitars was not necessarily volume, which seems logical, but rather ease of playing for an amateur guitarist. The idea was that, with octave strings, most notes could now be reached in the first position, rather than learning to play ‘up the neck’.

Granted, Grunewald did market his instruments ‘south of the border’. But these newly developed ‘harp guitars’ were clearly marketed to the burgeoning guitar market in America because, in Grunewald’s words, they made the guitar ‘twice as easy to play’.

Grunewald guitars are quite rare; only a few examples are extant. We're pleased to offer this beautifully preserved and original example, and would place it among the earliest of 12-strings ever made.

The guitar has remained unmolested over time, and appears 100% original, including the bridge pins and end pin. The body is parlor-size, typical for its era, but deep, and made from white oak. The top appears to be red spruce. The top is bound in what appears to be holly, trimmed with a fancy 'rope' binding. The sound hole is similarly adorned with the 'rope' binding and purfling rings. The back displays a strip of the 'rope' binding as well. The 'flat' pyramid bridge is Brazilian rosewood, with six pin holes, with unique 'separator pins'. There are two bridge pins centered in the flats of the bridge ends, and appear original but serve a function unknown to us. These extra pins appeared in Grunewald print ads back in the day.

The neck is V-carved from cedar, with the head stock and heel tip capped in Brazilian rosewood. The fingerboard is Brazilian with three large pearl position dots. The nut appears ivory. The tuners have embellished ends and line engraving, and the buttons are either ivory or bone.

The guitar sports a number of embossed 'Grunewald' logos, including the back strip, two of the top braces and the heel block. Because the Grunewald shop was located in New Orleans, a crescent symbol surrounds the name 'Grunewald' on the logo.

The lower bout measures all of 13" across at the widest, and is 3 13/16" deep at the end pin. Scale length is 24 9/16", and the fingerboard measures 2 1/16" at the nut.

There are no old repairs to report. We've recently glued the center seam, reset the neck, and dressed the frets. When the tuners were off, we noticed a slight hairline along the treble slot, so it was glued with hide glue. The finish is original, with only some discoloration from possibly a plastic strap or water. There are no cracks in the body or top.

With its short scale, low action and wide finger board, this little 12 sings like a bird. The sound is jangly, but full, with just enough bass from the deep body to round out the sound. It's a real pleasure to play, and is especially fun for any type of country blues or ragtime tunes one might play on a six string. Aesthetic beauty, tone and historical significance rate this among the great 12-strings. Comes with a new hard case. Check the sound clip, and view additional images on our web site. http://www.vintagebluesguitars.com/projects/grunewald-12-string-ca-1902/