Though known mainly from his existing parlor guitars, The Harwood Guitar Company also made at least two harp guitars. This guitar, with twelve sub-bass strings and "double-barrel" sound holes, is large -almost nineteen inches wide. It's extremely well made, with aberrantly-grained Brazilian rosewood back and sides.
Harwood was a brand name used by the J. W. Jenkins Company, a Kansas City, MO musical instrument dealer and wholesaler. They introduced the Harwood brand in 1885. That same year the Jenkins Company established a factory and produced guitars using the brands Clifford and Washington.
Some guitars marked "Harwood, New York" have been seen. It is not known if these are also by Jenkins. There is a town in New York State called Harwood, which may give us a clue.
An article from The Music Trades, dated July 26, 1902, 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" (look at the last fret marker on each of the pictures), the carved bridge that matches some of the known specimens, the joined headstock, and the position of the necks on the body.
It is 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.
Although we know about the Chicago built Harwoods, we are not certain who 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). I am told the bracing pattern is the distinction. Most Martin guitars utilized the "X" bracing pattern, while Harwood guitars utilized "ladder bracing."
All Harwoods appear to be made with stunning Brazilian rosewood back and sides. This above harp specimen has a perfectly flat top, strung with 12 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 an unidentified wood that completely fills the space between the braces and from side to side.
My own Harwood is currently unplayable, but one of these day I hope to have it repaired.
Like all Harwoods the bone inlay at the last fret that spells the company name Harwood.
The logo is engraved on the neck block and states Harwood Guitars, NY. The same logo appears on the back side of the headstock. Another feature is the extreme V shape of the neck. My thoughts are this shape deterred the neck from warpage. As with many guitars, there is a strap button on the butt of the guitar's body, however there is another strap button on the distal back side of the slotted headstock.
The tuners are ancient and made from ivory, which has deteriated through the years causing them to shrink. The top appears to be spruce and the back and sides are rosewood. I keep strings on the guitar, although they are loose. The guitars of this era, 1890's, were designed for gut strings. I use silk & steel strings as they do not have the tension of bronze or steel core strings. Additionally I tune down a whole step when I played the guitar.
This guitar was given to me by my wife for a Christmas present many years ago. She bought it from an antique store. It is a treasure.