Presented here is a German Parlor guitar with its'
neck loose from the body so no one was interested
in it. There were many of these guitars made in
Germany around 1900 but this one showed some nice
woods e.g. rosewood sides and back and a narrow
grained top and for less than 100 Euro's you can
give it a try.
In fact I was further in the process here as at first it
was my goal to release the neck from the body that
had some give when moving forth and backwards.
Injecting water in the glue surfaces after having
removed the fingerboard from the twelfth fret on
made it possible to do so.
The lacquer used on a lot of these factory produced instruments
is quite heavy and that is resulting in white traces once damaged.
That was the case on the whole instrument so a lacquer remover
was the next step.
It has lasted quite while since the paint companies did overcome
the problems with a new process for making lacquer remover as
some ingredients were no longer allowed. The newer versions
are working again as can be seen here.
A close up from the spot where the neck had some play.
Maybe not visible in this picture but this bridge was cracked
and the black painted wood is a bit of a cheap move on an
otherwise very decent instrument.
On this picture one can see I made a new bridge out of
Madagascar rosewood, one of those woods that
sometimes do resemble Brazilian rosewood a bit.
I made this shot for investigators on wood as I found the same
quality and sort of rosewood on a very nice guitar, most likely
made by Edgar Monch, a bit a forgotten luthier that moved for
a while to Canada and it is known that he produced guitars
for the local music shops in Germany later on.
Regluing and outlining the fingerboard is a next step but
after the frets have been (re)placed. Leveling the two
parts of this fingerboard is hardly necessary when you
try to get as close as possible before replacing the outer
end of the fretboard. A kind of a herringbone inlay
around the sound hole and at the edges German luthiers
are known for. Germany exported these strips before
world war II to factories like Martin but stopped during
the war and afterwards.
Then the relaquering of the front and apart from that:
Sides and back though I switch continuously as you
need more than one layer. About 8 thin layers give a
good result and of course polishing between every
layer. The neck hasn't been refinished up until now.
The typical thing that I also discovered on other German
parlor guitars is that the back often has been made out of
one piece of wood. The Germans have always been good
woodworkers and chances are that they treated the outside
only to make it look like rosewood but not in this case.
The herringbone inlays can be studied here as they often
did this with these guitars.
The newly made bridge that has a piece of fretwork mounted.
It is obvious that the angle neck / body has to be perfect here.
A nice shot of this beautiful piece of wood.
On this picture you can try to find any seam.
The extended fingerboard but only partly for the higher notes.