WASHBURN

This c. 1900 Washburn 111 has every bit of the personality one would expect from a parlor guitar of this vintage.  It has seen many repairs and earned a number of scars in its long life, earning a unique voice in the process.  And, after more than 120 years of existence, one could reasonably argue that this guitar has fully surpassed the “vintage” classification to become a player-level antique.  As such, it presents one with a unique opportunity to enjoy a part of music history that has been caringly restored to perform at a professional standard.

The top is clearly solid spruce—Adirondack Spruce would have been period correct for the time, but we would be reticent to say that is definitively so without a means of authentication.  The back and sides are certainly Brazilian Rosewood, and the neck is Mahogany.  From a tonal standpoint, this guitar has a balanced and even voice with throaty midrange overtones, making it ideal for fingerstyle playing.  When strummed, it springs to life with a bright woody attack and lows that are somewhat surprising given the instrument’s diminutive stature.  In this regard, this Washburn can be an appealing tool for the flatpicker with a delicate touch—in fact, a delicate touch would be essential in this context, as the guitar can only support an extra light steel string at pitch. Along that line, should one dig in too deep with a flatpick one will notice some overall compression, no doubt as this application was likely never the intention of its builder.  Regardless, whether played fingerstyle or delicately picked with a plectrum of your choice, this 111 is a spunky and inspiring instrument, a unique and rare find!

Condition:

The neck has been reset and the fingerboard refretted.   The bridge has been replaced with a period appropriate replica from Stew Mac.  That said, due to fundamental issues with placement, the bridge had to be modified so proper intonation could be achieved.  This was accomplished by filling the saddle slot and bridge pin holes and rear-shifting their respective placements.  As a result of years of stress and a failing bridge, the top deformed a great deal.  To rectify this, an oversized maple bridgeplate that spans the majority of the top’s width has been installed.  There are two cracks on the top that have been cleated, located on the lower bout.  One is in the center and runs from the bridge to the butt, and the other runs from the bridge to the butt on the bass end of the lower bout.  There also exists some evidence of overspray on the top. On a less dramatic note, there are clearly nicks, dings and scratches across the entire instrument with the most noticeable being across the front near the lower bout, and generally across the back, with most concentrated around the waist.  VERY GOOD Condition

• 12 Fret Parlor Body
• Spruce Top (Likely Adirondack)
• 3 Transverse Top Braces (1 Straight, 2 Oblique)
• Solid Brazilian Rosewood Back and Sides
• 2-Ply Black and White Purfling
• Three Ring Rosette
• Mahogany Neck
• Ebony fingerboard
• Dot Fingerboard Inlays
• V Neck Carve
• Ebony Bridge
• Original Open Gear Tuners
• Ebony Nut
• Bone Saddle
• 1 25/32” Nut Width
• 2 5/8" String Spacing at the Saddle
• 25” Scale Length
• Non Original Chipboard Case Included