Maurer Flat Top Acoustic Guitar, made by Larson Brothers , c. 1910
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Maurer Model Flat Top Acoustic Guitar, made by Larson Brothers, c. 1910, made in Chicago, natural varnish finish, Brazilian rosewood back and sides, spruce top; Spanish cedar neck with ebony fingerboard, black tolex hard shell case.
This is a very basic but quite playable example of the Larson Brothers' early work, likely dating to well before the WWI era. In this period Carl and August Larson were firmly establishing themselves in Chicago after taking over Robert Maurer's 19th century instrument factory. At the time the brothers were at the leading edge steel-string flat-top design; Martin was still making exclusively gut string guitars. The Larsons would go on to make many far fancier instruments than this one, but this early example is both a delightful piece of their history and a lovely guitar to play.
This is small "Standard" size 12-fret guitar, plainly ornamented and of largely traditional design. It is 12 1/2" wide at the lower bout with a 24 1/8" scale neck, about average for the time. It carries the Maurer stamp on the backstrip, which along with its design and build characteristics mark it absolutely as Carl and August Larson's work. This is cosmetically a student-grade guitar, but built with the same care and materials as the Larson's fancier products.
The back and sides are light hued but colorfully figured Brazilian rosewood, with some swirly-grained patterning on the back. At the time this uneven looking wood would have been considered lower grade stock. The spruce top is braced in a canted ladder pattern typical of several Chicago makers, including (only for lower grade pieces) the Larsons. The interior brace work is neatly done and finely fitted; the subtly arched top remains solid after well over 100 years.
The cosmetic features represent a lower grade of build for the Larsons, far from the fancy look of their deluxe pearl-trimmed products but still neat and attractive. The top and sound hole are bound in ivoroid with supplemental wood inlay around the edge and sound hole. The back is unbound with a simple wood backstrip. The slotted headstock has a plain dark wood overlay.
The Spanish Cedar neck is one indicator of a very early Larson guitar; most of the brothers' necks are mahogany. It has a fairly slim profile with a more-subtle-than-some "V" spine. The unbound ebony fingerboard has pearl dot inlay, with the highest at the 10th fret, another Chicago anomaly of this period. The tuners on the slotted headstock are unplated strips with black composite buttons mounted in the 1910s "upside down" gear-up position. There is a 4-digit serial number stamped on the backstrip, but the crucial first digit is illegible. Still the style of tuner and general features suggest a build date around 1910, possibly even earlier. This venerable little flat top has seen some ups and downs but survived well over 100 years in better playing condition than many, with a lovely sound.
Overall length is 37 in. (94 cm.), 12 1/2 in. (31.8 cm.) wide at lower bout, and 3 13/16 in. (9.7 cm.) in depth at side, taken at the end block. Scale length is 24 1/8 in. (613 mm.). Width of nut is 1 13/16 in. (46 mm.).
This guitar is in fine playing condition but does show general wear and signs of many decades of repairs. The very thin varnish finish remains original with some touch ups here and there. There are random dings, dents and scrapes but no really heavy play wear; the back of the neck is very clean. The bridge is a very nice ebony repro in the correct Larson style; several bridges have been previously fitted and there are scars and touchup to the top from this history. The guitar was
once fitted with a tailpiece; the back of the rim has small filled holes as evidence.
The top has one small grain split from the treble edge of the fingerboard through the soundhole rim but is otherwise crack free. There are a number of old grain cracks to the rosewood back also solidly repaired but in a couple of cases not perfectly lined up. The back/side seams have been resealed in several spots.
Internally the bracing is all original; the pin holes in the original small maple bridgeplate have been filled and redrilled. The neck has been reset; the area around the heel is very clean but the fingerboard has some minor chipping around the 12th fret area. The nut is a replacement, the tuners remain original and work well for more than a century on.
The frets remain original, recently dressed with minimal wear. The guitar plays very well with a distinctive sound, bright and funky in the Stella groove but a bit more sweetness and shimmer. This plain but well-crafted instrument is a testament to the Larson's talents, a far superior instrument to the 21st century player than most other guitars of this vintage. This remains a relative bargain in a early-20th century steel string, Brazilian rosewood guitar, housed in a modern HSC. Overall Very Good + Condition.
This is a very basic but quite playable example of the Larson Brothers' early work, likely dating to well before the WWI era. In this period Carl and August Larson were firmly establishing themselves in Chicago after taking over Robert Maurer's 19th century instrument factory. At the time the brothers were at the leading edge steel-string flat-top design; Martin was still making exclusively gut string guitars. The Larsons would go on to make many far fancier instruments than this one, but this early example is both a delightful piece of their history and a lovely guitar to play.
This is small "Standard" size 12-fret guitar, plainly ornamented and of largely traditional design. It is 12 1/2" wide at the lower bout with a 24 1/8" scale neck, about average for the time. It carries the Maurer stamp on the backstrip, which along with its design and build characteristics mark it absolutely as Carl and August Larson's work. This is cosmetically a student-grade guitar, but built with the same care and materials as the Larson's fancier products.
The back and sides are light hued but colorfully figured Brazilian rosewood, with some swirly-grained patterning on the back. At the time this uneven looking wood would have been considered lower grade stock. The spruce top is braced in a canted ladder pattern typical of several Chicago makers, including (only for lower grade pieces) the Larsons. The interior brace work is neatly done and finely fitted; the subtly arched top remains solid after well over 100 years.
The cosmetic features represent a lower grade of build for the Larsons, far from the fancy look of their deluxe pearl-trimmed products but still neat and attractive. The top and sound hole are bound in ivoroid with supplemental wood inlay around the edge and sound hole. The back is unbound with a simple wood backstrip. The slotted headstock has a plain dark wood overlay.
The Spanish Cedar neck is one indicator of a very early Larson guitar; most of the brothers' necks are mahogany. It has a fairly slim profile with a more-subtle-than-some "V" spine. The unbound ebony fingerboard has pearl dot inlay, with the highest at the 10th fret, another Chicago anomaly of this period. The tuners on the slotted headstock are unplated strips with black composite buttons mounted in the 1910s "upside down" gear-up position. There is a 4-digit serial number stamped on the backstrip, but the crucial first digit is illegible. Still the style of tuner and general features suggest a build date around 1910, possibly even earlier. This venerable little flat top has seen some ups and downs but survived well over 100 years in better playing condition than many, with a lovely sound.
Overall length is 37 in. (94 cm.), 12 1/2 in. (31.8 cm.) wide at lower bout, and 3 13/16 in. (9.7 cm.) in depth at side, taken at the end block. Scale length is 24 1/8 in. (613 mm.). Width of nut is 1 13/16 in. (46 mm.).
This guitar is in fine playing condition but does show general wear and signs of many decades of repairs. The very thin varnish finish remains original with some touch ups here and there. There are random dings, dents and scrapes but no really heavy play wear; the back of the neck is very clean. The bridge is a very nice ebony repro in the correct Larson style; several bridges have been previously fitted and there are scars and touchup to the top from this history. The guitar was
once fitted with a tailpiece; the back of the rim has small filled holes as evidence.
The top has one small grain split from the treble edge of the fingerboard through the soundhole rim but is otherwise crack free. There are a number of old grain cracks to the rosewood back also solidly repaired but in a couple of cases not perfectly lined up. The back/side seams have been resealed in several spots.
Internally the bracing is all original; the pin holes in the original small maple bridgeplate have been filled and redrilled. The neck has been reset; the area around the heel is very clean but the fingerboard has some minor chipping around the 12th fret area. The nut is a replacement, the tuners remain original and work well for more than a century on.
The frets remain original, recently dressed with minimal wear. The guitar plays very well with a distinctive sound, bright and funky in the Stella groove but a bit more sweetness and shimmer. This plain but well-crafted instrument is a testament to the Larson's talents, a far superior instrument to the 21st century player than most other guitars of this vintage. This remains a relative bargain in a early-20th century steel string, Brazilian rosewood guitar, housed in a modern HSC. Overall Very Good + Condition.