#16
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The tell with R S Williams from the 1930s until the 1950s at least is the neck profile I am finding. If you have a Hensel Artist or a Brasher resonator to compare, the neck will have the same general characteristics and feel in hand. There are at least three headstock variations, a squaretopped slothead that is often finished in a burst so the top and bottom are dark brown and the middle fades to light brown, a straight sided type that sometimes has a slight peak in the middle top like a Vega, and yours looks to be an example of the third one. It is easy to see comparisons to some Harmony and Regal guitars in Williams' builds but the neck is the giveaway. It gets a little confusing after 1952 too because Holman Luggage in Guelph bought the guitar operation from the Williams family and continued to make a couple of the least expensive catalogue guitars while Mr Hensel also continued to hand build guitars in the 1950s. I have also seen a "Stewart" branded bird's eye maple model made by Kay. If you look on this page there are a couple of Willams archtops that are different materials, finish and headstock shapes, but compare shape and proportion wise very well with your guitar. https://mydirtyguitarhabit.com/r-s-w...-guitar-maker/
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#17
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I'm not sure what you mean by the neck "profile". That usually refers to the cross section, which can't be seen in these photos. But everything about the neck that's visible on this guitar says Harmony, just like the body. It does not appear to be from the same builder as the Williams guitars on your website.
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#18
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I have a 1939 Harmony, the f-holes shape and position are completely different. I have seen many Williams built archtops with the same f-hole shape and position, and the same headstock shape. Like I say, compare the feel and shape of the neck in hand with a Hensel Artist (which I also have) or a Brasher resonator (which I also have) and you will have your definitive answer.
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#19
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Yes, Harmony changed the f-hole shape around 1935-6. They introduced two new shapes, one segmented and one single-hole design. A handful of the old style were still sold in the late '30s (probably old stock bodies) but they were just about gone by 1940.
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#20
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Quote:
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Don 1929 SS Stewart Pro Archtop 1921 G Houghton Archtop Banjo 2007 George Rizsanyi Custom Maple Banjo Killer 2017 James Malejczuk Custom OM Black Limba 1980 Norman B50-12 Norman B-20 Recording King single 0 1996 Takamine 1967 Yam G-130 Melvina 1980s Seagull S6 Cedar 2003 Briarwood 1970s Eko Maple 1982 Ovation 2020 Fender Telecaster Mandolin Yam THR5A Sienna 35 Kustom |
#21
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Quote:
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#22
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heres my girl with the original bridge (put it back on today) and a clean background for you Scott, if you prefer
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Don 1929 SS Stewart Pro Archtop 1921 G Houghton Archtop Banjo 2007 George Rizsanyi Custom Maple Banjo Killer 2017 James Malejczuk Custom OM Black Limba 1980 Norman B50-12 Norman B-20 Recording King single 0 1996 Takamine 1967 Yam G-130 Melvina 1980s Seagull S6 Cedar 2003 Briarwood 1970s Eko Maple 1982 Ovation 2020 Fender Telecaster Mandolin Yam THR5A Sienna 35 Kustom |
#23
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Don,
That is a lovely archtop! I can see that a lot of work went into that gorgeous instrument! Beautifully done! What a labor of love! - Glenn
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#24
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Thank you very much Glenn. appreciated
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Don 1929 SS Stewart Pro Archtop 1921 G Houghton Archtop Banjo 2007 George Rizsanyi Custom Maple Banjo Killer 2017 James Malejczuk Custom OM Black Limba 1980 Norman B50-12 Norman B-20 Recording King single 0 1996 Takamine 1967 Yam G-130 Melvina 1980s Seagull S6 Cedar 2003 Briarwood 1970s Eko Maple 1982 Ovation 2020 Fender Telecaster Mandolin Yam THR5A Sienna 35 Kustom |