If you have been looking for catalogue guitars like I have, eventually you come across the “B & S” label. There’s “B & S Grange” and “B & S Master”, “B & S Barrington” and even “B & S The Michigan”… in a multitude of different sizes and shapes. I tended not to get very excited about the brand until one day, I stumbled upon the label you see at the top of this post in a kijiji ad.
All of the examples of “B & S” guitars I had seen up until that point had been very cheap models made in Europe or Japan and often marked “B & S Grange, Toronto”. This guy was totally different, it looked like it was made somewhere between 1920 and 1935 and had a very attractive decaled rosette and border… and the label didn’t just read “B & S”… it read “Beare and Son”. Now I had a mystery and a searchable clue.
It didn’t take me long to discover that Beare and Son is still a viable operating business to this very day (having changed hands and combined with another company over it’s history), so I contacted the existing company. I got in touch with Mark Hutchinson in their current office in England and was pleased to receive a couple of tidbits of information and a .pdf catalogue page in a later conversation we had about another B & S guitar… but, they have pretty much no records going that far back and for the most part, only word of mouth regarding much of what happened with the guitars or the Canadian office back in the pre-war and WWII periods.
Since then in my researches I have been able to find several “B & S” instruments made by many different manufacturers. The list so far includes Harmony, Regal, R S Williams and Sons, LA Elkington, D’Andrea, Hofner and an example that I am fairly certain is an Oscar Schmidt build plus at least one Japanese maker that I haven’t been able to identify and another European made series of parlour guitars that I suspect were made by Framus. Mr Hutchinson reports hearing rumours that B & S also sold Cromwell instruments made by Gibson in the 1930s and I have encountered that as well but nothing concrete. NOTE: I have added photos now of a Gibson L30 with a B & S label to the gallery at the end of the post. – AND now a Cromwell!
1940s-50s “B & S Master” (made by R S Williams and Sons) 
1930s “B & S Master” (made by Harmony) 
B & S “The Michigan” (made in Germany possibly Hofner) 
1950s “B & S Red Devil”
I know that the company sold guitars in Canada until the 50s but that is about as detailed as the information has gotten up to this point. Now, the cheapest models, as with most labels, are not all that exciting and not really all that valuable beyond being interesting curiosities that are suited to the den wall or a campfire singalong. There are, however, better models with binding and better woods etc., or ones that are simply made by more reputable manufacturers which can be more valuable and, of course, if one were to find a B & S labelled Cromwell or something of that ilk, it would be quite valuable indeed.
So there you have it, a long standing distributor of musical instruments that is little known over on this side of the ocean but that has a rich and interesting history with Canada. I am going to include a small gallery of B & S branded instruments and labels below and a couple links to more information.
1935 “B & S Master” (made by Harmony) 
1930s-40s “Barrington” (made by R S Williams and Sons – identical to Arthur Hensel Artist) 
1930s-40s “Barrington” (made by R S Williams and Sons – identical to Arthur Hensel Artist) 
Label from a “Barrington” model
Wartime “B & S Master” (made by Harmony) 
Label from a 1935 “Master” built by Harmony 
Label from the Regal build to the right 
“B & S” labelled guitar (built by Regal) 
1934 “B & S” Master made by Harmony front 
1934 “B & S” Master made by Harmony tuners 
1934 “B & S” Master made by Harmony label 
1934 “B & S” Master made by Harmony back 
1939 Gibson L30 with Beare and Son branding 
1939 Gibson L30 with Beare and Son branding front 
1939 Gibson L30 with Beare and Son branding label 
1939 Gibson L30 with Beare and Son branding headstock 
1930s “B&S Barrington” archtop made by R S Williams and Sons 
1930s “B&S Barrington” archtop back 
1930s “B&S Barrington” archtop headstock 
1930s “B&S Barrington” archtop side view 
1930s “Cromwell” sold by B&S (made by Gibson) 
“Cromwell” back 
“Cromwell” label 
“Cromwell” body
Biographical information about John A Beare and his company: https://en.wikipedia.org/wiki/J_%26_A_Beare
The current Beare and Son operation: https://beareandson.co.uk/about-us-1-w.asp
1936-37 Beare & Son catalogue at the Gibson Pre-war site: http://www.gibson-prewar.com/1936-37-beare-son-catalog/
Interesting! Too bad Mark Hutchinson couldn’t provide any more info on the Canadian models, but I’m sure someone out there will have some bits and pieces of info for you to work on
!
‘Barrington’ was the middle name of Richard Beare whose son first employed me back in 1980. His obituary can be accessed using this link :-
https://www.independent.co.uk/news/obituaries/obituary-r-b-beare-1160568.html
Thanks so much, that’s really interesting! Although I already have an Arthur Hensel Artist (the model R S Williams and Sons branded “The Barrington” for B & S), I would love to find a “Barrington” model.
I too have a Hensel Artist, they were actually made by Arthur Hensel in Toronto FOR R.S. Williams. So Williams took the comission from B&S and ordered the guitars from Hensel.
They may have been made “for” R S Williams but I have never seen an Arthur Hensel guitar that is not associable with Williams, and I definitely have seen many, many Williams guitars that have no stated “Hensel” association yet have the identical neck profile to the Artist. It appears to me that Mr Hensel enjoyed a certain amount of fame and autonomy but was ultimately, an employee of Williams even if he did have his own shop. Interestingly, the “sheild” label in the photos above (identical, almost to the label found in Hensel Artists)is also distinguishable from Artist labels in that it does not have the “for” distinction.
Hello, I think you’re right about Hensel’s relationship with the R. S. Williams Co. From my scribbled notes in 1941 he was listed as “Foreman R.S. Williams & Sons” and 1942 as “Violin Maker, Williams Music,” I think the address was on Seaton in Toronto but didn’t make note
I suspect that Hensel may have essentially been the R.S.Williams. from about the mid-thirties until 1952 when the workshop in Oshawa was sold to Holman
of Guelph who enjoyed a successful twenty-year run manufacturing cowboy guitars for department stores
can u help me identify what looks to be a 1920s rs williams artist 100?
Certainly, I’ll send you an email address to send some photos to.
Great info!!
The “suspected Oscar Schmidt” guitar is NOT an Oscar Schmidt guitar. It was made by Regal.
Thank you,I will update the post.
I saw the Beare & Son Ltd trademark cat carved into the headstock plate of a late 1930s Harmony archtop- in colour. It was a amazing!
Beare & Son was a very big Gibson dealer- The Michigan was its own brand- among others and was for the US made instruments. After WW2 there was a foreign exchange crisis in the UK and US made instruments were banned to save dolla reserves. This led the company to buy guitars from Europe- mostly Eastern Bloc countries but that US inspired brand name continued- minus the “Made in USA” on the badge!
Hello, I think you’re right about Hensel’s relationship with the R. S. Williams Co. From my scribbled notes in 1941 he was listed as “Foreman R.S. Williams & Sons” and 1942 as “Violin Maker, Williams Music,” I think the address was on Seaton in Toronto but didn’t make note.
I suspect that Hensel may have essentially been the R.S.Williams Co. from about the mid-thirties until 1952 when the workshop in Oshawa was sold to Holman of Guelph who subsequently enjoyed a successful twenty-year run manufacturing cowboy guitars for department stores.
Thanks so much for your insight!
Hi, I checked my notes and the address was 120 Seaton, Toronto. John Bonfield writes of buying a classical from him in 1954 on Seaton. Thanks John. He also notes the presence of an unused “Chrysler Airflyte” This could either be a Nash Airflyte introduced in 1949 or a Chrysler Airflow (made 1934-37). I’m guessing it’s the latter as this large car would have been perfect for him travelling from home to the factory and back and even making deliveries.It’s kinda fun playing detective, Juris
I have a musical instrument trade directory from 1925 which lists:
Williams R.S. & Sons Co.,Ltd., 468 King St (Toronto) – Pianos, Inst. Gramo.,Radio.
With branches in Montreal and Winnipeg.
Their telex was ‘Stradivari’ and phone ‘Adelaide 5442
I have a B&S Barrington acoustic. Thanks for your info.
Mine has a wooden nut and the bridge has bridge pin holes, but it uses a trapeze tailpiece.I’m guessing that the bridge was either replaced or that it was originally equipped with bridge pins and someone added the trapeze tailpiece or it was made like this because they didn’t have a bridge around the shop without bridge pin holes.
What are these guitars worth?
Are they collectable?
It sounds like you probably have one of their best guitars, a Hensel Artist (the Beare & Son version had a “Barrington” label inside). They were made by R S Williams and Sons’ luthier Arthur Hensel. They are cross-braced similar to a Martin of the time and are often made of quality tonewoods, although the neck is a little heavy. Sadly, they have not become known or popular enough to reach the comparative value I think they are worth. A birch bodied model in good shape can fetch around $300 to $400, which isn’t that bad for a birch guitar. The nice spruce top and mahogany or rosewood back and sides models however don’t seem to reach much better than $500 to $600 in the open market. If you were to be patient enough you might be able to get $700 but I think in comparative quality they should be more around $1000. All of these figures are in Canadian dollars and for comfortably playable instruments in good condition. Yours would have originally not had a trapeze. If you have photos, I could likely pin down more specific details for you. You should also have a look at this story https://mydirtyguitarhabit.com/r-s-williams-my-journey-and-introduction-to-a-great-canadian-guitar-maker/
I just picked up a mystery B&S if anyone had info I’d love to know more!!
Wooden nut , the bridge is gone but the stencil artwork on the top is really unique. My email is loshawtattoo@gmail.com if anyone can help me date this and find out more about it.
Hello all
I have a mandolin with a name tag on the keyboard head bearing the legend
The Mitchigan B & S L Sole Agents. Can anyone tell me about its source and its value? It is in good condition.
I’ll send you an email with information on what might help me to identify it or if I strike out, I will get you in touch with someone who can help.
If it does not mention “Made in USA” on the badge, then it is from the 1950s or 60s. At this time, most Michigan branded instruments were made in the Eastern Bloc- and mainly East Germany. Ideally a photo would help.
I’m on the trail of a Michigan instrument. It’s described as Peter Green, the Michigan Teardrop arch top. It has ended up in a charity shop and I’ve been asked to value it. Apparently, it’s the same as the guitar recently sold by Bonhams for quite a sum. Does anybody have further knowledge on this instrument (as covered on the Bonham site).
The Bonham’s guitar was part of Peter Green’s collection, hence the addition of his name. That only applies to that specific guitar. The Bonham’s price reflects the selling value of Peter Green’s name more than the inherent value of the instrument. The same model guitar in vgc failed to sell in London for just over 700 pounds, for example.
Valuing the guitar the charity shop has would be based on researching the going rate for the make and model and/or instruments of that type and age in your locale with consideration being given to it’s condition, without the Peter Green association.
The following link is more applicable for valuing the instrument you are researching, “Estimate: £120-180″…
https://www.guitar-auctions.co.uk/sale/164/61/1950s-Michigan-archtop-guitar-very-slight-bow-to-the-neck-missing-pickguard-typical-age-related-wear-to-the-finish-condition-fair
https://www.bonhams.com/auction/29196/lot/182/peter-green-the-michigan-teardrop-archtop-acoustic-guitar-circa-1950s/
This is an interesting page, I’m glad to have discovered it.
Gibson had about 10 Canadian dealers in the Pre-WWII era, and Beare & Son was their most significant in those years. Gibson factory ledgers show many instrument shipments to Beare & Son, and it’s not terribly uncommon to find the Beare & Son sticker inside the body of an old Gibson, Cromwell, or Kalamazoo branded instrument that turns up locally (here in Waterloo, Ontario).
Great to hear from you, love the shop, feel free to come by and join the conversations any time!
I had a The Michigan guitar in Ireland back in the 60’s – probably of German origin. Can send pics if you’re interested.
Yes, I find most of the European “Michigan” branded instruments are either German or Czech made. I’m more interested in instruments for the Canadian market, but thanks for your offer!
It was a small bodied archtop.
I just purchased an old 1930s Michigan guitar, it is currently in the guitar shop having the bridge reset. Would love to know who made it, my suspicion is Harmony but would love a second opinion. I have’nt managed to find another that looks like it. When i get it back will send some pictures, would love your opinion on it. Apart from the bridge everthing else is in remarkably good condition considering its age, no cracks or major warps or gaps in the binding, the neck is nice amd straight and the frets dont seem to have much wear.
Send me an email and I can arrange to have a look at your photos!
I have a Harmony Valencia sold in the UK as a Michigan- it is date stamped as 1934. Here is one- Harmony branded but the fingerboard has been reworked- the originals just had four larger dots.
Michigan branded guitars were made by Harmony, Kay and Regal and there may have been other makers.
https://reverb.com/item/34947754-1930s-harmony-valencia
Great site and thank you, never heard of this distributor or brand until this morning and now you’ve cost me 100 bucks…
Saw an interesting parlor guitar on Kijiji this morning. Looked to be a 60’s or 70’s Harmony but had a slanted cut to the fingerboard at the body so thought maybe a bit newer Japanese build after looking at this site.
Did a bit of Harmony google searching when I got home from work, looking for that fretboard cut but no luck. Came back to this page and lo and behold it is the same guitar you lead off with. As a result, I just got home with it and it is in vgc for its age, no wood missing, no popped glue joints anywhere and not bad action at all. A bit of sag at the bridge but very little and I’ll be putting proper strings on it to lower the tension and reduce down force on the bridge. I’m going to try a set of LaBella ERG1 ‘Early Romantic Guitar’ (63cm scale length). If they have too much tension I’ll switch to FG178 classical strings 62 – 63mm scale. I already use the latter on my pre-WW2 62.5 cm scale classical. Using modern acoustic strings on these instruments at full tension is never a good idea, even the full size acoustics for the most part.
The bridge is not the same as the ones in pics of these but is period correct and it came with the original case, which is a bit ratty around the edges but also all there. And yes, I have pics 😉
Very cool, it’s always fun discovering these old treasures!
It is the ‘Grange, Toronto’ guitar, no ink stamp or any sign that there was ever a label in the body cavity. I am leaning towards dating it as 1960’s, possibly earlier and quite possibly Harmony built, as it has a few features in common with their parlor guitars, the thick single ply pick guard for example, which you won’t find on the Japanese or Taiwan guitars of this time period. Two ply wood that looks to be spruce, rather than birch. German instruments tend to be birch and Asian, mahogany for instruments in this price range. Dyed fretboard, so it was a beginner/budget level guitar.
I definitely paid a premium price for it at 100 but as a player, it was worth it and I don’t play slide guitar at all. Has nice tone and sustain. The bridge on it is from a much larger flat top and quite a bit older style and the case I got with it is a pre WW2 style, side hinged bottom loader.
B & S Grange Toronto 4 String Banjo
Would anyone know anything about this banjo?
Mike is in great shape.
Thank you.
The “Grange” branded mandolins tended to be Cremona European builds and I have seen one banjo in some photos that looked like European construction as well.
I recently purchased a guitar that is stamped Beare & Son. The guitar is a Martello and it looks to be early 30s possibly the 20s. The only thing I could find is Anthonio Martello a violin make from Paris who was making violins for Beare & Son. Has anybody else heard of a Martello guitar by Beare & Son?
No indication online of Antonio Martello made guitars at all, or much history on him/ the company, whether an individual luthier or a company with employees. Antonio Martello violins are listed as being produced from 1900 – 1910, so your guitar may fall into that time period as well. As a fan of antique guitars I’d say you got a winner there.
” Martello, Antonio – 1900 to 1910 – France, Paris – imported by Beare and Son, B & S L in a shield logo”
https://violininformation.webs.com/tradeinstruments.htm
I too have a Martello guitar. It belonged to my uncle and my aunt gave it to me when he died in 1981. He had this guitar when I was a little boy ,about 70 years ago. He probably bought it in the late 30’s or early 40’s. The label inside the body reads Breare & sons , Toronto.I still play this guitar. It is a small body guitar. My uncle used to play it with a slide steel and thumb pick.
I was just taking a look at my Grange/Toronto again and comparing it to the lead photo on this page and various manufacturer photos online. I have struck paydirt on these. These ones with the angle cut on the fretboard were made by Cremona in Luby, Czechoslovakia in the 1960’s, possibly late 50’s as well judging from the machine heads and bridge.
Mine is a Cremona 516 and has all the original parts, including the floating bridge. This is the model used for these particular Grange/Toronto parlor guitars…
https://reverb.com/ca/item/32789389-cremona-516-ch-lignatone-1960-s-vintage-parlor-travel-acoustic-guitar-czechoslovakia-luby
My machine heads are identical to the one in this link, which has close up photos of them showing the plate and square buttons…
https://jakewildwood.blogspot.com/2016/10/1960s-german-made-tailpiece-parlor.html
Another bit of B+S Grange/Toronto trivia related to the parlor guitar in the the first photo. This is the one I have, this version predates the 1960’s…
https://commons.wikimedia.org/wiki/File:Casbah_Coffee_Club%27s_guitar,_often_played_by_Lennon,_Paul_%26_Harrison_ca.1959-1962_(The_Beatles_Story).jpg
Thanks so much for the additional info!
The wikimedia commons page doesn’t like to load directly from the link, which is correct. Have to copy, paste and click the first link in the drop down menu that appears for the correct page to load. Not an issue with your page, something to do with wiki commons.
“This acoustic guitar was played on
numerous occasions by John Lennon,
Paul McCartney and George Harrison at
the Casbah Coffee Club circa 1959-62.”
I have a b&s grange toronto acoustic but the label inside says its a lignatone guitar, from czechoslovakia
Any thing you can tell me about it? its pretty scratched up and missing strings.
Does yours have an angled cut in the fretboard over the body? If so it is the same model as the first photo on this page. Mid – late 1950’s, possibly into the early 60’s.
Lignatone was the manufacturer’s house brand, the manufacturer being a company called Cremona. Located in Luby, CZ
https://share.icloud.com/photos/08dHGYPJHL_Lxin2JnPq-vhVw
Photo up top. I’m wondering if anyone has one like this, or has any info. It’s a B&S Master and someone has written 1938 in sharpie inside the guitar. Looks like it was written a long time ago. Thanks in advance for any information
!938 would be about right for year of production. The nut might be original and probably walnut. I’ve owned a few pre 1940’s US made guitars with walnut nuts from the factory. Looks like the original tuners (bakelite buttons), and the original bridge. The headstock cut (the flat top and taper), says a Regal build to me rather than a Harmony and I am 99.9% sure it was made by one of the two.
The main and often overlooked consideration with guitars like yours is string tension. These weren’t made to take modern acoustic strings, even with the shorter scale length of parlor/Hawaiian guitars it can result in a few different neck and/or body issues, including bowed or split soundboards.
I usually buy my antique and shorter scale acoustic guitar strings through strings by mail and the forum page below I just looked at has some good brand/model recommendations from experienced owners…
The John Pierce 510L or 610LM would be good options for finger picking, the bronze/silk are a bit brighter than steel/silk.
I also like the La Bella Silk and Steel strings for these guitars but a bit pricier. Classical guitar strings are another option for your guitar, I use the La Bella fractional classical sets on some antique shorter scales because I can get the correct scale length.
You lose a bit of volume with lower tension strings but you don’t destroy the instrument, basically. I have a guitar like yours that is split from tail to neck, through the sound hole, because someone strung it with modern acoustic strings and left it tuned for awhile.
https://www.acousticguitarforum.com/forums/showthread.php?t=534149
https://www.stringsbymail.com/acoustic-guitar-strings-7/?gad_source=1&gclid=CjwKCAjwtqmwBhBVEiwAL-WAYapOxp5lBP102pw3LhuWuh-_4y_2QMJ-j_XfgnVOMDwY6GliksRYJxoC8lIQAvD_BwE
Thank you for the info!