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Miguel ACEVEDO

Trujillo Alto, Puerto Rico, 2009
Western Red Cedar Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 5000

Miguel Acevedo started making classical guitars twenty nine years ago. He began studying classical guitar informally when he was ten years old.

While studying classical guitar at the University of Puerto Rico he got interested in classical guitar making. Miguel had already gained experience in guitar repair and adjustment while he worked in a musical instrument store. In those years there was not much information found on the subject of classical guitar making in Puerto Rico or elsewhere.

Miguel made guitars under the guidance of Don Jorge Santiago Mendoza, a stringed instrument maker who evaluated Miguel???s work and guided his progress. Miguel never worked or had formal classes with Don Jorge, but always has being stimulated by Don Jorge to study, experiment and develop the intuition necessary to read wood adequately.

Miguel is a stringed instrument maker: classical guitars, violins, violas, cellos, the Puerto Rican cuatro, the Puerto Rican tres and others. He also makes violin family bows, all of these of high quality. Miguel Acevedo is studious, a tireless investigator and experimenter, always at the service of his customers and striving for maximum perfection.

This is the first guitar from Miguel Acevedo which we have imported and it is very impressive. The tone is dark and strong yet remarkably clear in the bass.

Randy ANGELLA

Concord, CA, USA, 2007
German Spruce Soundboard, Brazilian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 6500

Certainly one of the top American luthiers working today, Randy Angella has created a very fine instrument here that is made from amazing woods. The soundboard is from 44-year-old bear claw German spruce while the sides and back are 30-yuear-old Brazilian rosewood. The top and back are French polished for full tone and the sides, neck and bridge are lacquered for durability. The tuners are high end Gotohs.

Mr. Angella began his classical guitar studies in 1970 after attending California State university at San Luis Obispo from 1964 through 1969. He studied the guitar for 3 years with Jim Wites at the widely renowned Marina Music in San Francisco before beginning his career as a luthier in 1975.

Mr. Angella has since combined his formal education with skills and information gained from a number of disciplines. These subjects range from chemistry, architecture, psychology, to CNC mill programing and systems management. This broad spectrum of information has produced a unique and effective approach to classical guitar building. In his 30 plus years of building, Mr. Angella has established relationships with, and provided instruments to, many of the prominent performers and teachers of our time, including; Michael Lorimer, David Tannenbaum, Eliot Fisk, Manuel Barueco, Bill Feasley of the University of Maryland, Ray Chester of the Peabody Institute, Zelda Nippile of the School for Wayward Friends of the Soldier, Aaron Shearer of the North Carolina School of the Performing Arts, Glenn Lyons of Westchester College in Pennsylvania and Peter Madlem of the University of California Santa Barbara.

Mr. Angella has also been active in speaking and writing on issues concerning the Classical guitar. Mr. Angella has spoken at the San Francisco Conservatory, the San Francisco Guitar society, San Francisco State University, Peabody Conservatory in Baltimore, the North Carolina School of the Performing Arts and Oakland's California College of Arts and Crafts.

Mr. Angella currently builds guitars in Concord, California, is instructing two apprentices, and is active providing guitars for performers, students, collectors, composers and Classical Guitar enthusiasts all across the United States and Canada. Mr. Angella has also been asked to teach classes in French Polishing at a number of fine woodworking shops in the Bay Area.

Go to http://www.myspace.com/jcaballeroguitar and listen to Jorge Caballero playing an Angella guitar very much like this one in concert. For lots more information about Angella guitars and Jorge Caballero go to:
http://www.delcamp.us/viewtopic.php?f=1&t=47932

Click on the image to see a larger version.

Click on the image to see a larger version.

Gerard AUDIRAC

La Selle, France, 2005
Western Red Cedar Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 8500

This is the Cathedrale model grand concert guitar from the hands of master luthier Gerard Audirac. This model is without question one of the most powerful guitars we have ever carried. Its revolutionary design involves an enlarged and elongated soundhole, a unique interplay of bridge and headstock and a special bracing treatment under the soundboard.

The result is a full, penetrating projection with complete clarity and balance from the lowest to the highest notes. It also possesses a rich tone and long sustain. The sensation of playing this superb instrument is somewhat like that of performing on a cathedral organ. It is designed to fill a concert hall with its mellifluous voice.

Here are two YOUTUBE performances on Audirac guitars:

http://www.youtube.com/watch?v=fbQONfY2qQ0

http://www.youtube.com/watch?v=gSLNLXTDWN8 You may request an mp3 or aiff sound demo email attachment of this and any other of our guitars.
Interview with Gerard Audirac from the magazine GUITARE CLASSIQUE , Spring 2000

Guitare Classique: Gerard Audirac, what did you do before becoming the luthier that you are today?
Gerard Audirac: I have a grade school diploma and that?s all. At 15 I was working in a factory, and for 10 years I had a thousand and one jobs. From being a wiring specialist for a Jesuit gym teacher to a night watchman in a garage. (Laughs.) Finally I stopped, it was taking too long. I even wanted to become a teacher, in the spirit of Frenet, but my prospects in that direction were not very good and knowing my temperament I'd never be able to adapt to that profession.

How does lutherie fit into all of that?
Well, one day I took a piece of paper, I made two columns, in one column I wrote what pleased me generally in my life. But quickly, by spontaneous association. In the other column I jotted down what could provide me with a professional activity. And then I compared the two and I noticed that in the first there was the word "guitar," in the second I had written that I wanted to be free, work with my hands in something of a scientific and artistic nature. And then, in associating all of that, the profession of guitar making appeared in a flash. And that?s how it came about. Strange but true.
That's where everything started, the first contacts with the help of the phone book (that?s my thing, the phone book), the first hopes, but also the first disillusionments. And I made contact with Horace Papparlado who said to me: "Have you already worked with wood?" And I had to answer, "No." He: "What do you do?" Me: "I?m a delivery truck driver." (Laughs.) Finally the interview ended and his son, Antoine, ushered me out and asked me to leave my address and phone number.

In other words, it was a bad beginning!
That's for sure. But I was frank. And that evening my doorbell rang and I knew that it had worked. I was on trial for 15 days. And I worked like crazy. I walked miles on foot to and from the shop. I stayed more than four years with Horace Papparlado and there I had my first contact with wood.
Then I opened my own workshop at Bagnolet in a narrow alley called Fosse aux Fraises. Yet I still needed supplies because I had none, and I had very little money. Once again the sovereign phone book, this time for cabinet makers, and I called around to ask to buy old tools that had already served their purpose. So then, bingo, there I was with a workbench, a multitude of tools and a large stock of wood. And I started to make guitars.

What sort of guitars?
Oh, they were little unpretentious guitars. Besides, I didn?t know how to make anything but student guitars. I had no notion at that time of what "true lutherie" was all about. So it was just a matter of slaving away, but I held out by working hard and when you want to learn you find the means to do it, you grab on and you work hard.
I was frustrated because of my lack of real knowledge about the acoustic functions of the instrument, and my first contact with accurate information came during a seminar on fundamental research and instrument acoustics. This was the first time anyone gave me concrete answers to the problems I was having. And I also learned that all guitars work the same way, that the movement of the bridge is always the same, for example, it?s very important to know all of that. No guitar maker ever taught me that, and that?s a shame.

And so how do you make a guitar, with what concept of construction?
Well, that's very simple: when I get an idea about acoustics I first make a prototype. If I get convincing results I transform the test into a finished product for further study, in order to apply the principals to a concert guitar. And so on and so forth until I get a result that suits me. That?s how I work, and I get good results.

What is for you the essential quality of a luthier?
Imagination. But be careful, it?s necessary that that imagination be situated always in a logical and rational context. Helter-skelter guitar making where you do things by chance, that?s truly not my style.

Do you think that the guitar is an instrument that can still be improved?
Now there you touch on a sensitive point and I can?t answer that question just like that because the results of all my research are at stake and I wouldn't want to give away everything at this time. I discovered a phenomenon about seven years ago and I'm now in the process of perfecting it. It's fantastic! Yet it's something known to every luthier.

You?re being mysterious. Can we learn more about it?
No, I don't feel like talking about it. (Laughs.) If I give away the smallest detail, I might as well tell all, right? And then after all it?s my business. It?s not that I?d like to play at being mysterious but I just prefer to keep it to myself. That being said, like I said a moment ago, it?s about a phenomenon very well known to luthiers and it happens that I talk about it sometimes to young people who join the profession. It's a way of doing for them what no one ever did for me. I give them a legacy of what I know.
The only thing I could say is that it's a discovery just as important and will have as much impact as the fan bracing of Torres. And here we are in another dimension.

Okay, so we must stay in the dark. What in your opinion makes a good guitar?
That's a tricky question calling for a tricky answer. (Laughs.) I would answer, like all my colleagues, the timbre, the power?the two need not be antithetical?the trueness, the sustain, the percussiveness, a whole range of things well balanced, and that's the difficulty that the luthier faces, to balance all those parameters.

Gerard AUDIRAC

France, 2003
Cedar Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 4000

A preowned Grand Concert model with slight signs of wear but generally in excellent condition.

Gérard AUDIRAC

France, 2001
Cedar Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 3200

This model with standard round soundhole is no longer produced by Mr. Audirac and it is with great pleasure that I have one for sale again because it is simply a very fine guitar, loud and vigorous, a joy to play. The tone is on the darker, woodier side but the note definition from bottom to top is clear and precise.

The condition is very good with a few nail marks on the top.

Paulino BERNABE

Madrid, Spain, 1999
Western Red Cedar Soundboard, Brazilian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 9000

Here is a great example of Paulino Bernabe's mastery in the art of guitar making. He entered Jose Ramirez's world famous workshop In Madrid as a young man as an apprentice in 1954 and worked his way up to the position of workshop foreman. Eventually Ramirez guitars bearing the initals "PB" became much sought after by leading players and collectors and Bernabe left the Ramirez shop in 1969 to open his own establishment.

This is a "Concierto" model with fine grained cedar soundboard and flamboyant Brazilian rosewood back and sides, finished with French polish. There is the usual playing wear in spots with a few dings and scrapes but overall the condition is quite good.

The tone is, as to be expected from a Bernabe concert instrument, robust with full deep basses and singing trebles. A fine concert guitar at a modest price.

Andr� BRUNET

Montreal, Canada, 2004
Western Red Cedar Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 3500

Another superb guitar from one of Canada's finest builders featuring a fine red cedar soundboard with impeccable workmanship throughout.

The tone is bright and sweet with singing first, second and third strings and impressive strong basses. The resonance is evenly rich thoughout the three and a half octaves.

This is a lyrical concert guitar that will satisfy the most demanding recitalist with its quick response and good sustain.

You may request an mp3 or aiff sound demo of this and/or any other guitar as an email attachment.

Click on the image to see a larger version.

Andr� BRUNET

Montreal, Canada, 2004
German Spruce Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 3500

It is a great honor for us to welcome the first Canadian guitar maker in our shop, and what an instrument we have to inaugurate the event! I met Andr? Brunet during the 2004 Guitar Foundation of America Festival in Montr?al and was immediately amazed by the great quality of his guitars. The first guitar has just arrived and it is very exciting. The elegant spruce top covered with "bear claw," or what the Germans call "hasselfichter," renders a powerful and cyrstal clear tone that entrances the ear. It is a joy for the ease of playing.
I understand why one of France's leading young performing artists, Emmanuel Rossfelder, made the trip from Paris to Montr?al to buy his guitar from Andr? Brunet this year. I had the good fortune to hear Rossfelder play his Brunet guitar in a Paris concert hall soon after the Montr?al festival (and after I'd already ordered several for the shop). That guitar filled the space with sonic light, a brilliance and warmth of tone seldom heard at guitar concerts.
Andr? Brunet is not very well known in the US, but in my opinion he is among the best North American and worldwide luthiers and we'll be hearing much more about him.

Vicente CARRILLO

Cuenca, Spain, 2004
Alpine Spruce Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 4450 Sold

Vicente Carrillo Casas was born in 1963 into a family that has dedicated itself to the building of stringed instruments since 1836, the year in which his great-grandfather Blas Carrillo Alarc?n started the workshop. When Blas passed away, his son Vicente Carrillo L?pez continued his work, and after his death in 1962, his son Vicente Carrillo Cantos continued his work. In 1983 Vicente Carrillo Casas took charge of the family workshop. It is his signature that adorns the label of this lovely guitar.

Still faithful to the family traditions, with the help of apprentices Vicente builds each guitar by hand and completes four or five a month. The woods he uses are at least 18 years old. The bracing pattern of his guitars is based on the Santos Hern?ndez (1873-1942) bracing pattern with a few modifications of his own.

This is a top of the line model which is a full-fledged concert instrument. The striking dark rosewood back and side get a special treatment to enhance projection. The tone produced by the beautifully grained German spruce top is bold and bright with robust projection and perfect treble-bass balance.

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Alejandre CERVANTES

San Diego, USA, 2010
Cedar Soundboard, Cocobolo Back and Sides
Ebony fretboard with 650 string length
$ 3600

I'm happy to finally have a new Alejandro Cervantes guitar in the shop after a few years' hiatus. This one belongs to Alejandro's 'Signature Series" and is a brilliant copy of the renowned Daniel Friederich design.

The combination of fine red cedar and cocobolo produces an incredible living warmth in the tone, while the Friederich bracing pattern supports total clarity of every note across the guitar's range.

This is a beautiful instrument in every respect, completely French polished to a deep glow. It is equipped with the best Gotoh tuning machines and comes in a HumiCase. I would place it up against any guitar in the $5000-6000 bracket.

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Mateo CRESPI

Buenos Aires, Argentina, 2009
Western Red Cedar Soundboard, Brazilian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 8000

I first became aware of the work of this young Argentine master luthier through the delightful Naxos recordings of Victor Villadangos who has performed for years on a Mateo Crespi guitar. Then I discovered that one of my guitar heros, Ermesto Betetti, also plays a Crespi guitar. So I naturally wanted to have one in my shop.

Crespi is one of South America's finest guitar makers and his instruments are becoming famous all over the world. This is the first one I have imported and it more than satisfies my expectations with its rich sonority and open clarity. The woods are top quality and the workmanship is beautifully refined. One unique feature is that it has a 54mm nut so the fingerboard is suitable for a player with large hands.

This is one wonderful concert guitar.

For a sample of the tone of Crespi"s guitar played by Ernesto Betetti click on the following link: www.mateocrespi.com.ar/english/galeria.htm

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David DAILY

Sparks, Nevada, USA, 1999
Western Red Cedar Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 7000 Sold

"The Dailys have superior sustain, clarity, brilliance, and volume--a combination that is difficult to find in one instrument." --Andrew York, Los Angeles Guitar Quartet

"My guitar has a wonderful response, the basses are deep, rich and loud without overpowering the trebles... his guitars are amazing." --Evan Hirchelman, guitarist annd composer

"I get nonstop compliments about my David Daily guitar in every competition." --Alieksey Vianna, Brazilian virtuoso

"The Daily is quite simply the best guitar in the world." --Ernesto Tamayo, Cuban concert guitarist

It goes on and on...the praises for David Daily's instruments from some of the best performers in the world.

And no wonder why. David is simply one of the most talented luthiers in America, or anywhere else for that matter.

I'm happy to say that I've just acquired another David Daily guitar built in the year 1999. It is every bit as beautiful sounding as any of the considerable number of David's guitars that I've carried over the years. Everyone who tried those guitars knew immediately that they had a great instrument in their hands, an instrument full of vibrant life. This guitar too, though showing some playing wear in the form of a few light scratches on the French polished top, is powerful with a deep sonorous voice. In short, another great instrument.

For more information about David go to his website at
http://www.dailyguitars.com

Dominique DELARUE

St. Chamas, France, 2010
Western Red Cedar Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 11000 SOLD

The guitars of Dominique Delarue bear a close resemblance to those of Daniel Friederich who is his primary inspiration. This opinion, which I have long held, was confirmed by none other than famous luthier Dominique Field during a chat I had with him on a recent visit to Paris.

Delarue guitars have already made a major impact on the American concert guitar market. These two arrived in Philadelphia in May 2009 and bear the serial numbers 325 and 326. They are both very powerful, clear and warm sounding instruments exquisitely French polished and equipped with deluxe Irving Sloane tuning machines.

The tone of this instrument is superior to most concert guitars costing far more. Fabulous resonance, clarity and projection throughout the fingerboard. Performers who have bought Delarue instruments say they have a uniquely lively spirit that inspires one to play at his or her best.


What follows is the published review written by Josiane and Philippe Spinosi who used one of his guitars along side a Gerard Audirac guitar when they made their second U.S. tour in 2001. It is an excellent instrument analysis from the point of view of professional performers. (See also Allen Krantz's opinion in "What Customers Say")

If you want to hear Delarue guitars played by professional artists, here are three web addresses featuring two French players and one American:

www.myspace.com/nadiagerber

www.youtube.com/watch?v=9PWrCtxubJQ

www.youtube.com/watch?v=aJl_p94H3Nw

Review of a Dominique Delarue concert guitar by Josiane and Philippe Spinosi from Guitare Classique no. 12, January 2002:

The guitar that we tried is the Grand Concert model No. 239, dated October 2001. An instrument of classic construction exhibiting extreme care in the finishing details. The beautiful cedar soundboard is embellished by an elegant rosette made up of diamond and herringbone patterns and a rosewood bridge with delicate wood inlays. The back and sides are of Indian rosewood and the very thin double and triple purfling strips along the edges of the soundboard and the back show off the balanced contours very gracefully. The headstock is faced with rosewood veneer with large and symmetrical grain finely divided by a thin white filet, and it is mounted with handsome and precise Sloane tuning machines with ebony buttons.

We tested this guitar under the most demanding conditions possible during five successive concerts and it proved to be a magnificent instrument. For a cedar top guitar it has exceptional clarity. We were impressed by its tonal precision over the entire range of the fingerboard. The guitar is highly responsive and imposes no restrictions on the player's intentions. All tone colors are easily produced. The dynamic range is broad and it is a great pleasure to play diminuendo all the way to pianissimo without losing resonance. Just as remarkable is the continuity across the strings. The G-string poses no problem in this regard and and the fluidity of melodic lines is perfect. Plenty of power is always there which allows for playing the most vigorous compositions while always leaving a margin without an impression of saturation. A little more care must be taken with the higher notes above the 12th fret. But this is a new instrument and this part of the register will certainly open up more as it matures. We must add that the guitar was very easy to control and the dominant physical sensation it gives is one of suppleness.

Dominique Delarue has produced a masterpiece with this guitar, combining great projection, indispensible in a concert instrument, with tonal refinement and precision and so opening the way for the performer's full creativity.

Click on the image to see a larger version.

Click on the image to see a larger version.

Dominique DELARUE

Saint Chamas, France, 2002
German spruce Soundboard, Brazilian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 10000

In addition to the superb cedar instruments that Dominique builds, he produces from time to time a guitar with an German spruce sound board. This is the fifth spruce guitar we've had out of a total of 19 in the seven years we've been importing his guitars and it is exceptionally beautiful. It is one of the first guitars created in Dominique's new atelier located in a small village next to the Mediterranean in the South of France, and it is number 299 of his overall production.

Very clear, singing tone and excellent projection. The bass range is deeply resonant and produces a commanding, well focused effect while the trebles truly sing with crystalline tones and superb sustain. The top is done in Delarue's exceptionally fine French polish and the back, sides and neck have all been lacquered for durability.

The radiused fingerboard makes it very friendly to play for the left hand and the reponsiveness to right hand attack is immediate and full in the loudest and softest passages. The original Sloane tuners have been replaced with highest quality Rogers handmade tuners. Overall this is another magnificentr Dominique Delarue instrument.

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Maurice DUPONT

Cognac, France, 2006
Apine Spruce Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 5900

This is the sixth concert guitar we've gotten from the famous French maker Maurice Dupont with whom we started working in 2000. The woods and the workmanship are, as usual with Dupont guitars, very fine. The tightly grained soundboard is lightly finished in lacquer and produces a bright clear tone that sings in the treble. The volume is strong throughout the entire fingerboard and the treble-bass balance is perfect. This instrument delivers an especially pure and lively tone that retains its resonance in gentle passages and responds evenly to the hardest attack.

You may request an mp3 or aiff sound demo of this and/or any other guitar as an email attachment.

Maurice DUPONT

Cognac, France, 2008
Alpine Spruce or Cedar Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 4950

The "Prelude" model Dupont is close to the "Concert" model in volume, clarity and sustain. Its tone is pure and vibrant and it delivers clearly articulated countrapuntal lines. It also has excellent balance between bass and treble. This is most definitely an amazing instrument for the price and could easily serve as a concert guitar.

This model comes with either a fine German Spruce or a high quality Western Red Cedar soundboard. The back and sides are of solid East Indian Rosewood. The overall craftsmanship displayed is meticulous and tasteful and the woods used are beautiful. A perfect ebony fingerboard and precision gold tuning machines complete the picture of a professional instrument of exceptional value.

Maurice DUPONT

Cognac, France, 2008
Cedar or spruce Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 3750

This is the "Conservatoire" model and would make a fine choice for an advanced student who performs recitals. The projection and depth of resonance are nearly concert level. The cedar top provides an expressive range of warm timbres.

Because of its top level craftsmanship and full rich tone this instrument is highly recommended for the serious guitarist who is not ready to buy a concert instrument.

Click on the image to see a larger version.

Jean-Marie FOUILLEUL

Brittany, France, 2004
Spruce Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 5000

A lovely instrument from the talented hands of a young master luthier working in the Brittany countryside near Mont Saint Michel. The headstock and rosette of the Spruce model are adorned with birdseye Padouk or Malaysian Rosewood. The tone is sweet and singing, with bright accents. An excellent concert guitar with full balanced resonance and power. Jean-Marie's guitars are played by artists in France, Belgium, Germany, Japan and America.
On the excellent new DVD tribute to Aaron Shearer "A Life with the Guitar" (Mel Bay) you can hear Ben Beirs playing on a beautiful Fouilleul in a masterclass with Manuel Barrueco.

You may request an mp3 or aiff sound demo of this and/or any other guitar as an email attachment.

Here is an interview with Jean- Marie from the magazine "Guitare Classique," October 2002:

Jean-Marie Fouilleul thought at one time of moving out of France, but in the end this guitar maker chose to set up his workshop in his native Brittany and take advantage of a country environment that affords a certain ease and freedom to his work and his life. Involved in the debate that continues to animate his profession, he is motivated by a desire "to go always further."

Guitare Classique: You originally come from the Rennes area. After having traveled in Normandy and in the Var, here you are again in Brittany. Is it a return to your sources?

I set up my workshop in Rennes in 1984, five years after starting to build guitars in 1979. My meeting with Bruno Perrin was decisive. We planned to go to Italy to study at the Cremona School but we were prevented by certain difficulties. We then set up an association in the south of France, the Var, which gave us a chance to develop our craft from 1980 to 1983. Gilles Mercier joined us for one year. I like the energy of Rennes where I have a lot of contacts with musicians. For the past four years I?ve been here in the countryside nearby. When you concentrate on building like me (very little repairing) you can work away from centers of business. No problems of commuting, traffic jams! I enjoy a large freedom in my work and I love the countryside.

Tell us more about your collaboration with Bruno Perrin and Gilles Mercier.

As I was telling you, we created a set-up that allowed us to build medium to high quality guitars. Gilles was more advanced than us. It was in that workshop that I started my training. There was a real exchange between us which was very interesting. I took part in the luthier salons in Frankfort, Germany. From very early on my guitars were sold through the Guitarreria, the shop run by Isabelle Gomez for the past 20 years. Her excellent advice was a big help in developing my models. That is another kind of collaboration. In 1989 I won the Best Craftsman of France award. The two highest models that I produce today are based on that original design.

You have always been attracted to wood...

Since I was 12 years old I have spent most of my free time at a workbench working on wood. That?s just the way it is. I?ve got a degree in science. I studied physical chemistry for one year at the university, but I?ve always been passionate about woodworking. When the opportunity to work at this craft appeared I was ready. My father was an organist and I?ve lived with music ever since my childhood. I played guitar, traditional music. I played at different stringed instruments.

The luthiers with whom we?ve spoken all have different ideals of tone even though there are some fundamentals they have in common. What is your personal direction?

I?ve noticed that my fellow luthiers often concentrate on the projection, the volume. I seek rather the largest possible dynamic. I?m interested in the precision and speed of the attack. I want the guitar to respond to the musician?s manner of playing in order to be true to all of his or her nuances, from piano toforte, in short, all dynamic contrasts. I also seek a larger tonal palette. The difficulty is to keep the instrument resonant.
There is always the risk of making the sound a little dry. That involves a very careful selection of woods, keeping in mind their density, their mechanical and acoustical characteristics. I favor spruce as a tone wood. It suits me well because of my work on the bracing and the thicknesses of the wood. Sometimes I make guitars with cedar tops but that is an exception. I attach a lot of importance to the dynamics and the tone palette. I like to listen to the traditional music of Asia, India, North Africa, etc. I?m attracted by the sonorities of the different instruments, they?re a source of inspiration for the ?instrument inventor? who I am. To listen to the Japanese shamisen (a very dry and percussive tone) for example, is a means of developing my ear. Just to have a concept of sonorities demands a great openness to listening.

You have customers in Japan...

I?m always agreeably surprised to see how demanding amateur Japanese guitarists can be. My customers include both conservatory students and serious (and not so serious) amateurs. As my guitars are sold through La Guitarreria in Paris and in shops in Belgium and Switzerland, I don?t necessarily know the people who buy them. Sometimes they telephone me and we talk about instruments. I sell as much by directly from my workshop as I do through the stores. One of the pleasures of selling directly from the workshop is meeting the guitarist. We can discuss together the possible personal preferences for the instrument. For example, it?s a small matter for me to alter the shape or the size of the neck for the same price.

Your guitars come in two models.

Yes, I have two concert models, the LS1 and the GC. Those names aren?t very poetic but after all...(laughs) One is more expensive than the other. I keep a technical record for each instrument in which I note the woods used, the measurements, etc. Thus I can follow the evolution of the models. We luthiers must know how to reproduce a model once its design is established. That?s why I like to understand fully all the steps of the construction. I record as many of the elements as possible, wood characteristics, sides...thus I maintain a certain regularity of construction.

What is the waiting period for one of your guitars?

Usually between four and six months, sometimes more, never less. However, customers in Japan prefer to buy from a shop. There they have guitars to compare. It?s very hard to sell directly to a musician. And the distance between France and Japan doesn?t help. In Europe, on the other hand, it?s easier. Often the guitarist prefers to come to the workshop. A relationship develops. I make about 15 guitars a year.

I?d like to talk about the continuing instrument evolution in France...

By nature I?m self-critical, so I?m always reworking the knowledge I?ve acquired. With a group of luthiers (of violins, of string instrument bows, of Baroque instruments, etc.) we carry on a thought process together about our craft. We get the expertise of acoustic scientists, of wood specialists, of musicians who give their artistic points of view. The goal is to understand, to always go further, to discover. For example, bow makers are facing a real problem with the disappearance of Pernambuco wood which is used for bows. In a few years it will be completely gone. There will be left only the present stock which will also become used up. Thus another wood with equivalent qualities must be found. We must ask ourselves the question, what is the nature of different woods: define their acoustic, physical and dynamic qualities, etc. We carry on this fascinating work under the auspices of the National Union of Instrument Makers which in turn collaborates with the government?s bureau of innovative technologies. That way the musical instrument crafts benefit from the latest technological developments.

Interviewed by Josianne Rabemananjara

Aaron GARCIA RUIZ

Granada, Spain, 2009
Cedar Soundboard, Madagascar Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 5500

The following is a biographical note by Senor Garcia Ruiz:

Since I was a kid I played and made musical instruments. I have an elementary teaching degree from the University of Granada, I also have a degree in musicology from the same university. I completed my doctoral studies in organology and am currently doing a thesis on musical instruments.

I have taught at the university and now I am doing research on acoustics and construction of instruments. I own an important collection of instruments from around the world ready for exhibitions and I give lectures on musical instruments. In addition to classical guitars, I make harpsichords, gamba viols, flutes, charangos, drums and I do restorations of old instruments. I play many different instruments from around the world and worked for some years as a freelance musician.

This is the first instrument from Garcia Ruiz that we have carried and it is quite impressive with immaculate workmanship and big warm tone. Highly recommended for a player looking for a beautiful traditional Spanish concert guitar for a modest price.

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60th Anniversary GIAMBATTISTA

Paris, France, 2009
German Spruce Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 3600

The Giambattista 60th Anniversary model from the famous Franco-Italian workshop of J. Castellucia is the pinnacle of this old guitar-making enterprise's creations with the choicest tone woods from the German Alps and East India.

The guitar delivers a full rich tone, warmer than the general run of spruce top instruments with excellent sustain and projection. The clear definition of notes allows for expressive interpretation of contrapuntal music and the great dynamic range embellishes romantic works. A fine guitar for an aspiring concert artist.

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Armin HANIKA

Baiersdorf, Germany, 2009
Western Red Cedar Soundboard, Santos Roosewood Back and Sides
Ebony fretboard with 650 string length
$ 4200 SOLD

This Hanika model 59SC has a very fine cedar soundboard and handsome Santos rosewood back and sides. An uncommon hexagonal rosette adorns the soundhole with a stylish flare.

The tone is crisp and deep as is to be expected from the high quality cedar top carefully arched and asymetrically braced to give optimum clarity.

There is also plenty of power, making this an excellent concert instrument

Armin HANIKA

Baiersdorf, Germany, 2010
Cedar or spruce Soundboard, East Indian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 3200

This Hanika handmade classical guitar, model 58PC, is constructed with superb tight grained cedar and with great overall attention to detail. The result is a sonorous instrument with pure tone and perfect balance.

Helmut Hanika became a luthier after serving an apprenticeship with his grandfather, the important violin maker Anton Mayer. He started his own workshop in 1953. His son Armin Hanika joined the workshop in 1980, passed his master craftsman examinations in 1987 and has been running the shop since 1994. His family's goal since the outset has been to make classical guitars of the highest quality at reasonable prices.

In every respect this model is exceptional for the price.

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Armin HANIKA

Baiersdorf, Germany, 2010
Spruce Soundboard, Cocobola Back and Sides
Ebony fretboard with 650mm string length
$ 5000 SOLD

This model 60PF features top grade clear-grained German spruce and gorgeous cocobola back and sides, with ebony barred cedro neck, ebony finger board, rosewood bridge with concave wings and double holes on the string block. The tuners are top quality Reubners with polished ebony knobs. The rosette is beautfully inlaid natural wood.

With high gloss varnish on back and sides and satin French polish on sound board for maximum tone production, this instrument is a great pleasure to see and hear.

Armin HANIKA

Baiersdorf, Germany, 2010
Black Forest Spruce Soundboard, East Indian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 4695 SOLD

This model no. 60 is a new guitar from the Hanika Master Class series and a truly wonderful concert instrument at a modest price. The top is from the best very old spruce from the Hanika storehouse. The sides and back are also selected from the best Indian rosewood in his stock.

The unusual open-work headstock has beautiful rosewood laminations front and back and is mounted with high quality Reubner engraved tuners with ebony buttons. Very solid ebony fingerboard sits on a reinforced Spanish cedar neck.

The tone from the finely French polished top is delightfully clear and bright and the projection is strong, making this a first-class concert guitar.

We also carry this model with identical woods in a satin finish for $4000.

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Frederich HOLTIER

Olmstead Falls, OH, USA, 2002
European Spruce Soundboard, East Indian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 5500

Mr. Holtier has become in the last six or seven years recognized as among the best American guitar makers. Bringing an engineering background to the luthier's art, Holtier is ever curious and inventive. His extensive research into the construction techniques and materials of the world's most famous guitars, such as Hauser, Fleta, Romanillos, Smallman and Damman, has given him insights which he employs in his own guitar building.
This new model (not pre-owned) has a fine grained spruce soundboard and East Indian rosewood back and sides all finished in light violin varnish. It has a traditional look and a fresh, clear, bright tone with great carrying power.. It also features a 20th fret and top grade Sloane tuning machines.

You may request an mp3 or aiff sound demo of this and/or any other guitar as an email attachment.

Frederich HOLTIER

USA, 2005
Cedar Double Top Soundboard, Brazilian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 7000

It is always a pleasure to receive a new guitar from American luthier Frederich Holtier whose instruments we've been carrying now for seven years.

This is the first double top guitar we've gotten from him and it is very impressive. It has a matt finish on the soundboard, beautiful Brazilian rosewood back and sides and Rodgers tuning machines.

The double top of fine grained western red cedar delivers powerful projection with a dark and warm tone. A magnificent concert instrument in all respects.

The laminated double top model was introduced for the first time at the Healdsburg Guitar Festival in August, 2001 where it enjoyed a great interest from players and builders alike. Since then, this innovative design has evolved into a series of constructive solutions from which the newest simulates a honeycomb-like pattern created through a machining process that can be applied to a full or partial surface of the guitar top.

The result is a soundboard, lighter in weight than the traditional solid ones, with an increased stiffness requiring minimal bracing, mostly for the purpose of voicing the instrument. Notable for this model is its great projection, evenness and sustain, while still preserving the tonal quality of an all wood top.

Click on the image to see a larger version.

Click on the image to see a larger version.

Thomas HUMPHREY

New York, USA, 1980
Spruce Soundboard, Brazilian rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 15000

This wonderful sounding instrument is with us on consignment from a prominent East Coast musician. This is what he says about it:

1980 Hauser-style Humphrey. 65cm, Brazilian rosewood, German spruce. Original condition & polish, minor checks restored. I used the instrument as my primary recital and chamber music guitar. It has excellent projection, complex tone & easy action. It's very well voiced, and suitable for complex contrapuntal music.

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Philippe JEAN-MAIRET

Murten, Switzerland, 2008
Alpine Spruce Soundboard, Indian rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 8000 Sold

Philippe Jean-Mairet was born in 1953 in Lucerne, Switzerland and, after being trained and working as an architectural designer, became interested in making guitars. He smiles when he tells how he first heard a classical guitar on a jukebox in a cafe in Berne. It was Narciso Yepes playing the theme from the film "Jeux interdits" (known also as "Romance") which came on between The Rolling Stones and the Beatles. He was instantly charmed by the sound of the nylon strings in the hands of that master artist.

Determined to build himself a good guitar on which to learn how to play, Philippe Jean-Mairet decided in 1973 to bicycle from Switzerland to Barcelona, Spain, to research the creations of the great Spanish luthiers. There he came across an Enrique Garcias guitar from the turn of the century, an instrument that he loved the sound and appearance of. He examined it closely inside and out and took notes and made drawings.

Once back home in Switzerland Jean-Mairet assembled the tools and materials to build his first guitar which was completed in 1975. He studied guitar playing and, because he found the work of making instruments passionately engrossing, he continued to perfect his skills as a luthier and started creating guitars as a profession.

The new guitar which I brought back from Switzerland in March 2008 is number 232. It is in every respect an outstanding instrument with an old spruce soundboard which Jean-Mairet bought over 30 years ago from a retired German luthier. The back and sides are of evenly grained Indian rosewood. Still true to Enrique Garcia's design which first inspired him, Jean-Mairet has re-enforced the soundboard with eight braces as the Spanish master did, three struts on the bass side, one down the middle and four on the treble side where the extra rigidity creates bell-like high notes. The basses are well defined and also profound. The glue used throughout is made from a mixture of rabbit skin (for flexibility) and bone (for stability)..

For a good idea of how Jean-Mairet's guitars sound, please go to the You Tube site of Danish guitarist Peo Kindgren and listen to the rich sonority produced by this very talented luthier. Well-known players who have bought Philippe Jean-Mairet guitars include Konrad Ragossnig and Vladimir Mikulka.

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Daniel LESUEUR

Coupvray, France, 2004
Cedar Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 6500 Sold

This is an outstanding concert guitar with a rich, powerful and resonant tone, perfect balance and great ease of playing. The very old fine grained cedar top produces an appealing dark tone which also has perfect clarity. The basses are focused and the trebles sing. The finesse of the woodworking is unique and a delight to the eye, the rosette and bindings especially.

A great guitar for a player or collector who wants an instrument built in the direct tradition of Daniel Friederich, from whom Lesueur learned guitar making 35 years ago. As Lesueur tells it, both he and Friederich knew each other as cabinet makers in Paris before either one started making guitars. Friederich began first and acquired skills and knowledge that put him at the forefront of world luthiers. At the age of 39 Lesueur decided to follow his friend and became his apprentice and in 1978 he made his first concert instrument. During his subsequent career he won all the national and international guitar making competitions and attracted the attention of many top virtuosos such as Toninho Ramos,m Celco Machado, Mitsutoshi Tanaka and Alvaro Pieri.

There is one well repaired crack in the sound board of this guitar, which is in generally good condition.

Antonio MARIN MONTERO

Granada, Spain, 1989
Spruce Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 7000

The name of Antonio Marin Montero has been well known to guitar enthusiasts for nearly half a century. He is generally considered as the originator of the distinctive Granada style of classical guitar which might be described as lighter and happier sounding than the Madrid style.

This example of Senor Marin's mastery is number 408 in his career with a fine German spruce top and East Indian rosewood back and sides. The guitar is entirely French polished. There is light playing wear here and there on the body but no cracks or warping.

The tone is bright overall with excellent balance between bass and treble and very clear individual notes. The guitar's resonance is exquisite and the treble sustain gives it a strong singing quality

Michael Menkevich

USA, 1997
Spruce Soundboard, Indian Rosewood Back and Sides
650 mm string length
$ 3600

A fine Menkevich with excellent "bear claw"grain on the European Spruce sound board and lovely Rosewood back.This instrument has the typical "bigness" about it associated with Menkevich guitars, powerful sound and excellent sustain.

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Rodrigo MOREIRA

USA, 2003
Cedar Soundboard, Brazilian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 4000

This is a 2003 cedar top with beautiful Brazilian rosewood on the back and sides. It's in mint condition and is the only remaining Moreira we have at this time. It has rich deep basses and full round trebles.

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Rodrigo MOREIRA

USA, 2003
German Spruce Soundboard, Birdseye Brazilian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 3000 Sold

A very fine guitar in beautiful German spruce and stunning birdseye Brazilian rosewood. Easy to play with crystal clear trebles and well defined yet warm basses produced by the well-aged woods. The rosewood comes from an old tree Rodrigo found near his family home in the Brazilian jungle. He salvaged and sectioned the good wood and created the most lovely guitar body imaginable. The finish is French polish.
Rodrigo's guitars are gradually gaining an international reputation.

Rodrigo MOREIRA

USA, 2003
Western Red Cedar Soundboard, Brazilian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 3300 Sold

The latest in Rodrigo Moreira's remarkable production. The back and sides are of the most beautiful Brazilian rosewood imaginable which Rodrigo inherited from his grandfather's stock over 20 years old. Moreira is a Brazilian luthier whose work is becoming recognized and his present instruments offer great value.
The tone is richly dark and resonnant with excellent sustain and projection.

Click on the image to see a larger version.

Click on the image to see a larger version.

Jose ORIBE

Inglewood, CA, USA, 1965
Spruce Soundboard, Brazilian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 6500

Jose Oribe has had a long distinguished career as one of the foremost American guitar makers. He was a favorite luthier of many outstanding players and teachers, among whom was Aaron Shearer.

This instrument represents his early style of construction influenced by Spanish and German makers with a very fine grained German spruce top and straight grained Brazilian rosewood back and sides. The tuning machines are by Landsdorfer, the brand used by Hermann Hauser I. The tone is bright and clear with a deep richness due to age. The projection is powerful yet the soundboard is sensitive to the lightest touch. In short, a magnificent concert guitar.

Two small soundboard cracks have been expertly repaired by David Pace and lightly refinished so they are practically invisible.

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David PACE

Baltimore, USA, 2009
German spruce Soundboard, Laotian ebony Back and Sides
ebony fretboard with 650 string length
$ 6500

David Pace is going to be one of the best know luthiers in the United States. A relative newcomer, David has achieved enormous skill and insight in fine guitar making already and I rank his recent instruments among the best I've seen and heard from American workshops.

This guitar is his number 11. As soon as I heard it I was impressed by its imposing sonic presence in the room. Powerful rolling bass notes supporting brilliant trebles with an amazingly rich mid-range.

The impeccable French polish finish is a lovely enhancement to the very fine German spruce and the unique Laotian rosewood with its alternating bands of "violin red" and deep black colors.

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David J. PACE

Baltimore, USA, 2010
Cedar Double Top Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 6500 New Arrival

This is now the second double top we have received from David. The first sold in two weeks and no wonder with all the power and tonal clarity it demonstrated.

The double top functions like an amplifier with two separate vibrating surfaces separated by a thin layer of superlight Nomax. The strength of projection of this instrument is amazing and the balance from bass to treble is all that could be desired.

David J. Pace has crafted this guitar with meticulous standards of woodworking and acoustic finesse and the result is a lively concert instrument that will fill any recital hall with its beautiful voice.

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Antonio PICADO

Barcelona, Spain, 2004
Cedar or Spruce Soundboard, Brazilian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 4200

Concierto Model Antonio Picado builds his excellent instruments with four assistant luthiers in his workshop in Berga, a town high up in the Pyrenee Mountains near Barcelona.

These "Concierto" models feature fine solid, top grade Canadian Cedar and very fine European Spruce sound boards, solid select Rio Rosewood back and sides, Honduran cedar neck and Ebony fingerboards. The tuning machines are the best Fusteros. The tone and sustain are exceptional with well-defined notes throughout and the workmanship is very handsome. These guitars are comparable to other concert guitars that sell on the U.S. market for as much as twice this price.

Model 60
Solid Canadian Red Cedar or /alpine Spruce, first quality solid Indian Rosewood back and sides, Honduran Cedar neck and Ebony fingerboard. 650 mm string length and 52 mm nut width. All specially selected top quality woods which provide a vibrant Spanish type tone. Priced by other dealers at $2800 to $3495, Our price $2250 with case

Model 62.
Solid well-aged fine-grained Western Red Cedar or Alpine Spruce soundboard with flamboyantly grained South American Caviuna rosewood back and sides and ebony fingerboard. This is a gorgeous instrument to see and to hear with deep resonance and great projection. $3500 with case.

For a good look at the Picado workshop go to: www.guitarraspicado.com

You may request an mp3 or aiff sound demo of this and any other guitar as an email attachment.

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Pascal QUINSON

Cazes-Mondenard, France, 2010
Western Red Cedar Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 8000

I started importing the guitars of Pascal Quinson in the year 2000 and have sold many in these nine years. They have always impressed me as being "noble" in design and in sonority.

The woodworking is superb both in the selection of highest quality cedar for the soundboard and beautiful dark East Indian Rosewood for the back and sides and in the fabrication of a distinctive and tasteful original design rosette. The German tuning machines feature ebony buttons and precision gearing. The heel sports a small original mother-of-pearl inlay that comletes the guitar's subtle uniqueness.

Pascal began his study of classical guitar at the Conservatoire de Montreuil and then went on to a brief career as a jazz guitarist. After meeting one of the first modern French concert guitar makers, Christian Aubin, Pascal decided to become a luthier and received guidance from both Daniel Friederich and Paulino Bernabe.

As the article about Pascal in 'Luthiers & Guitares d'en France says: "For this lover of J.S. Bach the sound that he prefers has well separated notes: the guitar is a polyphonic instrument which should give a rich timbre and be perfectly balanced."

This new Quinson guitar certain posses those qualities plus an ample range of tone colors and a big warm voice.

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Jose RAMIREZ

Madrid, Spain, 1974
Canadian cedar Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 664 string length
$ 5500 Segovia model

A powerful traditional Ramirez in quite good condition. Minor scuffs from normal playing wear and a five-inch well-repaired crack on the lower back.

The rich tone and strong projection of older Ramirez guitars have been famous since the days when the father of modern classical guitar playing performed on one during the high point of his long career on the world's stages. Andres Segovia made these guitars perhaps the most sought after of any classical brand.

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Jose RAMIREZ

Madrid, Spain, 2002
Spruce Soundboard, Brazilian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 9000 Price reduced

This "Elite" model, of limited production, was conceived to satisfy the wishes of the many Ramirez clients who want to have an instrument similar to the Centenario model, both insofar as ornamentation and selection of wood, but at a more accessible price.

Talk about "a more accessible price," considering that this is an unplayed guitar that currently sells for $14,000, it has to be one of the best bargains on the guitar market.

The condition is pristine, like new. The workmanship is exquisite with great attention to detail. For the player or collector who is looking for the best of the best.

Jose RAMIREZ

Madrid, Spain, 1976
Cedar Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 664 string length
$ 4000

A great example of the peak of Ramirez guitar making with all the richness of tone and projection associated with the instruments used by Andre Segovia, Narciso Yepes and Oscar Ghiglia.

This is a guitar for a player with big and strong hands since the string length and action are large, the typical Ramirez setup of that period. But the resonance and largeness of sound are worth the effort if you love the tonal richness of those great performers.

The condition of this guitar is good, with only a few dings on the finish. There is a transducer installed under the soundboard for amplification if desired.

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Antonio RAYA PARDO

Granada, Spain, 1997
German Spruce Soundboard, Brazilian Rosewood Back and Sides
Ebony fretboard with 650 string length
$ 6000

This is a fine example of Antonio Raya Pardo's masterful work. Considered one of the leading lights of the Granada school of guitar making, Antonio was supported and influenced by the great Antonio Marin Montero who many regard as the dean of that branch of Spanish luthery. (See the Marin Montero page for a 1989 guitar we have for sale.)

This guitar features a close grained German spruce top and beautiful sober grained palissanto de Rio back and sides. The bracing system is inspired by the Marin Montero/Robert Bouchet design with five fan braces and a tone bar crossing under the bridge to create good sustain and crystal clear trebles.

Jean Pierre SARDIN

Barcelona, Spain, 2008
German Spruce Soundboard, Indian Rosewood Back and Sides
Ebony fretboard with 640 mm string length
$ 7250

Jean Pierre Sardin has made another of his outstanding concert guitars with a spruce top which is comfortable to play with 64 cm string length.

This exquisite guitar has woodworking and marquetry that are simply astounding and a tone that has great finesse. The rosette features a circular band of Mediterranean bruyere with its bird's-eye configuration in deep brown, bordered by maple and ebony and stopping before it reaches either side of the fingerboard. The joinery at the center of the back is a graceful double curve in the shape of an elongated hourglass. The headstock features inlaid bruyereand and the bridge is beautifully shaped and decorated..

When it comes to the tone, here you have a guitar that sings with the pure voice of the choicest aged spruce from the Alps or cedar from the Rockies. The top is gently domed, as is the back, and from the tension thus created comes a clarity and sonority that is both crystalline and warm with good sustain. The tops of these guitars are French polished for optimum tone, while the backs, sides and necks have been coated with nitrocellulose lacquer for durability.

Jean Pierre Sardin is a guitar maker who has situated himself perfectly between the best traditions of Spain and France, having been born, raised and trained in Paris and established a workshop just across the Pyrennees Mountains in Barcelona.

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Manuel VELASQUEZ

New York, USA, 1956
German Spruce Soundboard, Brazilian Rosewood Back and Sides
Ebony fretboard with 650 mm string length
$ 10000

In fine condition, this is a superb guitar constructed by the first great American master luthier in 1956. Finished in the warm glow of French polish, the look of the guitar is elegant, along the lines of Hermann Hauser Sr., and the tone is enchanting with crystalline singing trebles and deep resonant basses.

Manuel Velazquez

Manuel Velazquez was born in Puerto Rico in 1917. He began his career as a furniture maker, and built his first guitar at the age of 12. He learned the craft from a brother who repaired violins and guitars, and from a relative in Spain who sent him written instructions. Impressed by Velazquez's developing workmanship, guitar maestro Jorge Rubiano encouraged him to devote himself entirely to guitar making.

In 1942, Velasquez moved to New York City where he initially worked at a shipyard, and later opened his workshop. Here he developed a fine reputation as a luthier due to the brilliant tone and impeccable craftsmanship of his guitars. In order to satisfy the growing demand for his instruments, he quit his cabinet making job in the shipyard and established his workshop in Manhattan where this guitar was made.

Velasquez returned to his native island of Puerto Rico in 1962. Here, sponsored by a government agency, he began to build guitars again in larger quantities until his return to New York in 1966.

After his return to New York in 1967, Velasquez worked alone, limiting his production to 10 to 15 guitars a year. Due to personal reasons, Velazquez again moved back to Puerto Rico in 1972, with his wife, three daughters, and son. He continued to produce guitars with the same dedication and quality that has given him worldwide recognition.

In 1982, Manuel Velasquez again returned to the United States, this time settling in Arlington, Virginia, to be close to his first grandchild. Here he furthured his reputation as one of the master luthiers, gaining honorable tribute in 1989 by the Philadelphia Classical Guitar Society, Inc.

Velasquez moved to Florida in 1991 to retire. Here he has helped his son, Alfredo, begin a career as a guitar maker, and is now teaching one of his daughters, Graciela, as well. Due to the continuous demand for his instruments, he has returned to his workshop to fulfill "a few special orders". The shape of the guitar and the depth of the body remain traditional, patterned after Hauser's guitars.

Manuel Velasquez is a world-class builder of the Spanish style guitar. Today, his guitars are sought and praised by professional guitarists from all parts of the world, many of whom consider his work second to none. A number of his colleagues have rated him as perhaps the greatest living luthier working outside of Europe. Velazquez guitars have been owned by many notable guitarists, including Paul Simon, Jorge Morel, Rey de la Torre, Harry Belafonte, Ichiro Suzuki, Earl Klugh, and Eliot Fisk.

There is playing wear, including a bare patch on the bass side of the top made by thumb nail abrasion, but his Velasquez is in excellent condition structurally.The bearclaw German spruce top was repaired by Velasquez 20 years ago and refinished by him. The Brazilian rosewood back and sides show some wear but have no cracks or repairs.

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