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  • 1967 Daniel Friedrich Front
  • 1967 Daniel Friedrich Back
  • 1967 Daniel Friedrich Rose
 
1967 Daniel Friedrich
1967 Daniel Friedrich

A fantastic and rare spruce top example of Maestro Friederich's work. This particular guitar was recently restored in my studio and now is in excellent condition, albeit with repaired top cracks. The sound of this guitar is inspiring. It is very bold and fast with big weighty notes that fly out of the guitar. It is exceptionally even and refined. Playability is second to none. I have not played another spruce Friederich that I would compare to this one, in fact few guitars I've played I'd compare to this one. For someone who doesn't mind that this guitar has some repairs, this is a great opportunity to possess one of the greatest concert guitars available.


Price-Inquire

 
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  • 1986 Romanillos Front
  • 1986 Romanillos Back
  • 1986 Romanillos Headstock
  • 1986 Romanillos Rose
  • 1986 Romanillos Label
 
1967 Daniel Friedrich
1986 Romanillos

Not something you are likely to see every day! This little jewel is, to the best of my knowledge, a totally unique example in the entire oeuvre of Maestro Romanillos. I am told this instrument was inspired by a mid 18th century Sanguino, albeit with a modernesque configuration. The backstory is it was built in honor of his grandson's birthday and is in fact named "La Cumpliaños" with the most charming of dedications on the label: "May your Life be filled with Joy."

The pictures speak volumes of the inherent beauty of this instrument but the sound itself is quite enchanting. The voice is somewhat silvery, leaning towards the baroque side of life although the notes themselves have real weight and depth to them. It is a ton of fun to play and would be a fine addition to any collection. They don't come any rarer than a one of a kind Romanillos and better yet the price is a fraction of what the previous Romanillos guitars I've sold commanded.

Price-$25,000

 
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  • 1976 Miguel Rodriguez Churchdoor ex Angel Romero Front
  • 1976 Miguel Rodriguez Churchdoor ex Angel Romero Back
  • 1976 Miguel Rodriguez Churchdoor ex Angel Romero Rose
  • 1976 Miguel Rodriguez Churchdoor ex Angel Romero Label
 
1976 Miguel Roriguez Churchdoor ex Angel Romero
1976 Miguel Rodriguez Churchdoor ex Angel Romero

A magnificent Churchdoor in spectacular condition with great provenance. This instrument was the personal instrument of Angel Romero for the majority of it's life. One of the most physically unique and striking instruments ever, the Churchdoor series by Miguel Rodriguez are the most sought after and highly prized. This particular example has all the attributes of a great Rodriguez. It is extremely fast and responsive, huge volume and projection, flamenco like clarity and separation with big weighty notes that fly out of the guitar. This guitar is a ton of fun to play as well. A great instrument for the player and collector alike.


Price-Inquire

 
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  • 1965 José (David) Rubio Front
  • 1965 José (David) Rubio Back
  • 1965 José (David) Rubio Rose
  • 1965 José (David) Rubio Label
 
1965 Jose (David) Rubio/
1965 José (David) Rubio

In the entire oeuvre of David Rubio, the time period of most interest to collectors is from his NYC days, basically the mid to late 60's. Of that era, the most significant year is 1965 as this is the year that he built Julian Bream's guitar, the one used for what I consider the finest classical guitar album ever made: 20th Century Guitar. This example is in excellent condition, one repaired top crack and finish touch up. The sound is like what you hear on 20th Century Guitar, somewhat pianistic and definitely powerful, very even with great singing trebles and firm basses. This guitar (as well the the 1966 example I had last year) are inspired by the guitars of Robert Bouchet. It was at Bream's insistence that Rubio build some copies of his Bouchet. I would not call this guitar a Bouchet copy but certainly heavily indebted to Bouchet in it's top bracing. I consider Rubio to be highly undervalued and as such I expect that over time more collectors will come to realize the significance of this great luthier's work.

Price-$22,000

 
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  • 1986 Ignacio Fleta y Hijos ex Eliot Fisk Front
  • 1986 Ignacio Fleta y Hijos ex Eliot Fisk Back
  • 1986 Ignacio Fleta y Hijos ex Eliot Fisk Rosette
 
1986 Ignacio Fleta y Hijos ex Eliot Fisk
1986 Ignacio Fleta y Hijos ex Eliot Fisk

This particular Fleta was built for the great American virtuoso Eliot Fisk, who has been its sole owner for the entirety of its life. Eliot chose this guitar for its clarity,musicality, ease of playing and of course its power. Huge sound with a noble and compelling voice, this ranks among the very best Fletas of any vintage that I have handled.

My fondest memory of this particular guitar was of Eliot playing it in the hospital for his new baby girl Raquel some 12 years ago. I remember him saying as we all rushed off to the hospital, that it was only right that he bring this guitar with him. This guitar has been featured on a couple of his albums, signed copies of which will be included in the sale. Excellent, near mint condition with provenance like few others.

Performance:
“Black Falcon” - Frank Wallace

Price-Inquire
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  • 1822 Louis Panormo Front
  • 1822 Louis Panormo Back
  • 1822 Louis Panormo Headstock Front
  • 1822 Louis Panormo Headstock Back
  • 1822 Louis Panormo Rose
  • 1822 Louis Panormo Label
  • 1822 Louis Panormo Bridge
  • 1822 Louis Panormo End Graft
  • 1822 Louis Panormo Heel
 
1822 Louis Panormo
1822 Louis Panormo

An absolute gem. This guitar is in remarkable condition, plays like a dream, sings like an angel and is simply too cool for words, although I will try. This is a very early example of Panormo guitars, "in the Spanish Style". The sound is sweet and full and incredibly alive, it has great vitality up and down the fingerboard and projects extremely well. Most surprising for a guitar not only of this age but also of a design that is most simply put as "Pre-Torres." It goes to show that the skill of the maker trumps all as this guitar shows great skill and care in it's construction. The Baker tuners are gorgeous and work like a new set of Rodgers. A masterful piece and a fine addition to any collection. This guitar was featured in the Evans book "Guitars-From Renaissance to Rock" a book any serious guitar aficionado should have. I doubt I will ever see another like it and consider it a high point in my career to be able to represent such an important piece of the history of the guitar

Performance:

Mertz Abenlied - Frank Wallace

The Romantic Guitar
This guitar is featured on
Frank Wallace's latest album.


Price-$12,000

 
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  • 2011 Sebastian Stenzel Front
  • 2011 Sebastian Stenzel Back
  • 2011 Sebastian Stenzel Rose
  • 2011 Sebastian Stenzel Label
 
2011 Sebastian Stenzel
2011 Sebastian Stenzel

This is a recent guitar a good client brought to me. While not a "vintage" instrument, it is certainly constructed in the traditional style and a very successful one at that. This instrument is quite lively, very open with powerful trebles that really sing. The basses are firm and full, overall the tonality of this instrument is very smooth and even while still retaining lots of character and tonal possibilities. It plays beautifully and no slouch in the visual department. Beautifully constructed with top notch materials, I wouldn't turn my nose up at a room full of hazleficte (bear claw) European spruce from which the top is constructed.

Price-$12,500

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  • 2006 Andrea Tacchi "Bouchet Model" Front
  • 2006 Andrea Tacchi "Bouchet Model" Back
  • 2006 Andrea Tacchi "Bouchet Model" Rosette
 
2007 Andrea Tacchi "Bouchet Model"
2007 Andrea Tacchi "Bouchet Model"

This is the second guitar by Andrea Tacchi that I have had the pleasure to represent. A fantastic and powerful guitar this is one of the finest interpretation of the work of Robert Bouchet I have seen. I had this in the shop at the same time as a killer Bouchet and while they are not identical sounding, Tacchi hits very close in many regards and brings his own voice into the mix at the same time. Tacchi is highly regarded and in my opinion well deserving of his reputation.

Price-$18,000
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  • 2006 Conde Hermanos Felipe V Front
  • 2006 Conde Hermanos Felipe V Back
  • 2006 Conde Hermanos Felipe V Rosette
  • 2006 Conde Hermanos Felipe V Label
 
2006 Conde Hermanos Felipe V
2006 Conde Hermanos Felipe V

This example is far and away the fanciest and most refined (in many regards) example of the famous Conde Hermanos. The actual model is Felipe V, as opposed to other guitars that are designated as having been built at this address. The workmanship is very neat and clean, two things I tend not to attribute to this atelier. Sonically it has the attack and speed for which these guitars are known along with tremendous horsepower and a real profundity to its voice. It has deep and weighty notes covered in razor blades. In my career I have only seen one other Conde I liked as much as this, that guitar was from 1969 and was the companion to the famous 1951 Marcelo Barbero ex Sabicas. This is one of the easiest playing guitars I've seen, it's practically an electric guitar in its feel. A marvelous example of Conde at their very best.

Price-$17,000
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  • 1974 David Rubio Front
  • 1974 David Rubio Back
  • 1974 David Rubio Rosette
 
1974 David Rubio
1974 David Rubio

Big and bold, this example of Rubio's guitars is far and away the most "Spanish" sounding I have encountered. Very powerful and even, this guitar has deep and dark basses combined with bright and singing trebles of impressive weight, volume and flexibility. A muscular guitar with a broad tonal palette such as this is a somewhat rare combination.

This instrument was made by Paul Fischer when he worked in the Rubio shop. The condition is excellent in that it has no cracks or repairs. The guitar obviously has been well played though and shows a lot of dings and scratches that do not detract from the overall elegance and style of the instrument. I would put this guitar up against the 66 Rubio I sold last year without hesitation and it is a good bit less expensive.

Performance :
“Cunctipotens Genitor” - Frank Wallace

Price-$12,000
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  • 1970 Bernabe Front
    For Sale
  • 1970 Bernabe Back
    For Sale
  • 1970 Bernabe Headstock
    For Sale
  • 1970 Bernabe Rosette & Label
    For Sale
 
1970 Bernabe
1970 Bernabe

I consider Paulino Bernabe to be one of the finest luthiers of all time. Guitars that are of his own construction (as opposed to being made to his specifications) have always made a big impression on me. This particular example is no exception, it possesses an almost flamenco-like immediacy of sound, a huge cedar/Madrid school bloom to the notes and a spruce-like clarity and separation. This guitar is powerful and very well balanced, the notes possess tremendous weight in the fundamentals and singing overtones. The Fustero tuners are, in and of themselves, a work of art. Mint, impeccable condition.

Price-$16,000
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  • 1921 Domingo Esteso Front
    For Sale
  • 1921 Domingo Esteso Back
    For Sale
  • 1921 Domingo Esteso Headstock
    For Sale
  • 1921 Domingo Esteso Rosette
    For Sale
 
1921 Domingo Esteso
1921 Domingo Esteso

This example shows that even in a less expensive model (at the time of construction) a maker of Esteso’s level will still create an instrument of great elegance. Sonically this guitar is quite alive and vibrant. Its voice is sweet, balanced, clear and perfectly suited to any musical style you care to play on it. Condition is good, perfectly stable with some repaired cracks and a few signs of hasty construction. However even at a great age, this guitar has generations of life left in it and a beautiful old world charm that is rarely seen these days.

Price-$12,500
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  • 1967 Ramirez Front
    For Sale
  • 1967 Ramirez Back
    For Sale
  • 1967 Ramirez Rosette and Label
    For Sale
 
1967 Ramirez
1967 Ramirez

A mint and totally clean example from the heyday of the Ramirez workshop. I have a real soft spot for 60’s Ramirez guitars. This guitar has glorious materials, perfect action (3mm treble, 4 mm bass) and that unmistakable Ramirez voice albeit with a clarity that is less common. Huge bloom to the notes, great volume and presence. Initials are I.M (Ignacio Rozas) A classic.

Price-$11,000
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  • 1958 Manouk Papazian Front
  • 1958 Manouk Papazian Back
  • 1958 Manouk Papazian Rose
 
1958 Manouk Papazian
1958 Manouk Papazian

This instrument is the earliest example of the work of Manouk Papazian I have yet to encounter. In some ways the guitar is more elaborate than the usual Papazian but still shows aspects of his later work. Condition is remarkably well preserved and overall this represents one of the best bangs for the buck in the guitar world. Overall I consider this maker wildly under appreciated. Very beautiful tone,balanced across the register, broad tonal palette and easy to play. The projection leaves nothing to be desired, this guitar represents a time when sound quality was the most important aspect of the guitar's voice, a trait I hope returns to the forefront of guitar player's wish lists. If you ever wanted to have the magic of a great Hauser without having to spend well into the 6 figures, this guitar is definitely one to check out.

Price-$7500

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  • 2009 Hermann Hauser III Front
  • 2009 Hermann Hauser III Back
  • 2009 Hermann Hauser III Rosette
 
2009  Hauser

2009 Hermann Hauser III

An excellent and as new instrument from Hermann Hauser III. This guitar has all the hallmarks of the great Hauser guitars. Very clear with great separation of the voices, excellent projection and a broad tonal palette. I just put this guitar up against a mid 30s Hauser I had in the shop for an adjustment and the lineage could not be more clear to my ear. Hats off to Maestro Hauser III.

SOLD

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  • 1928 Simplicio Front
  • 1928 Simplicio Back
  • 1928 Simplicio Rose
  • 1928 Simplicio Label
 
1992 Daniel Friederich ex Angel Romero
1928 Simplicio

So far I have been very blessed to get the chance to represent two guitars from this builder that defy the somewhat conventional beliefs that Simplicio guitars are eye candy first and foremost and his guitars (sonically) are not in the same league as his contemporaries Santos Hernandez or Domingo Esteso.

This particular example is utterly magnificent. The sound is huge with modern horsepower and speed. Its has the most gorgeous voice that is so alive and vibrant that compels you to keep on playing. When the guitar arrived, I actually called the former owner and said "Are you really sure you are ok parting with this one. Not to talk myself out of an opportunity to represent such a gem but…."

I could go on and on about this guitar however that is unnecessary as Frank Wallace does a much finer job demonstrating why this guitar is so special. I will say that the new owner is a dear friend and I am so happy this guitar is still "in the family."

Performance:
Tárrega"Prelude in E" - Wallace

SOLD

 
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  • 1992 Daniel Friedric ex Angel Romero Front
  • 1992 Daniel Friedric ex Angel Romero Back
  • 1992 Daniel Friedric ex Angel Romero Rose
 
1992 Daniel Friederich ex Angel Romero
1992 Daniel Friederich ex Angel Romero

A stunning, sensational, triumph of a guitar. I have always admired the work of Daniel Friederich but this particular example causes me, as a luthier, to send deep bows of respect in his general direction.

This particular guitar was owned by Angel Romero, used for his album Bella and now lives with a dear friend and client of mine, who treasures it like no other. I should also mentioned, this client does not, in general, favor cedar topped guitars. Until he met this one.

Sonically this guitar is very powerful, deep velvet tone with clarity and well disciplined overtones all up and down the fingerboard. The evenness of it's response is incredible and the tonal palette leaves nothing to be desired by those who favor spruce guitars or feel that cedar is incapable of producing that kind of guitar. What this guitar demonstrates so well is that the skill of the maker trumps all. As an interesting side note, I have never before seen a Friederich that was braced as an exact interpretation of the design known as Bouchet bracing. Bouchet obviously was a huge influence on Friederich, but every one I've seen has used that influence as a point of departure. Not so with this guitar and the results make me wonder if he built more like it. As a builder myself, I certainly would.


SOLD

 
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  • 1959 Hauser II Front
  • 1959 Hauser II Back
  • 1959 Hauser II Rose
  • 1959 Hauser II Label
 
1959 Hauser II
1959 Hauser II

This guitar is for me, one of the finest examples to ever wear the Hauser label. When I received this guitar I immediately called a number of my favorite clients, and told them that without a doubt this guitar could go toe to toe with any Hauser Senior, and if it were a Senior, I'd be looking to get a record price for it. As it was, the new owner happens to have a mint, stellar Hauser Senior, from 1940. When we played both guitars side by side, they were incredibly similar in almost every way, with the Hauser II having perhaps a bigger and broader treble response. No small feat considering how incredible that 1940 Hauser is.

If I had to describe why I love this guitar so much, I would say that it really lacks nothing. The voice is incredibly complex and beautiful, the response is lighting fast and the trebles are powerful and singing. The guitar is beautiful to behold with a lovely, and totally unmatched (!) Hazelfichte spruce top. This guitar plays like a dream and I am thrilled that the new owner is a good friend so I will still be able to see and study this guitar in the future.


SOLD

 
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  • 1901 José Ramirez Front
  • 1901 José Ramirez Back
  • 1901 José Ramirez Rosette
  • 1901 José Ramirez Label
 
1901 Jose Ramirez

1901 José Ramirez

Not something you see every day! This guitar completely debunks the myth of a short and limited lifespan believed to be the fate of guitars. Sonically it is very alive, fast attack with beautiful tone and projection. The basses are full and rich, the trebles singing and clear. A fun guitar to play and it is very easy on the hands. Impressive by any standards this guitar makes a convincing argument for Torres style guitars.

Performance :
Turina “Hommage a Tárrega Garrotín” - Frank Wallace

SOLD

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  • 1962 Jose Ramirez ex Mario Escudero Front
  • 1962 Jose Ramirez ex Mario Escudero Back
  • 1962 Jose Ramirez ex Mario Escudero Rosette
  • 1962 Jose Ramirez ex Mario Escudero Label
 
1962 Jose Ramirez blanca ex Mario Escudero
1962 José Ramirez ex Mario Escudero

Another time machine Ramirez. This guitar was made especially for the great flamenco Master Mario Escudero and purchased from him by one of his students in the late 60's. Lightweight and well balanced this guitar has the fast attack and clarity that is the hallmark of a great flamenco guitar along with real substance to its voice. Loud and proud, it's a perfect guitar for solo or accompaniment work. Gorgeous materials and workmanship (I am particularly fond of the rosette) which I am more used to seeing in cedar topped examples with heavy orange synthetic finish. Under an old gold finish in the spruce top the colors are much more apparent and vibrant.

SOLD
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1952 Barbero
1952 Marcelo Barbero

My favorite builder of all time. Guitars by Marcelo Barbero are not often seen on the market and, as such, I am honored to be representing another. This guitar has a top that appears to me to be from the same stash as the top in the 1951 ex Sabicas. This guitar has seen a number of repairs and is, in fact, a great candidate for restoration. As it is now, the guitar is stable and sonically alive and vibrant. It has an old world tone with modern speed and clarity. Plays beautifully and is a great opportunity for someone looking to acquire a guitar by (in my opinion) the greatest historic maker of flamenco guitars.

SOLD
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  • 1941 Hauser Front
    SOLD
  • 1941 Hauser Back
    SOLD
  • 1941 Hauser Body
    SOLD
  • 1941 Hauser Rosette
    SOLD
 
1941 Hauser
1941 Hauser

'41 Hauser pretty much says it all. The holiest of holys. A darker, more velvety sounding example than I am used to hearing from this maker. The hallmark of a great Hauser is an unlimited tonal palette and this is no exception. This guitar is shown here post-restoration; it had several poorly executed repairs to the top and yet, still had that wonderful sound. The video of Kevin Gallagher playing it is pre-restoration and I hope to make a video of it post- restoration, as the sound, as good as it was, saw significant improvement. Basically put, the guitar before the restoration was in a compromised state and we un-compromised it. A huge success and one of which we are extremely proud.

Performance :
Schubert (arr. Tarrega) “Adieu” - Kevin Gallagher

SOLD
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  • 1951 Marcelo Barbero Front
    SOLD
  • 1951 Marcelo Barbero Back
    SOLD
  • 1951 Marcelo Barbero Rosette
    SOLD
  • 1951 Marcelo Barbero Headstock Front
    SOLD
  • 1951 Marcelo Barbero Headstock Back
    SOLD
  • 1951 Marcelo Barbero Headstock Side
    SOLD
  • 1951 Marcelo Barbero Label
    SOLD
 
  1951 Marcelo Barbero
1951 Marcelo Barbero ex Sabicas

This guitar will always represent a high point for me. This is the famous Barbero ex Sabicas that is commonly referred to as “the 51” and is, in my opinion, the flamenco counterpart to Segovia’s Hauser that is installed at the Metropolitan Museum of Art in New York City. The most famous and significant flamenco guitar in existence and, besides that, one of the finest sounding. I have known this guitar for many years and was privileged to be its caretaker for over 2 years after its owner, my friend and client Dr. Robert Schultz, passed away. Besides being the subject of intense speculation by the flamenco guitar community, the inspiration of many luthier’s work, this guitar has been the subject of a few articles in guitar publications, most lately my article in Fretboard Journal (issue #27).

Performances:
Sabicas “Zambra-Granadina” - Dennis Koster (intro by Aaron Green)

Sabicas “Siguirias” - Dennis Koster

Sabicas “Malaguieňa” - Dennis Koster

SOLD
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  • 1959 Hernandez y Aguado Front
  • 1959 Hernandez y Aguado Back
  • 1959 Hernandez y Aguado Rose
  • 1959 Hernandez y Aguado Label
 
1959 Hernandez y Aguado
1959 Hernandez y Aguado

Hernandez y Aguado guitars are very highly regarded and rarely seen. In my career I've seen three and they all left a deep impression on me. As a builder myself, I value and strive for tonal flexibility and a broad tonal palette This is the hallmark of a great guitar and what makes the classical guitar unique. These qualities are what the guitars of Hernandez y Aguado are renowned for and this example certainly lives up to that distinction. This guitar has the "old Spanish sound" without being flabby or tired. Its vitality as well as it's complexity and nuance is quite remarkable. The condition is restored and extremely well done at that.

Price-SOLD

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  • 1931 Simplicio Front
    SOLD
  • 1931 Simplicio Back
    SOLD
  • 1931 Simplicio Headstock
    SOLD
  • 1931 Simplicio Rosette
    SOLD
 
1931 Simplicio Front

1931 Simplicio ex Rey de la Torre

Far and away the finest sounding example I have encountered of this maker’s work. It’s no wonder that it was also the first concert guitar of the great Rey de la Torre. Rey was a young prodigy who was sent to Barcelona to study with Miguel Llobet. Llobet took Rey to the Simplicio workshop and handpicked this guitar for him from a group of five. This guitar (numbered 335) is the second highest numbered Simplcio in existence. The sound is deep and rich with profound beauty and tonal contrast. Volume and projection are surprisingly excellent as is the quickness of response. This guitar was the main instrument of a traveling virtuoso and shows many repairs over the years. In spite of that, the structural integrity as well as the musical integrity of this inspired guitar remain intact. This guitar is the subject of an article I wrote for Acoustic Guitar magazine.

SOLD

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  • 1961 Robert Bouchet Front
  • 1961 Robert Bouchet Back
  • 1961 Robert Bouchet Rosette
  • 1961 Robert Bouchet Label
  • 1961 Robert Bouchet Bridge
 
1961 Robert Bouchet
1961 Robert Bouchet

Guitars by Robert Bouchet are among the rarest and most coveted by collectors and players alike. This example is from his most desired period, when he began implementing his proprietary bracing pattern known as "Bouchet Bracing." This example is near mint and it plays beautifully with a big and projecting noble voice. The trebles are incisive and the basses deep, with great separation across the registers. A very impressive guitar and a joy to have around before she found her new home

Performances:
Villa-Lobos “Prelude #4” - Frank Wallace

“He Pines” - Frank Wallace

SOLD
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  • 1984 José Romanillos "La Liam" Front
  • 1984 José Romanillos "La Liam" Back
  • 1984 José Romanillos "La Liam" Rosette
  • 1984 José Romanillos "La Liam" Label
  • 1984 José Romanillos "La Liam" Headstock
  • 1984 José Romanillos "La Liam" Heel
 
1984 Romanillos La Liam

1984 José Romanillos "La Liam"

An extraordinary example of this Master's work. Named for his son Liam, now a highly regarded luthier in his own right, this guitar is beautifully decorated, plays like a dream and has a tonal palette a mile wide. The inherent tone of the guitar is both earthy and silvery. Kind of a combination of a great Torres and great Hauser. However, this quality of sound is not something I have ever encountered before in another guitar as they are for the most part diametrically opposite. In this guitar they exist in perfect harmony. The basses are firm and well defined, the trebles powerful and singing. Volume leaves little to be desired and the projection is most impressive. Thankfully, sold to a very dear friend and client so I'll be able to visit from time to time.

Performances:
Villa-Lobos “Prelude #1” - Frank Wallace

Tarrega “Marieta” - Frank Wallace

SOLD

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  • 1986 José Romanillos Front
  • 1986 José Romanillos Back
  • 1986 José Romanillos Heel
  • 1986 José Romanillos Headstock
  • 1986 José Romanillos Rosette
 
1986 Romanillos
1986 José Romanillos

The guitars of José Romanillos are fast becoming the most collectable and sought after guitars right after Torres, Bouchet and Hauser I. A great Master and a wonderful human being I had the honor of meeting him early in my career, he was very gracious and never once told me to bug off. I should mention I was 21 at the time and I probably would have told me to bug off. In any case this is the second example of his work I have represented and while it came and went so fast I did not get it properly photographed, I am putting it up here as a testimony to a great guitar and a great man.

SOLD
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  • 1966 José Rubio Front Body
    SOLD
  • 1966 José Rubio Back Body
    SOLD
  • 1966 José Rubio Side & Back
    SOLD
  • 1966 José Rubio Headstock
    SOLD
  • 1966 José Rubio Rosette & Label
    SOLD
 
1966 Jose (David)Rubio
1966 José (David) Rubio

A remarkable guitar from a great time in this luthier’s career. In his biography “A life on the Road” Julian Bream relates a story of going to Rubio’s shop in NYC with his Bouchet guitar. He was so impressed he suggested to Rubio that he build some copies of his Bouchet. While unclear to me if Rubio ever actually built a true “copy” he certainly utilized construction details from Bouchet and this example is such a guitar. Bream used a '65 Rubio for his landmark album “20th Century Guitar Music” and this '66 Rubio is of a similar design. Of further interest, I once restored a '69 Rubio that was not of the same interior construction; by 1969 he was onto different ideas. A lovely and rare example of this maker’s work in mint condition. To get a sense of its sound all you have to do is listen to the Nocturnal on 20th Century Guitar Music. It’s all there but of course it will help if you’re Maestro Bream.

SOLD
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  • 1961 Ramirez Front
    SOLD
  • 1961 Ramirez Back
    SOLD
  • 1961 Ramirez Headstock
    SOLLD
  • 1961 Ramirez Rosette
    SOLD
 
1961 Ramirez
1961 Ramirez

The first major restoration I undertook with my restoration partner Karl Franks. The back had two major serpentine cracks that were poorly repaired, among other issues. After I removed the back and braces, Karl simply (but far from easily) removed the gunk in the cracks and, using a fine cut file and light box, joined them together. As a result it is truly like they never happened.

This guitar is hands down the finest spruce top example I’ve seen from the Ramirez workshop. The initials are PB (Paulino Bernabe) and while it can be argued that this detail is superfluous, in this case I don’t think so. I won’t bother to describe the sound as the video of Kevin Gallagher playing this guitar does that so much better. I will say this is an intoxicating instrument and perhaps one of the most beautiful looking guitars I’ve encountered. It is also feather light in weight. When you play this guitar, you can feel it vibrating and pulsing. A very sensual experience.

Performance:
“El Mestre” (arr. Miguel Llobet) - Kevin Gallagher

SOLD
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  • 1965 Fleta Front Body
    SOLD
  • 1965 Fleta Back Body
    SOLD
  • 1965 Fleta Headstock
    SOLD
  • 1965 Fleta Rosette & Label
    SOLD
 
  1965 Fleta
1965 Fleta

A magnificent and rare spruce top Fleta in near mint condition. This guitar literally lived under a bed for the majority of its life. This was due to having been originally purchased by a family of collectors (of anything and everything) and it was not until recently that it was put in the hands of an aficionado who can really play. When I got it, the fingerboard was horribly back bowed. Thankfully it was also about twice as thick as anyone could stand, given the overall neck thickness. This made the most correct path obvious and easy and the guitar is as it should be. When it arrived in my shop, without any strings, I picked it up and as I was talking with the owner, could feel it jump and vibrate in my hands from the stimulus of our voices. This is a very good sign I thought and am happy to report I was right. Possessing great volume and a noble voice, this guitar shows why Fleta guitars are so highly regarded.

Performance:
Couperin “Passacaglia ” (arr. Segovia) - Kevin Gallagher

SOLD
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  • 1962 Arcangel Fernandez Front Body
    SOLD
  • 1962 Arcangel Fernandez Body Closeup
    SOLD
  • 1962 Arcangel Fernandez Rosette & Label
    SOLD
  • 1962 Arcangel Fernandez Back
    SOLD
 
1962 Arcangel Fernandez
1962 Arcangel Fernandez

The only disciple of Marcelo Barbero, these instruments are rare on the market. Such is his renown, there is a museum in Japan named for him that houses an aficionado’s collection of his guitars. This example is in mint condition and, in the words of Dennis Koster, sounds like a Sabicas record. I felt very fortunate to have this guitar around at the same time as the famous '51 Barbero. It was an embarrassment of riches to be able to go back and forth between these two magnificent guitars. Sometimes I really, really love my work.

SOLD

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  • 1961 Manuel Velazquez Front Body
    SOLD
  • 1961 Manuel Velazquez Back Body
    SOLD
  • 1961 Manuel Velazquez Headstock
    SOLD
  • 1961 Manuel Velazquez Rosette
    SOLD
 
  1961 Manuel Velazquez
1961 Manuel Velazquez

I have always admired the guitars of Manuel Velazquez. I have also repaired and/or restored more than a few of his guitars over the years and can attest to his excellence in design and execution. In my time as a dealer of guitars, I have sold more of his guitars than that of any other maker and this particular example is among the best. In a world of modern guitars, it is also a wonderful testimony to the traditional designs that a great concert artist, Kevin Gallagher, would choose this guitar for his own.

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  • 1994 Miguel Rodriguez Centenario ex Angel Romero Front
  • 1994 Miguel Rodriguez Centenario ex Angel Romero Back
  • 1994 Miguel Rodriguez Centenario ex Angel Romero Rose
  • 1994 Miguel Rodriguez Centenario ex Angel Romero Label
 
1994 Miguel Rodriguez Centenario ex Angel Romero
1994 Miguel Rodriguez “Centenario” ex Angel Romero

This is far and away the best spruce top Rodriguez I have encountered, no wonder as it was made for Angel Romero. The best Rodriguez guitars I have played have had a flamenco like immediacy in the response with great power, clarity and separation. Something I, as a builder, have taken as inspiration for my own work. There is great weight and depth to the notes, strong fundamentals along with lively yet disciplined overtones and a broad tonal palette. This guitar sings and powerfully at that. 650 scale. Mint, as new condition.

Performance:
“Round the World” - Frank Wallace

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  • 1993 Manuel Velazquez Front
  • 1993 Manuel Velazquez Back
  • 1993 Manuel Velazquez Rosette
  • 1993 Manuel Velazquez Label
 
1961 Robert Bouchet
1993 Manuel Velazquez

A fantastic example of the work of this legendary Master. I have restored, repaired and sold many guitars by Manuel Velazquez, probably more than by any other maker. I am always impressed with the integrity of his guitars. The earliest guitars of his I have encountered were from the 50's and the last one I represented was from 2006. He is the dean of American classical guitarmaking and has earned the admiration of luthiers and players alike. This guitar from 1993 is somewhat unique in its voice, the sound is a bit more Spanish than the norm with real horsepower and projection. I originally encountered this guitar about 8 years ago when I repaired the back, which has some hairline cracks in the rosewood. It is totally stable as the last 8 years of crack free existence as to which I can attest. As it is, the repaired cracks are impossible to photograph and are only evident in a low raking light when you are looking for them. A wonderful guitar for performer and aficionado alike.

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