It is my great pleasure to be able to offer for sale magnificent examples of historical and otherwise significant luthiers' work.
On this site you will see some of the guitars I am currently offering as well some of my favorite guitars that I have had the privilege of representing. Through my studio I offer restoration services of the highest caliber and welcome all inquiries. If you have a guitar you wish to have me represent, please contact me; furthermore if you are looking for a specific guitar you do not see here I would be happy to hear about it. I am always seeking out the very best guitars and only offer those that represent their maker´s work at its finest.
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In Stock and soon to be listed
1964 Reyes spruce/cypress
1941 Hauser
1941 Hauser, the crown jewel of any collection. This particular example has been restored by Karl Franks and myself a few years ago. It is without a doubt my favorite example of this builder's work, being darker and deeper in tone than is the norm. Velvet trebles with great clarity and profundity. Powerful basses that are clear and disciplined. Easy to play and a joy to behold.
YouTube :
Isabel by Tárrega
Bach Sarabande Cello Suite 1
Federico Mompou Cancion - Frank Wallace
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1936 Hauser Segovia
An amazingly alive and colorful Hauser with a voice that leans a bit more on the German classical side, as opposed to the more humid and lush Spanish voice..until you start to explore the tonal possibilities which appear to me to be limitless. This is a guitar I have known for some years and have great affection for. I had the pleasure of hearing Xavier Jara perform on this instrument a few years ago (I had it in my possession and he needed a guitar for a performance with the rest of the San Francisco conservatory teachers so...). In his hands the colors and complexity of its voice utterly captivated the audience and frankly exposed all that was missing from the other guitarists' instruments that evening. As great as each performer was, he was far greater.
In excellent condition with no structural or aesthetic concerns, this instrument has some hairline cracks that have been expertly repaired and are not evident until you start really looking for them. It plays like a dream as well. A stellar concert guitar by any standard, this Hauser would be a crown jewel in any collection.
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1927 Santos Hernandez
Santos Hernandez is rightfully one of the pillars of the Spanish guitar and one who's fame is equal in both the classical and flamenco guitar world. When Hermann Hauser decided he was going to build guitars in the Spanish tradition, (in addition to Torres) he studied Segovia's Manuel Ramirez guitar, built by Santos. Just to place him within the proper historical context.
So far I have represented a few of his classical guitars and one in particular with important provenance. I have never been anything less than impressed with his work. This 1927 Santos stands alone for me in the guitars of his I have handled. First is the plantilla, the body shape. Smaller than his usual model this guitar reminds me of a gorgeous 1912 Manuel Ramirez owned and played by my dear and dearly missed friend and collaborator, Frank Wallace. A bit bigger than the Ramirez this Santos is a 640 scale and very much in this earlier style. Straight forward in design and execution this guitar has a stunningly beautiful voice and no shortage of vitality in its response. This is the voice of the Spanish guitar. It is incredible to me that it has thrived for close to 100 years and remained in such condition. Some guitars just have a life force all their own and this is one of them. For the curious, the label is not signed but there is Santos' signature near the soundhole on the top.
YouTube:
Descent of the Dove by Wallace
Cancion del caminante enamorado by Merlin
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2013 Aaron Green
This is what I refer to as my modern leaning design and in the case of this particular guitar, a presentation series version. Modern under the hood but informed by the great traditional instruments who's tonal profile is, for me, what is important in classical guitars.
The aspect I would call modern is the ease of sound production and the quantity of sound for less stimulus. A lovely attribute by all accounts but one that often comes at the expense of the dynamic range of a guitar, never mind the tonal palette. Harkening back to the original super guitars like Fleta and Friederich; a very even, piano like response from note to note. Going back even further, I find it very traditional in it's very guitaristic voice with complexity, color and balance.
In excellent condition this guitar has no repairs other than some french polish touch up I recently conducted just to spruce it up a bit. Very easy to play this is a stellar concert guitar capable of solo or ensemble work. In fact its 2013 sister featured in the video is owned by the great virtuoso Adam Levin who uses his Green in a multitude of settings; solo, duo with violin, mandolin, his guitar trio The Great Necks and in concert with orchestra. I am sure Chris Ladd (who's 2022 Green is of the same modern leaning design as this instrument) will be recording it soon but for now, Adam's 2013 Green is the guitar in the video and will give you a pretty good idea of what to expect.
Price-18,000 USD
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1911 VICENTE ARIAS
The guitars of Vicente Arias are among the rarest of the rare. There are, at most, 50 known examples in the world and this one was recently discovered and restored by Karl Franks and myself. The guitar has no splints in the top or back and is in excellent condition. The cypress back and sides are not in any way meant to indicate an intent by the builder that this is a flamenco guitar, as in those days such a designation was non-existent. The sound is full and rich with great warmth, depth, and range of color. There is nothing quite like the sound of a well-preserved older guitar. Thankfully one doesn't have to imagine as the videos of Frank Wallace can attest to the sonic excellence of this instrument.
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YouTube:
Frank Wallace - From a Windy Place - Frank A. Wallace
Frank Wallace - Estudio Op. 6 #11 b - Fernando Sor
Frank Wallace - Air From Quatre Pieces Breve - Frank Martin
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1969 David Rubio
This Rubio is a guitar I have known since the late 1990's and to the day is the most impressive I've handled. The analogy that holds is that it is like a Steinway and Hauser had a baby in Spain. In the words of Dave Barry, I am not kidding.
David Rubio's career really got going in the mid 60's when he was located in New York City. Julian Bream asked him to repair his Bouchet and then suggested he might want to build a few guitars along the lines of its design. And in 1965 Bream used one of the resultant guitars for his (in my opinion) most important album 20th Century Guitar. Which premiered Britten's Nocturnal. Not exactly insignificant. Rubio left NYC in late 1967 and this instrument would have been among the first he produced upon his return to England. In fact it was originally built for a gentleman who had his NYC era Rubio stolen. I suspect he was very, very happy with its replacement.
Unlike the NYC era guitars I have seen, this guitar's design does not include any kind of Bouchet inspired bridge bar...rather it is a very straightforward 7 fan design. Materials and execution are magnificent but really this is one of those guitars where all the stars just align perfectly. It is extremely powerful, with huge projection, evenness of response and yet still very colorful. A formidable guitar by any standards and a real gem beyond compare.
YouTube:
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1983 IGNACIO FLETA E HIJOS
The guitars of Ignacio Fleta e Hijos were some of the most striking examples of the emergence of "super guitars". Guitars designed to produce more volume for less effort and project from the concert stage. Often referred to as piano like in their response and evenness across the registers, they were in their time, all but unobtainable.
This particular guitar from 1983 is an early-ish example of when the sons were the head of the workshop. Ignacio had passed in 1977. That being said, they were present and instrumental in the construction of his guitars for many years at that point, with the "e Hijos" designation on the label showing up in the mid 1960's.
This guitar is the finest I've seen from the sons and probably the easiest playing Fleta of any of them. The neck and inherent tension of the guitar is so incredibly comfortable. Volume is prodigious and focused, projection is incredible. The piano component is a little more present than the 1976 example I am currently representing but it reminds me very much of a 1969 Fleta I had a few years ago. This is a formidable concert guitar with a beauty of tone rarely present in a guitar with such horsepower.
Youtube:
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1994 Velazquez
A new to me Velazquez that is utterly sensational in every way. This gorgeous example of his work at its absolute best will go toe to toe with anything out there and is a guitar who's value well exceeds it's price. I have always been a fan of his guitars for the incredible soul and beauty of their voice. That being said, some are louder and more realized than others and this one pretty much sits at the top for me.
Price-18,000 USD
1990 Velazquez
Good things come in pairs and everything I said about the 1985 Velazquez currently in stock, applies to this recent addition to the line up. Honestly this example from 1990 is remarkably similar and yet still has it's own personality and charm. Which is exactly as it should be when dealing with a maker such as Velazquez. The first string on this guitar really has a fantastic attack, presence and projection. The playability is excellent, condition is mint and the soul is pure Velazquez at his best. As a builder myself, I'd be very happy with a big stash of tops like this one, it's just perfection defined.
Price-18,000 USD
1985 Velazquez
As I have mentioned many times before, I have always had a soft spot in my heart for the guitars of the legendary Manuel Velazquez. His career is the stuff of legends, wildly productive for such a long time while maintaining the highest of standards in execution and sound. Then there is the incredible standard he set for the materials he used. This example from 1985 is no exception and is among the finest-sounding examples I've seen in some time.
One characteristic that is consistent with these guitars, especially as his work evolved through the later ‘60s and ‘70s is the incredible sweetness of their voice. Not in a sugary or cloying fashion but just the friendly and easily accessible beauty of tone. In this guitar's case, married with a very present and impressive first string, a broad color palette, and big weighty fundamentals. A real masterpiece by one of the great masters of the classical guitar.
YouTube:
Isabel by Tárrega
Price-18,000 USD
1964 Manuel Reyes
One of my all time favorite Spanish builders and frankly one I am very disappointed that I never met, Manuel Reyes rightfully belongs among the greatest names in guitarmaking of the 20th century. And what a body of work he has left us. I have yet to find one that didn't impress. For me his work is a continuation of the direction established by Marcelo Barbero and stands in stark contrast to what the flamenco guitar has become these days...a one trick pony. This isn't a great flamenco guitar, it is simply a great guitar that is well suited for flamenco. Or classical. Or jazz or whatever you wish to play upon it.
As per usual with his earlier work in my experience, this is perhaps a little closer to the Barbero ideal and shows that even in 1964, Reyes was a masterful builder. In excellent condition and sound, I love this guitar very much and am quite certain you will too!
Price-14,000 USD
1998 Gernot Wagner
Gernot Wagner is rightfully known as one of the finest luthiers in Germany and one of the originators of double top technology. His are the finest I've heard and the only convincing argument for doubletops from a tonal perspective. Just my opinion, of course.
I do think that Wagner is equally impressive in the most traditional designs as well. This Hauser inspired guitar is an extraordinary instrument. Elegant and refined with a huge voice. Clarity and separation married with warmth and bloom to the notes. It's quite easy on the hands and fun to play. Beautiful materials too and, as a builder myself, this kind of rosewood is the kind I love best. Lightweight and super resonant. Just like the guitar itself. There are a couple of hairline cracks which we repaired, taking the long approach to do it correctly with no additional wood added to close the cracks. As it is they are almost totally invisible and certainly will present no further issue. A masterful concert guitar guaranteed to please even the most discerning player.
Price-18,000 USD
1979 Robert Ruck
One of the most important makers of his generation, the guitars of Robert Ruck are renowned for their excellence of design and execution but more so for their powerful sound and response. His status among luthiers also stems from his incredible productivity and unwaveringly high standards.
He had a profound impact on me early in my career as a luthier. In June of 1992, quite literally the same day I realized that the nylon string guitar was in fact the instrument I wanted to pursue (as opposed to the steelstring and electric guitars I thought I wanted to build) I attended a lecture by Robert at an instrument makers convention. I had no idea who he was but given how packed the lecture hall was, I knew he must be important. He spoke of guitars, design and the pursuit of sound in a way I had not yet encountered and gave us all pearls of wisdom I still think about all these years later.
This spruce top guitar from 1979 is from the era when he was rapidly establishing himself as America's premier classical guitar maker. It is similar in design to the famous Barrueco guitar that really put him on the map. Its voice is powerful and musical with great weight to the fundamentals. The color palette is impressive as is how good it feels in your hands (at least mine anyways!). Projection is superb as is the condition. A few details that set this one apart from others I have encountered is the V joint headstock (perfectly executed, of course) and the abalone tie block which is a beautiful touch and restrained enough to offset the bling of the shell.
Made from spruce and Brazilian rosewood, there are no cracks or repairs. The finish is in amazing condition yet it has the sound of a guitar that has been well loved and played for years. 660 scale length like so many of that era yet still easy to play and a joy to hold. I love this guitar.
Price 12,000 USD
2015 Aaron Green Cypress Classical
This 2015 Green is a spruce top classical of a design that I regularly utilize on many rosewood classical guitars. Without implying any kind of specificity, the top bracing is more aligned and inspired by the work of Daniel Friederich than any flamenco guitar design I am aware of. While there are physical components that can be said to be inspired by his approach to bracing, this alignment is also very much found in the way the guitar works with itself, something not easily discernible from physical inspection.
I have always had a great love of cypress as a material and have also felt its designation as a wood for flamenco guitars solely to be a huge loss for the classical guitar. In my own work, I would say that the lighter weight and more compliant cypress gives a lyrical, singing nature to the trebles while also being lightning-fast with great clarity and separation. loud and projecting, the notes are complex and weighty with disciplined and well-constructed harmonic overtones. Less than it would be new and without the multiyear wait Excellent condition
YouTube:
Bach - Sarabande from Cello Suite I
Price-11,000 USD
1991 Manuel Contreras
I am delighted to have such a lovely example of the work of Manuel Contreras, senior. I have been fortunate to have a few of his guitars over the years. One was in for a massive restoration. The other was a really beat up flamenco from the early 70's that, in spite of it's sorry condition, still was able to turn heads with its prodigious and excellent sound.
All of that is to say this, of the Madrid ex Ramirez builders, Manuel Contreras may be my favorite for the incredible soul his guitars seem to possess. I don't think I've ever played one that didn't have this quality so it seems worthy to mention it as an inherent component of their sound. From everything I've been told, it sounds like a natural extension of the man himself. I never met Contreras senior but I am lucky enough to have met his son Pablo (RIP) on two occasions in Madrid. The first was in 1996 on a guitarmaking/wood hunting trip with a great friend and colleague Charles Vega (also RIP). We went into Contreras' shop and upon learning that we were guitarmakers, he rolled out the red carpet, spent hours with us and directed us to a wood vendor he was friendly with. Five years later I walked into his shop again and he immediately recognized and remembered me. So off we went to a local tavern. He wouldn't let me pay either. He was just like that and from all I have heard, his father was too. As a luthier myself, I firmly believe we all put ourselves in our work which naturally includes the sound.
This particular Contreras is gorgeous. Masterful workmanship and truly masterful materials. The condition is as new and, with a 650 scale length, this guitar is easier on the hands than many of the Madrid school instruments. The sound is firm and clear with great weight and ease of sound production. It has that gorgeous Spanish bloom yet the separation of voices and precision of tone leaves nothing to be desired.
A handmade signed Contreras is a truly world class instrument and well worth anyone's time to get to know. I also think these days they represent a great bargain in the guitar world and harken back to a time where soul was the hallmark of a great guitar. In my humble opinion this is a quality the guitar world would be well advised to retain.
Price-10,500 USD
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1972 Manuel Contreras
A fantastic example from the height of Spanish guitar-making, from one of the absolute finest ex-pats of the Ramirez workshop. In well-loved but otherwise excellent condition, Big, projecting voice and easy to play, this instrument offers compelling evidence as to why the guitars of the Madrid school were the de rigueur of the classical guitar in the 1970's.
Price-7,500 USD
2019 Walter Verreydt
A maker that, until recently I was not acquainted with with, this is a most impressive Hauser-esque instrument with powerful trebles and full basses. Responsive and even its super light in your hands which is an attribute that I always like in a guitar, you can feel the guitar vibrating as you play it. This is an instrument whose value exceeds its price for sure.
Price-14,000 USD
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.
Youtube:
Price-12,000 USD
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1978 Ramirez
A great cedar Ramirez from their heyday as the most important and in demand guitars in the world. This one has been a real player's guitar and it sounds like it. Big and open with lots of power and clarity. There is one very well-repaired hairline crack in the back (repaired in the 1980's by Frank Hasselbacher) which is a non-issue as far as i am concerned. Other than that it shows the usual playing dings and scratches but nothing that even comes close to disregard. A well loved instrument and one who's value far exceeds the price.
Price-6500 USD
2009 José Oribe
This lovely guitar by Jose Oribe is the first by this maker I have encountered. I've known of him since the beginning of my career thanks to an article on soundboard selection he wrote for the Luthier's Mercantile catalog in the mid-1980's. But somehow his guitars have evaded me until now. This is a powerful and compelling example of the Madrid school so popular during the formative years of his career with no small amount of what I'd call the California school, which he is certainly one of the founders of. Besides the horsepower, this instrument is impressive in its evenness of response with great sustain and a voice that perfectly straddles the two regions I mentioned. A bigger guitar, it is a 664 scale but certainly does not feel unwieldy at all. I tend to regard scale length as a bit over-emphasised when it comes to questions of playability and would certainly advocate that one keep an open mind as there is a myriad of components that go into what makes a guitar sound and feel the way it does.
Materials are gorgeous cedar with perfect Brazilian rosewood back and sides, no repairs or issues, and finished in a beautiful French polish of shellac.
Price-14,000 USD
2010 José Oribe
This lovely guitar by José Oribe is now the second by this maker I have encountered. I've known of him since the beginning of my career thanks to an article on soundboard selection he wrote for the Luthier's Mercantile catalog in the mid-1980's. But somehow his guitars have evaded me until recently. Everything I have said about the 2009 Oribe applies to this 2010 example. And that is- This is a powerful and compelling example of the Madrid school so popular during the formative years of his career with no small amount of what I'd call the California school, which he is certainly one of the founders of. Besides the horsepower, this instrument is impressive in its evenness of response with great sustain and a voice that perfectly straddles the two regions I mentioned. A bigger guitar, it is a 664 scale but certainly does not feel unwieldy at all. I tend to regard scale length as a bit over-emphasised when it comes to questions of playability and would certainly advocate that one keep an open mind as there is a myriad of components that go into what makes a guitar sound and feel the way it does.
Materials are gorgeous cedar with perfect Brazilian rosewood back and sides, no repairs or issues, and finished in a beautiful French polish of shellac.
Price-14,000 USD
1991 Paul Daniel McGill
A fine guitar with a big voice and is easy to play. An under-the-saddle pickup system makes this an ideal gigging guitar and a real bargain whose value far exceeds the price. Lovely materials and well constructed there is nothing I don't like about this guitar. It was also owned by a dear and dearly missed client of mine who regularly performed on this guitar.
Price-7000 USD
1979 Augustine
The guitars of Frank Haselbacher, built under the Augustine name, were very much ahead of their time and place. Simply put, this guy was a masterful builder and his instruments, when you can find them, are always worth looking into. They just don't come around often. He was located in Connecticut and since I am in Massachusetts it is kind of telling that in 32 years I've only seen a couple and those were in need of minor repair work and I never had one to represent for sale.
Until now. This instrument was bought new by the owner from Mr. Haselbacher and made from his finest woods. Honestly, I've never seen one that didn't have textbook-perfect materials. Sonically it's beautifully open and mature with tons of life to it. Balance and color in equal measure. Workmanship and design is masterful, resulting in an instrument that is both completely solid, free from issues, light as a feather and responsive as can be. Insofar as comparable colleagues, I'd say the only U.S builder of his generation who fits that bill is Manuel Velaquez. There is a lot about this guitar that reminds me of Velaquez at his best but the sound is definitely his own. I would have very much liked to have met him but short of that I am honored to represent one of his guitars.
Price-6,500 USD
1985 Thomas Humphrey
When I consider the entire oeuvre of Tom Humphrey I must admit that my absolute favorite guitars have always been the period right before he launched his famous, career defining and guitar world changing design known as the Millennium.
As great and innovative as those guitars are (and check out the gorgeous 1995 example listed on the SOLD page) I simply adore the more traditional yet throughly "Humphrey" guitars he was making in the mid 1980s. This one being my favorite thus far. One thing about Tom's guitars that have been well proven by the passage of time is that they are built for the long haul. His work would generally fall under the "bold stroke" category (as the violin folks like to call such workmanship), but the tenacity of his guitars is beyond argument. They really, really hang in there and that is quite an accomplishment.
This guitar is made of the most stunning materials and, like other examples from this era I've handled, shows a four piece top. Tom had acquired a bunch of spruce from the Steinway Piano factory and, never being one scared of going against convention, saw no reason not to use a multi piece top. Ahead of the curve? Always, but at the same time and in this regard he was following the footsteps of other luthiers such as, you know, Torres.
Playing this guitar is like driving a classic muscle car, say a 60's GTO. It's got so much power and presence but it's more like endless torque you can access than a jumpy modern guitar that spits out sound at the lightest touch. The first string really sings and is quite even and full. The basses thunder and the projection is remarkable. Clarity and weight abound. For me, this is as good as it ever got in Humphrey.
Price-14,000 USD
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1965 Irving Sloane
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