BROWSE OUR COLLECTION OF SOLD VINTAGE CLASSICAL GUITARS

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1927 HAUSER

A wonderful and somewhat early example of Hauser in the Spanish model.  This guitar confirmed for me that the genius of Hauser was present from the beginning. To be fair, in 1927 Hauser was not a new builder but rather he was expanding beyond the Viennese guitar model he always built.  This guitar is an extremely successful example of his ability to work within the Spanish design and established all the qualities he is known for, from the very beginning.

Besides its physical beauty and wonderful preservation, this guitar has the sound that made Hauser so famous and his guitars so desired.  Once again, the notes are dense and complex, without being ponderous.  The attack is lightning fast but the weight and depth of the notes behind are equally extraordinary.    The first string is powerful and even, singing and lyrical.  That actually took me by surprise as I was expecting a bit of a dialed-back first string due to its age (within Hauser's oeuvre) and the materials.  But no, the first string is literally on fire and leaves nothing to be desired.

The condition and structural integrity are amazing.  The material choices are, as usual, beyond any criticism and the guitar plays like a dream.  I generally am not a fan of maple guitars but this one has made me a real believer.

YouTube:

Isabel by Tarrega

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1992 Ober/Blochinger ex Pepe Romero

A magnificent instrument by two of the greatest builders of traditional design guitars in Germany.   I was actually unaware that they collaborated on instruments but this guitar is from the place in time when they did.  It has a fascinating blend of both the German (Hauser) and Torres sound.  The clarity, separation and complexity are definitely in line with Hauser while the life, depth, beauty and for lack of a better word, friendliness of the guitar's voice and response definitely makes me think of Torres.  The basses are deep and the trebles sing out beautifully.  And if you are looking for a guitar with a broad color palette, this is well worth your time to check out.

I was speaking with my friend and colleague Pepe Romero jr. and he asked me if I'd be interested in representing this guitar.  He told me it belonged to his father first, then it became his.  He told me that it is a guitar they both hold in the highest estimation.  Not that I had any doubts, given all the people involved (builders and players) but I was delighted when I got a chance to play it for myself. 

Impeccable materials and workmanship and it plays like a dream and has just a touch of provenance.  And then there is its glorious voice.   Definitely, a guitar whose value far exceeds the price.

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1980 David Rubio

David Rubio is a maker whose career spanned four decades and had a profound impact on the world of the classical guitar. In my opinion, his guitars are among the greatest kept secrets in vintage guitars although there has been a renewed interest in his work, and for good reason. His most famous time period was in the mid 60's when he worked in NYC and built the guitar that Julian Bream would use for his masterpiece, 20th Century Guitar. A little later on, Rubio would move back to England, building early music instruments and violin family instruments as well as guitars. In his workshop he founded what amounted to an instrument maker's collective and helped establish a vibrant guitarmaking tradition in England. In many ways, the New York City guitarmaking tradition owes a large debt to his work as well. I can see echoes of his hand and aesthetic in the guitars of Gurian and Humphrey. 

This particular guitar from 1980 is a beautiful example of his post-NYC years. Very precise in construction and sound, it has a pianistic quality in its response and eveness. It has a clear bell-like tone with a broad tonal palette, strong fundamentals and singing overtones. It doesn't require a heavy hand (at all) but certainly can stand up to strong playing without breaking up. For the player and/or collector, this is a great example from a significant figure in the history of the guitar.

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1986 José Romanillos

A beautifully alive and powerful guitar from Maestro José Romanillos. The 600 series, which is the model designation of this guitar, is the largest body size and depth I've seen from this maker. The resultant sound is quite powerful and reminiscent of other guitars that size, such as Friederich, yet the lyrical nature so representative of Romanillos guitars is still very much present. The first string is quite powerful and singing. The sustain in particular is extraordinary, as is the projection, which does not diminish as you play softly. Even at a whisper, the sound carries. This elusive quality may be why such a dynamic and musical guitarist as Julian Bream favored Romanillos guitars.

It is always inspiring to me as a builder to have the opportunity to study multiple guitars built over the career of an iconic maker. If nothing else, it informs of the ongoing quest of all luthiers: the attempt to realize the ideal sound one imagines, to take the abstract and bring it into reality.

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YouTube:
Caprice No 2 by Luigi Legnani

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1948 HAUSER SEGOVIA MODEL

In the world of collectible and desirable guitars, Hauser I sits pretty much at the top and this particular guitar from 1948 is among the most glorious Hauser that I have yet had the pleasure of representing.

The consistency of Hauser I guitars is utterly remarkable and yet the evolution and the character of each individual instrument makes them all unique gems. This guitar has the evenness of response and complexity to its voice that is a hallmark of Hauser I guitars. However, what I find unique to this guitar is the expansive tone palette and flexibility of color that this guitar possesses beyond any other Hauser I have yet encountered. Or any other guitar for that matter. It is so flexible in this regard, with such color available, it seems that all you have to do is think it and the guitar responds. The power and projection are remarkable, the first string in particular sings out with great presence and beauty. The basses are deep and clear with perfect balance across the board.

This is also among the cleanest Hausers I have had the pleasure of representing. The structural integrity is astounding, the soundboard shows no distortion at all and as expected, the material choices leave nothing to be desired. One of these days I will have one of these guitars for myself and, if this were the one, I would be a very happy man indeed

Francisco Tárrega - Isabel

Francisco Tárrega - Adelita

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1958 Manuel Velazquez ex Wallace

This Velazquez is a guitar I first met about 20 years ago when Frank Wallace showed it to me, just prior to sending it off to Velazquez to have him restore the guitar. It was in less than stellar condition at the time but when he got it back, I marveled at the caliber of the restoration as much as I did the caliber of it's sound.

This Guitar was always important to Frank, not only for its beauty of sound but the connection with Maestro Velazquez that he had. My connection with Frank was one of the great friendships and partnerships of my life. As such, representing a guitar that meant so much to him and a Velazquez of my favorite vintage is a great honor.

The top has a splice in it from the original wood that Velazquez held onto for 40 years. As such, the match between the splice and the top is flawless and is still in perfect structural shape. There are no repairs to the back and sides. Sonically this guitar is utterly alive with a very powerful response, huge dynamic range and a quality to it's voice that is pure Velazquez. I am always amazed at how beautiful and soulful his guitars are and yet they can go toe to toe with just about anything out there. I could go on about the sound but, thankfully, I have Frank Wallace playing the guitar here and it speaks for itself very well as is.

YouTube:
Frank Wallace - Cuna - Mompou

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1964 FLETA EX WALLACE

Of all the guitars I've represented in my career, this is the one with the most personal meaning. When I first met Frank Wallace in 1995, this Fleta was one of the first truly great, famous Spanish guitars I got to examine. It has been his companion for all that time while other guitars have come and gone. When I think of Frank's sound and incredible expressive musicality, this guitar more than any of them, encapsulates that. And for that, all credit belongs to Frank.

My personal preference when it comes to Fleta guitars, are for the spruce models from (so far) first half of the 1960's. My reason is they tend to possess more of a "spruce" quality than later examples and often do not possess the more nasal quality I associate with later Fletas. As with all great guitars, the qualities of tone are quite malleable. In the hands of a virtuoso with a clear sense of musical intent and dynamics, they become so much more for that kind of treatment. 

This guitar has been re-restored by Karl Franks and myself about 7 years ago. The original finish had been removed (probably to facilitate the then existing repairs) although the original wood was not touched under the finish. I repolished the guitar in a french polish of shellac which is not exactly as it was originally, making it far easier for the next repair person to deal with. Fleta's original varnish was alcohol and shellac based with all sorts of adulterants added, ostensibly to allow for ease of varnishing. They are often rather opaque and full of crackle. I might add extremely difficult to match. We've done it in the past, albeit with 50 samples of varnish created to replicate the color shift, opacity and crackle. That being said, it is very common to find Fleta guitars that have been refinished, exactly for the reason that it is not a finish that is easily dealt with. 

Structurally speaking, this guitar is in excellent shape. The soundboard is totally stable with generations of life in it. The neck is perfect as is the action. Sonically it is the best I've played. There is a reason that Frank loved this guitar so and in his hands it only got better. The first string sings out beautifully. It is powerful and refined with great color and clarity. The basses thunder when asked but are in perfect balance with the trebles. You don't have to take my word for it though, there are many recordings of Frank with this instrument, including a beautiful meditation he recorded literally a week before he passed away. 

I could go on and on about how much this guitar and Frank mean to me. It is extremely bittersweet to offer this instrument. I am proud of the work we did to realize it's full potential. I am delighted to have such a stellar and important instrument in my inventory. I am heartbroken at the loss of my dear friend and collaborator and I wish I could keep this one for myself. Barring that I will honor my friend so that his beloved companion finds a good home and appreciative hands. 


YouTube:

Film Scores II and III - On Seine and Anoushka by Frank A. Wallace

Sweet Enigma by Frank Wallace

Facebook:

Meditation by Frank Wallace

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1931 HAUSER EX MOYSE EX WALLACE

If you want a real player's Hauser that can satisfy the most discriminating ear (because it's been the companion of such an ear for decades) then this represents the best value in a Hauser I've had yet. The provenance of this guitar is as incredible as its sound. Originally built for a 20th century musical icon Blanche Moyse who, at the time, was a student of Segovia. Ms. Moyse is a figure well worth investigating but let's just say she left a large mark on classical music and moved in some pretty rarified circles. Of course, she had a fantastic guitar. My dear friend and collaborator Frank Wallace purchased this instrument about 20 years ago, right after it was restored by Hauser III. Mr. Wallace has recorded albums with this instrument and I can attest to his tremendous ability to help any guitar realize its full potential. 

This magnificent instrument predates the official "Segovia" model designation but is clearly not a Llobet model, so the most appropriate designation would be a Segovia model. As I have mentioned before in other Hauser listings, the work of Hauser I always impresses me with his sonic consistency, and yet, the design of every single one I've had has always been a variation on a theme. This one is no exception.

If I were to describe this instrument's sound, it has the balance and nobility of the greatest Hausers while also possessing a friendly, warmer response than many. I would say that its sound is more "Spanish" in that regard. While there is no shortage of sonic possibilities for the most masterful of guitarists, it is not as demanding as some for the rest of us mere mortals. The first string sings beautifully, the basses are full and rich and this guitar is just a lot of fun to play. 

Regarding the aforementioned restoration by Hauser III, this guitar is obviously not untouched and, as such, the price is reflective of that. The work was masterfully done with the greatest attention to detail. This guitar has generations of life in it and should be viewed as a guitar that great musicians felt was worthy of constant use. In the violin world they charge a premium for that; the guitar world has not quite caught up to that realization in value. It is what it is and, for those with ears that hear, I am proud and honored to represent such a guitar.


YouTube:

Suite Compostelana by Mompou | performed by Frank Wallace

A Heavy Sleep by Frank Wallace

In Concert Tribute to Segovia by Frank Wallace

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1939 Hauser Llobet

Twice blessed with another phenomenal Hauser I Llobet model. This example was built in Munich workshop prior to Hauser's relocating to Reisbach Vils. This instrument is also unique in my experience with Hauser Llobet models as it is fit with a tornavoz, made of sterling silver. I have been told of others but they have yet to pass through my hands. The Hauser Llobet model was based on a Torres known as FE05, owned by Miguel Llobet. The Torres original is fitted with a tornavoz as well but Hauser altered this feature in a few ways to suit his better intentions and sense of design and acoustics.

In stunningly beautiful condition this guitar has an angelic, lyrical voice. The complexity and balance that so typifies Hauser Senior's best work is amply present. This guitar does not sound like it has a tornavoz to my ear at all, which generally reinforces the bass response of an instrument. Like anything else, it's all in how you do it and in this case the guitar projects like few others, has a surprising amount of horsepower, a powerful and present first string and is a joy to play. Rather than cover the same ground as the 1947 Llobet model also in stock, both instruments are unique in their own way and beyond any comparison. I'd love to keep them both!

YouTube:
Frank Wallace - Shaker's Dance

FrankWallace - Thumb Songs from Sketches

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1940 HAUSER

An utterly magnificent Hauser in every way. This one didn't hang around for very long. It sold to a delightful client who I know is providing the best home a guitar could want. As happy as I am for them both, I am also glad to have these photos and video for posterity. Soon to be featured in an article in Fretboard Journal along with the 1947 Llobet model I am currently offering.

Of all the Hauser guitars I've had the pleasure to represent, this one is probably the Hauser-est of them all. In that, I mean the stereotypical sound and response that is associated with Hauser. Very classical and refined in tone, unbelievably broad tonal palette, controlled response and yet utterly alive. This guitar exudes balance in all things. No component of it's voice is out of balance with any other and that is no small trick. My use of the word stereotypical is intentional because in my experience with Hauser I guitars, they rarely sound the same, in fact the one thing that is a consistent in his sound is the incredibly refined and complex tone these guitars possess. The more I come into contact with Hauser's work, the more I admire that which he was able to achieve and the great style with which he did it.



YouTube:
Frank Wallace - Romanza - Mertz

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1953 Hauser

Interestingly enough, almost all the Hauser II guitars I have represented for sale have been from 1959.  Which was a very good year for Hauser II.  Hauser I passed away in 1952 and until now these were the earliest examples of Hauser II's guitars I had examined.  While they undoubtedly were in line with the work of his father, they already showed some design innovations that were his own.  This example from 1953 demonstrates a very interesting and compelling point in his career; the very beginning.  Now it would be untrue to refer to Hauser II as a new builder in terms of his capacity and capabilities but it would be accurate to call him that in regards to his being the head of the workshop.   But there is no argument that he was already a fully realized builder capable of producing instruments on the same level as his father.  

This instrument is exactly in keeping, design-wise, with a 1952 Hauser I that I examined some years ago. Fittingly, I have not encountered a Hauser II that was more socially like the work of Hauser I.  It has the complexity, balance, and tonal palette that is the hallmark of Hauser guitars at their best.  It also has a glorious hazelficte spruce top that matches the 1947 Hauser I ex-Dr. Cecil whom I most recently represented.  Interestingly enough in correspondence with luthier Gerhard Oldiges, he sent me a picture of a 1940 Hauser he was familiar with that once again, had a top of what most definitely appears to be the same top wood.  While it is absolutely to be expected that Hauser II's materials would be inherited from his father, this seems to me to be the spruce that Hauser I considered among his most rarefied.  The sound of this Hauser II certainly gives a compelling argument in support of that.

Structurally this guitar is completely sound and has generations of life in it.  However, as is common for instruments used as intended, this 71-year-old gem has had some work along the way.  The top center seam has been repaired and is sound.  The finish has also been augmented as Hauser II was an early proponent of nitrocellous lacquer which always, in this vintage, shows a great deal of crazing (cracks in the finish) due to the nature of nitrocellous.  It appears now as it did when a much newer guitar meaning someone redid the lacquer.  Most importantly though, it does not appear to me that the wood underneath has not been disturbed.  Ultimately that is the difference that makes all the difference.  I believe the fingerboard is a replacement but also is done at the highest level in keeping with the standards of Hauser II

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YouTube:

Isabel performed by Christopher Ladd

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1959 Hauser

This is the fourth Hauser from 1959 that I've had the opportunity to represent. Which is pretty remarkable indeed. Although I will also say, as remarkable as that is, the guitar itself is far more so. I was so impressed with it, that when it arrived, I called a dear friend who is one of my best clients, told him about it and it was sold.

However, the guitar needed some help before I could send it off. The neck had pulled forward rather dramatically because the frets (which were replacements) were far too loose in the slots. Thankfully, the fingerboard itself did not appear to have been altered at all and, once the frets were removed, it was obvious that the slots themselves were simply blown out. The neck was pretty much straight once the string tension was removed. The path forward was clear albeit extremely tedious and time consuming. I hand fit ebony pieces into the slots and, after they were glued, I recut the slots. When I installed the frets I introduced a slight backbow to the treble side of the board. Since I had created a very slight amount of relief to the bass, the bass side ended up dead straight. Once the strings were on, the tension pulled the neck into exactly what I wanted: dead straight on the treble with a very slight amount of relief on the bass. And the guitar now plays like a dream.

The more I get exposed to the guitars of Hauser I and II, the more I appreciate their genius. These guitars are a paradigm of balance. Not just in their response but within the voice itself. All the qualities of their voices in equal measure. This is an incredible accomplishment and I am truly grateful for the example they set. As well as for the insight I have gained in studying them as I integrate all that into my own instruments. Which is how it should be.

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1964 Robert Bouchet

The guitars of Robert Bouchet are among the most highly coveted by collectors and players alike. This example is from his absolute prime and is in pristine condition. Bouchet represents the first real “super guitar” design and established him as one of the first truly great builders outside of Spain.

This guitar has incredible response, it is fast as can be yet the notes have great weight and depth to them. The clarity and eveness of the voices is perfect for counterpoint but without sacrificing the beautiful and perfectly balanced overtones and bloom to the notes as they decay. The sustain is remarkable, which is a hallmark of the best of Bouchet's work. What's more impressive than all of this, to me anyways, is the amount of life this guitar has in it. As you play you can feel it coming into it's own as it gets louder and more responsive.

I have always admired the work of this luthier, very unique and almost iconoclastic in some ways, elegant without being overly fussy. There are few luthiers whose “hand” is so identifiable as that of Bouchet. He was a truly inspired master as this instrument so eloquently demonstrates.


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YouYube:
Frank Wallace - Villa Lobos - Prelude #3

Jonas Kublickas - Barrios - Vals #4  

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1965 ROBERT BOUCHET

“Another fantastic Bouchet from his best vintage. This guitar is quite possibly the easiest playing guitar I've ever had in my hands. It's ridiculous how comfortable it is, prompting one client of mine to remark ‘It pretty much plays itself.’ "

Sonically this is classic Bouchet, deep and rich voice with notable sustain and projection. A velvety response more than one with a sharp edge to the notes, it speaks easily, quickly with a minimum of effort. Bouchet's are in my opinion, one of the first real "super guitars" and as such I have a real soft spot in my heart for this builder. Given his rather modest output, he achieved an enviable reputation that at the end of the day, was well earned.

This guitar has had some repair work, repaired cracks that qualify as the finest crack repair work I've yet encountered. The cracks are only really visible in a low raking light and will present no further problem. Not all cracks are created (nor repaired) equal and as a builder and restorationist I am quite impressed to say the least.

YouTube:
Frank Wallace - Villa Lobos - Prelude #1

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1975 JOSÉ ROMANILLOS

It is no secret I am a huge fan of José Romanillos. His work encapsulates all that I love about the classical guitar as does the recorded legacy of his biggest champion, Julian Bream. This particular instrument from 1975 is of the legendary 500 series, which also produced Bream's 1973 guitar. The interior construction is very similar to Bream's and as such the sound and tonal palette demonstrate why such a player as he would find these guitars so compelling. 

This instrument is in excellent condition with some french polish touch up that I recently conducted to bring the guitar up to a state of preservation befitting of it's excellence. There is one very small (2 inch long) hairline in the top, which I believe was present in the top itself from the beginning. There is no sign of any repairs and since this small fissure doesn't "breathe" (i.e., isn't open), it appears to me to be neither a crack nor does it present any kind of future issue. As a builder myself, this exact same thing has happened to me, once about 20 years ago. In that case, like this, nothing ever came of it. The soundboard overall is in remarkable preservation with almost no distortion. A very well cut piece of Swiss spruce, I'd be happy with a room full of this wood myself. 

This guitar plays beautifully and is wonderfully even in its response. The projection is most impressive as is the sustain. It has a lot of "Hauser"-like clarity and complexity, with a more sultry, Spanish voice. This particular series of guitars comes from Romanillos study of Hauser who, of course, was studying Torres. In many ways Romanillos represents a full circle coming back to Torres; a Spanish genius, informed by a German genius, who was informed by a Spanish genius. As a lineage goes, that is hard to beat. A truly great instrument for the player and collector alike. 

YouTube:
FrankWallace - Friends Part 2

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1976 José Romanillos

I am delighted to offer yet another exquisite Romanillos from his most desirable vintage and in an almost unheard of condition that can only be described as "utterly pristine". As notable as that is, the sound of this guitar is what stands out first and foremost. Romanillos guitars made a believer of Julian Bream (among others) and this one will make one of you too.

According to correspondence with Romanillos, this guitar is more closely based on the guitars of Torres, rather than Hauser as typified by some of the guitars of this vintage. I would say that, for me, Romanillos manages to incorporate the very best of both makers and creates a unique voice all his own, standing firmly shoulder to shoulder with them. These guitars are all but unobtainable especially in this vintage and condition and it is a great honor to have such a guitar to offer. As a builder myself, I am paying very close attention to how this guitar functions.

The beauty of Romanillos' work is that he manages to have an elegant and enlightened aesthetic that demonstrates his hand as clearly as a signature. His guitars do not appear belabored, executed with great style and confidence. Sonically, this instrument has gloriously beautiful trebles that sing with impressive sustain and evenness of response. The basses are firm and present with great weight and clarity at the same time. A magnificent concert guitar by any standard and one of the most collectible instruments in the world.


SOLD

YouTube:
Frank Wallace - Villa Lobos - Prelude #3

Frank Wallace - Wallace - Two From Fünf Kleine Stücke

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1976 José Romanillos 2

From time to time a guitar comes along that (for me) stands as one of the all time greats. This is such a guitar and, what is a little surprising for me, is that the other Romanillos also in this category is the other 1976 example I had earlier in 2019. This guitar (and the other ‘76) are of his 300 series, and based on Torres. The more celebrated Romanillos series from the 1970s is his 500 series, based on Hauser and made famous by Julian Bream. Be that as it may, I've never played any others that sounded more like the Bream guitar we hear in the recordings. This particular guitar has the power and projection, speed of attack and incredible vitality of a world class concert guitar. It also has the beauty of tone, broad palette and, frankly, magic of a once in a lifetime kind of guitar. 

This instrument was the concert companion of the great guitarist, Christophe Dejour. Mr. Dejour contacted me to see if I'd like to represent his guitar for him and I was honored and delighted to do so. I fell in love with this guitar like few others and was confident it would quickly find a good home. As it was, it sold before I could get it listed. I am putting it up here as a testament to Romanillos at his best. Thankfully the new owner is now a good friend and is close enough to me that I can visit with this inspired masterpiece from time to time.

YouTube:
Frank Wallace - Heitor Villa-Lobos - Prelude #3

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1983 José Romanillos

I have been blessed as a luthier and dealer to have the opportunity to study and represent some incredible guitars by Maestro Romanillos. This particular example from 1983 stands among the best. It is stunningly beautiful in sound and response, utterly pristine in condition and demonstrates some of the most exquisite and elegant marquetry for which this maker is legendary. Rarely available, these instruments are notoriously hard to come by especially in this state of preservation.

The sound of the guitar is both lyrical and solid with beautifully firm basses and full trebles. The voice is both feminine and projecting which lends to the singing qualities of the first string in particular. Easy to play, this guitar is almost effortless in the tone color department, having such a broad palette it is easy to get lost in the sonic possibilities. It is also quite even which is no small feat. I often find that evenness and expansive tone palette are not mutually agreeable qualities in lesser guitars.

For those unaware, Romanillos utilized different body sizes and shapes over the course of his career. In my experience with his guitars, this is a medium sized instrument moving towards the smaller shapes of the earlier 70s. It is relatively narrow in its depth, like the 70s guitars I've examined. As such, the inherent voice is eerily similar to a client's 1975 Romanillos with which I am quite familiar.


YouTube:
Frank Wallace - Plany - Miguel Llobet

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1986 José Romanillos

A beautifully alive and powerful guitar from Maestro José Romanillos. And one that sold in a matter of hours. This particular example is unique in my experience as the largest body size and depth I've seen from this maker. The resultant sound is quite powerful and reminiscent of other guitars that size, such as Friederich, yet the lyrical nature so representative of Romanillos guitars is still very much present. The sustain in particular is extraordinary, as is the projection, which does not diminish as you play softly. Even at a whisper, the sound carries. This elusive quality may be why such a dynamic and musical guitarist as Julian Bream favored Romanillos guitars.

It is always inspiring to me as a builder to have the opportunity to study multiple guitars built over the career of an iconic maker. If nothing else, it informs of the ongoing quest of all luthiers; the attempt to realize the ideal sound one imagines, to take the abstract and bring it into reality.

YouTube:
Frank Wallace - Musingly - 1st variation of Nocturnal by Britten

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1927 Francisco Simplicio

My career as a guitar dealer stems from my active study of the work of the great luthiers who came before me; simply to inform myself in my own work as a luthier. The guitars of Francisco Simplicio to this day still strike me with the same sense of awe and "how on earth did he do that?" Which, in a guitar like this, was most assuredly the intent of the builder.

Impressive woodworking chops aside, the real challenge is always one of design. It's easy to cram a bunch of fancy onto an instrument. However to do so in such a way that the overall remains harmonious and appears to be "as it should be" is not. Especially with a gold leaf encrusted Muse and Lyre carved into the ebony headstock with inlayed mosaic and pearl around the tuning slots. The elegance of the details can not be overstated. Look at the gorgeous flechette (herringbone) purflings. This instrument is a masterclass in refinement.

This guitar is not only the most ornate Simplicio I've handled it is also the most pristine. Sonically it is my favorite of this style (Cuban mahogany fitted with a tornavoz). The tornavoz is a cylinder that is attached to the top around the soundhole, extending almost to the back of the guitar. Sonically I find they add (in these Simplicio models) a rather velvety and diffuse quality to the voice. While the tone of this guitar is indeed velvet-like; the clarity, especially in the trebles, leaves nothing to be desired. A joy to play, the response is immediate and the projection is impressive. There is a lot more to this guitar than just good looks and it is, in my opinion, an incomparable gem.


YouTube:
Frank Wallace - Lágrima - Tárrega

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1960 MANUEL VELAZQUEZ

I've represented a lot of Velazquez guitars in my career and have a soft spot in my heart for his work. Besides being the first truly world class classical guitar maker in the U.S, he was incredibly prolific and held up the highest standards in his work. While I never met the man, from all accounts he was an absolute gentleman.

This 1960 Velazquez comes from a one owner family. The original owner (now passed) ordered this guitar and picked it up from Velazquez, played it until the end of his days and it passed to his son some years ago. The owner's regard for this guitar shows; it has always been cherished and meticulously maintained. It features some of the finest materials I've ever laid eyes on and is in perfect condition. Sonically this is Velazquez at his best, rich and soulful with clarity and a present, singing first string. I must admit that I am very fond of this vintage in his work, which was perhaps the closest to the original Hauser ideal from which he took such inspiration. A great instrument for the player or collector from one of the best luthiers ever. And at a price that is a bargain for such quality.


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1971 Manuel Velazquez

You don't need to be a luthier to be impressed by the guitars of Manuel Velazquez but it certainly helps with the appreciation of what he achieved. Besides a rather impressive output and one of the longest sustained careers in guitarmaking, the caliber and value of his guitars well exceed their current price point. These instruments have soul. They are beautiful and they are definitely built to last. 

At this point I've lost count of how many of his guitars I've examined, worked on, sold or just enjoyed while being played by a fine guitarist. That being said, every now and then one comes along that surprises me and makes me wish it was my very own. This example from 1971 is such a guitar. 

Physical beauty aside (look at that top though!) this guitar is a cannon with the most "Spanish" voice of any Velazquez I can recall. It is absolutely alive and open with a flamenco like response. The weight and depth of the voice and the color palette available is a hallmark of Velazquez guitars. Balance and sustain are excellent. This isn't just a good Velazquez, it's a sensational one and it will delight any concert artist, aficionado or collector.

The top is a glorious piece of bear claw figured European spruce with a beautiful sun tan color. The back and sides are a material that I have not been able to identify with 100% certainty. My best guess is Morado but thats not entirely satisfactory to me. The picture simply does not do it justice. The back and sides have a refractive quality that can't be called figure, like flame or quilt but stunning nonetheless. Being a luthier, of course, I tapped on the back to see how it responds and my take away is I don't care at all what it is; I'd use it myself in a heartbeat. It rings like a bell which certainly helps explain the guitar's sonic excellence. The weight of the guitar in your hands is delightful, very nicely balanced and light.  

This guitar has been well played and for good reason indeed. It shows a fair amount of playing wear but is entirely free of cracks or any structural concerns at all. The neck is nice and straight, action is fantastic and it plays like a dream. I consider this a great bargain and a guitar to take a run with.

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1975 Manuel Velazquez

I am a huge fan of the work of legendary luthier Manuel Velazquez. I have probably handled more guitars by this maker than any other maker I've represented and I am always delighted to get another. This particular example is a one owner guitar, purchased new from the Maestro himself. The condition is near mint with no repairs. Sonically it's what you expect from Velazquez, sweet singing trebles, gorgeous bloom to the notes and an evenness of response that leaves nothing to be desired. All that with a good bit more volume and projection than you normally find from this maker. Remarkably easy to play as well. Very impressive and concert worthy it is also a fine addition to any collection. For the curious who are familiar with his work from the era, this is not one of his larger Ramirez influenced guitars.


YouTube: 
Frank Wallace - 1975 Manuel Velazquez - Mertz - An die Entfernte

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1949 Hauser Llobet

For a glorious and short amount of time, I had in my shop two of the greatest Hausers ever made. Both from 1949, one Segovia model and this Llobet model. It was without a doubt an embarrassment of riches.

This Llobet model is the second I've represented and, is in many ways, the most unique Hauser I've played. While the Llobet model itself is based on Torres, I've never played one that sounded like anything other than Hauser, except this one. The easiest way to describe it is that it sounds like a Hauser and a Torres had a baby. All the incredibly complex tonal density and utter balance that (for me) defines Hauser senior's sound at it's best, is completely present. This comes along with a more sultry and expansive bloom that is Spanish through and through.

The history of this guitar is worthy of note. Originally made for George Giuisti, the famous graphic illustrator in NYC who lent his immense talents to The Guitar Review, this guitar lived in New York until his passing. Many years ago I encountered two Llobet models in NYC, both from the early 1950s. One of which was Rey de la Torre's. It is easy for me to imagine that Rey saw this guitar and ordered one like it. Which is exactly what I would have done in his place.

The guitar then moved to the most capable hands of Angel Romero and then to the seller I represented (a great and accomplished musician in his own right). Now owned by one of my nearest and dearest friends and clients who traveled no small distance to see the guitar. When it arrived I called him up and said, "If there's ever a Hauser for you, this one is it...but lest you think I'm biased, there's another great Hauser here too for you to try out". As I predicted he opted for the Llobet model although it was far from an easy choice.

Thankfully, Frank Wallace was able to capture this guitar in it's glory and for all posterity. A high point for me in my career as a dealer and a guitar I learned a lot from as a builder

YouTube:
Frank Wallace - Two Catalan Songs

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1978 José Romanillos

In the oeuvre of José Romanillos, guitars from the 1970s period are especially prized. I don't believe that this is due to an apex in his skill or execution but rather this was the time frame he was most closely associated with Julian Bream and it is hard to separate such an influence from the resultant instruments.

This guitar came and went in a matter of days and, as such, is here for posterity. Thankfully there was enough time to get it recorded and photographed.

Leaning more towards the Hauser side of of life, this guitar projects like no other. Completely flexible in tone and impressive in response. Deep and soulful, this guitar sings and waxes poetic. A throughly enjoyable guitar, playing it feels like a lively and engaging conversation. In the development of the classical guitar, Romanillos sits besides Hauser, Bouchet and Torres.

YouTube:
Frank Wallace - Tarrega - Prelude #5

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1949 Hauser Segovia Model

This utterly magnificent Hauser represents his work at it's greatest pinnacle. This instrument has achieved a nearly supernatural degree of balance, not only across the registers but within the notes themselves. It possesses the quality that Julian Bream referred to "refined and distilled"; as if all possible sounds have been reduced to their absolute purest and exist within perfect relationship to each other. The guitar has a modern guitar immediacy and vitality to it's response with powerful and deep response. Volume is the best I've seen out of this maker and the projection is unreal. A perfect Hauser from every possible perspective. This is one I would keep for myself if that were possible. Condition is mint and original with no repairs.


YouTube: 
Frank Wallace - Sagreras - La Ideal 

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1974 Ignacio Fleta

A fantastically alive and powerful cedar top (Indian rosewood back and sides) is an example of this iconic maker's work. Orchestral in response, even up and down the neck while retaining a beautifully singing voice, pianistic without the nasality this kind of instrument sometimes possesses. The notes themselves are weighty and clear, easy to produce while sustaining the fundamental and abundant yet controlled overtones. This particular example may be the easiest playing Fleta I've encountered, perfectly set up with a relaxed inherent string tension (an aspect of how a guitar feels, known as "pulsasion" to the flamenco guitar crowd.)

This guitar has had some work in it's past, all of which was perfectly executed. There are a couple small and completely closed hairline cracks in the face (no splints) and what appears to be a refinished top. None of which affects the musical integrity of the guitar nor the structural integrity for that matter. What it does affect though is the price making this Fleta the very best deal in Fleta I have ever been able to offer. If you have a desire for a Fleta this is not one to be passed by.


YouTube:
Frank Wallace - Two Pieces - Wallace

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1977 Manouk Papazian

I've always had a soft spot in my heart for the guitars of Papazian. One of the pillars of the New York City guitar scene, his work stands pretty much shoulder to shoulder with the other great NYC builder of his time, Manuel Velazquez. At the time of this particular guitar's construction, Papazian guitars were very highly regarded and played by many professional guitarists as diverse as Jeffery Van, Bob Sullivan and the loneliest boy in New York, Paul Simon (yes that Paul Simon). As is often the case when a builder passes from active to historical the guitar world moves on, at least for a little while. In the case of Papazian this was also aided by the shortsale of a number of "factory seconds" a few years ago. None of which affects the quality or viability of this guitar but there you go.

To that end this guitar possess a sweetness of tone you rarely find in other makers, a beautiful and broad tone palette, clarity and separation of voices with lovely and refined overtones. It's not the loudest guitar in the world but it's among the prettiest sounding. Condition is pristine. Unless you are planning on trying to fill Carnagie Hall without amplification, I'd say this represents an excellent value for a wildly under appreciated builder.


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1963 PAPAZIAN

I've always had a soft spot in my heart for the guitars of Papazian. One of the pillars of the New York City guitar scene, his work stands pretty much shoulder to shoulder with the other great NYC builder of his time, Manuel Velazquez. At the time of this particular guitar's construction, Papazian guitars were very highly regarded and played by many professional guitarists as diverse as Jeffery Van, Bob Sullivan, and others. As is often the case when a builder passes from active to historical the guitar world moves on, at least for a little while. In the case of Papazian, this was also aided by the shortsale of a number of "factory seconds" a few years ago. None of which affects the quality or viability of this guitar but there you go.

This is a pretty powerful and most definitely open guitar. The tone is sweet with great color possibilities. The playability is very good and the condition is near mint. This is a compelling guitar whose value far exceeds its price.

YouTube:
Julia Florida by Barrios

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2010 Aaron Green

This particular guitar was a personal favorite of that year's production. A lightweight and responsive classical in European (Swiss to be precise) spruce and perfectly quartered, antique Brazilian rosewood that is simply not found these days. This guitar features an elevated fingerboard as well, although under the hood it's very traditional fan braced design. Sound is Hauser-esque in it's tonal complexity and balance with a lot of Spanish soul and bloom to the notes. Broad tonal palette and very fast response. No cracks or repairs this instrument has been very well taken care of by it's owner, who is no longer playing classical guitar. And it's tons of fun to play as well. Priced to sell this is a significant discount for a guitar of mine in Brazilian.


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1964 Robert Bouchet

One of the most iconic, collectible and rare guitars in the world and this one is from arguably the finest vintage. This is the 4th Bouchet I've had the honor of representing as a dealer, all of which have been from the 1960's actually and I loved every one. This particular example has a darker and deeper tone than many of the Bouchet guitars that feature his proprietary bracing pattern (the ones from the 1950s that I've handled have all been fairly straightforward Torres patterns).

It's easy to see why Bouchet guitars set the guitar world on it's ear. The Bouchet design represents one of the original innovations in the guitar, moving forward from fan bracing. In some ways this design set the stage for the later thin top, lattice designs to come about. This guitar has amazing projection and sustain, even as can be with extremely fast response. Volume is impressive and so is the tonal palette, two characteristics that are often at odds with each other. It is so easy to play as well you have to wonder how Bouchet managed to do it.

Suffice to say, this one didn't hang around very long but as luck would have it, no sooner did this one find it's new home then yet another Bouchet (also from 1964) showed up to fill the void.


SOLD

YouTube:
Jonas Kublickas - 1964 Robert Bouchet - Gaspar Sanz - Canarios

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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 loo

king 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.


SOLD

YouTube:
Jonas Kublickas - 1959 Hauser II - Vals no 4 - Agustin Barrios Mangore

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2002 Andrea Tacchi

Among living makers (next to myself, that is) I consider Andrea Tacchi one of the all time best. His affection for some of the past Masters echos my own while he also is intent on creating his own unique vision within the narrow band of the traditional classical guitar. This Coclea Thucea model is Tacchi's contribution to furthering the design and parameters of what a great classical guitar is. While some of his more recent examples have more avant garde rosettes and aethestics this example is a little more restrained and as such, I am a big fan. The sound is huge with big velvety notes that have all the clarity you could ask for while still melting from one into the next. Extremely easy to play and a joy to behold. Condition is excellent with some minor playing wear and recent touch up to the French polish finish. 


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2005 Andrea Tacchi Coclea

For me as a luthier and dealer, Andrea Tacchi stands at the pinnacle of modern classical guitarmaking, being one of the few living builders I truly admire. His guitars have an aesthetic all their own and a sound that is modern in response and traditional in quality and tonal capabilities – a luthier after my own heart.

This all spruce Coclea is a great example of Andrea's signature model and is in near mint condition. Loud with a huge, easy response, this guitar sings beautifully with an almost piano like eveness and control. A fantastic guitar for the concert artist and or collector.


YouTube:
Frank Wallace - Adelita - Tárrega

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2011 Aaron Green ex Frank Wallace

One of my modern guitars built for my dear friend and collaborator Frank Wallace. Currently Frank has a spruce top guitar on order and decided that he should find a new home for this instrument that has been his companion for the last 5 years. This is one of my modern designs, with a slightly elevated fingerboard and small oval soundports. Very powerful and even, it has a lot of modern attributes in it's immediacy and evenness of sound while maintaining a traditional sound quality and musical color. A personal favorite of mine. Condition is excellent.

YouTube:
Frank Wallace - Prelude #3 Heitor Villa-Lobos

Frank Wallace - Air from The Elements Frank Wallace

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1967 José (David) Rubio

Over the course of the working career of David Rubio, the most highly prized examples are from his days in New York City. Starting in the mid 60's and ending in 1967 when he moved back to England. This is the era when he built the famous Bream guitar (1965) that was used on 20th Century Guitar, still in my opinion the finest classical guitar album ever recorded. This example is my all-time favorite Rubio to date. The guitar has tremendous sweetness and depth, great color and a broad tonal palette. It is also arguably the very last Rubio built in New York. The original owner bought it new from Rubio and told me that he had moved to England no more than one week later. In fact he mentioned he was still waiting for the new case that Rubio was supposed to acquire for him as the guitar was delivered in Rubio's "shop case". A fantastic and fantastically preserved example with only one small hairline crack which I repaired upon receiving the guitar. Rubio's guitars are enjoying a bit of a renaissance these days and still represent one of the best opportunities in the vintage guitar market.


YouTube:
Frank Wallace - Film Scores by Frank Wallace

Frank Wallace - Cuna | Mompou

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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: 

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

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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.

YouTube :
“Cunctipotens Genitor” - Frank Wallace 

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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.

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1965 Ignacio Fleta

Fleta represents the original "super guitar" from the golden age of the Spanish lutherie.
In my opinion this example sits at the highest point of Fleta's production of spruce topped instruments. As the guitars became more robust and pianistic, I believe the choice of cedar for the top became more intrinsic to the overall design for the warmth and bloom that cedar tends to impart to the sound. But these earlier spruce guitars have an entire character unto themselves in the tonal possibilities afforded by spruce.

This instrument is part of the finest collections of classical guitars that I have had the pleasure of assembling. The owner has decided to downsize and as such this magnificent guitar is available for purchase. Exquisite sound and condition, if you ever wanted a Fleta you won't be disappointed with this one.


YouTube:

Kevin Gallagher - 1965 Ignacio Fleta - Louis

Couperin - Passacaglia (arr. Segovia

Frank Wallace - Fünf Kleine - Stück

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1969 Ignacio Fleta

Another phenomenal Fleta. This example from 1969 is somewhat more rare for being in Brazilian rosewood and in remarkable condition with no cracks or crack repairs. The top appears to have had some finish work to fill in playing wear under the 1st string between the bridge and rosette but it's relatively minor and well done. The sound of this instrument is truly inspiring and shows why Fleta guitars have been so highly regarded. Super powerful with an incredible first string this guitar is among the most responsive I've played. I particularly like how the voice is clear without nasality and even without being monochromatic in tone. And it's easy to play. A world class Fleta by any standard.

YouTube:
Frank Wallace - Cuna - Mompou

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1976 IGNACIO FLETA

An absolutely extraordinary Fleta in every way.  This guitar is perhaps the loudest, projecting and most open sounding I've encountered yet.  Pianistic in its response, ease of tone production and evenness...while still maintaining a gloriously beautiful guitaristic tone.  This guitar is getting close to the end of an era as Ignacio Fleta passed away in 1977.  But thanks to the help of his sons, whose efforts were recognized as far back as the mid 60's when the label was changed to include e Hijos, I think it's easily argued that the instruments not only continued to improve and evolve under his direction, they also continued seamlessly once he was no longer part of the equation.  A rather impressive feat but as it relates to this particular guitar, I am comfortable saying that, if this shop built a better guitar, I have not heard it.  

Incredible condition and incredible sound.  A masterpiece by any comparison

Youtube:

Isabel by Tárrega

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1962 IGNACIO FLETA

I am a big fan of the earlier spruce top examples I've been fortunate enough to handle by the great Ignacio Fleta. It seems to me that, as he evolved his famous design, he took the sound further from what we could call the "traditional" Spanish guitar into something far more piano-like and thus unique to him. The earlier examples, especially in spruce, have a lovely mix of these two kinds of guitars, in that they are (often) more charming and personal than later examples while still quite even and pianistic in response. In my experience, this 1962 really hits the balance between the two better than any other I've seen. The sound is deep with powerful fundamentals to the notes. The first string is very impressive, speaking easily with great power and weight. The notes fly out of the guitar and bloom beautifully with overtones that are clear and controlled. 

Regarding the condition, this guitar has had some work so it's not "mint" but it is structurally flawless. That is to say that there is very little distortion to the top and everything is exactly as it should be. This guitar has generations of life in it. The face has had a few cracks with some necessitating splints. The work is expertly done and these repairs should present no further issues. The original finish was removed and the guitar French polished. This is not uncommon in Fletas that have had work because of the considerable challenge in dealing with his shellac-based/alcohol finishes. It seems he added a number of additives, most likely to make applications quicker but, over the years, these additives have created a great deal of crackle and opacity to the finish. It is also apparent to me that he did not exactly stick to a single formula so it’s quite plausible he simply bought what he could at the local store, most of which probably isn't available anymore due to environmental regulations. In any case, the work is beautiful. Most importantly, it is clear to me that the underlying wood was not touched in the process. That is the difference that makes all the difference.

This guitar has a slightly narrower fingerboard than what we generally see today, which is in keeping with this vintage of Fleta. It is however a joy to play, easy on the left hand, and easy to produce a big full sound. A phenomenal guitar for any discerning guitarist and at a significant price reduction from other, more pristine examples I've sold. 


YouTube:

Evocation from Suite del Recuerdo by José Luis Merlin performed by Christopher Ladd

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1989 THOMAS HUMPREY MILLENNIUM
EX NEIL ANDERSON
7-STRING

One of the luminaries of American Lutherie, the late Thomas Humphrey made his career working with some of the greatest guitarists of our time. This particular example is an instrument that was built for and is owned by Neil Anderson, who had a stellar career as a virtuoso and teacher before moving on to a whole new (and successful) life in the tech. industry.

Cedar top, rosewood back and sides this guitar is in excellent condition. It is a great concert instrument, one of the best Humphrey guitars I've handled. Loud and open with stellar projection, its easy to play and certainly for those looking for a 7 string, this one is well worth the time to take a test drive.


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1995 Thomas Humphrey Millennium

Tom Humphrey was an American original and a truly inspired luthier. He was also exceedingly generous in helping young guitar makers coming up in the world such as yours truly. Something I will never forget. In his lifetime his guitars were favored by just about every single professional guitarist and their students. His Millennium design was immediately adopted by so many virtuosos for the ease of upper register access as well as the prodigious amount of sound they put out. This example is no exception. It is powerful and even with vitality to spare. It’s also in near mint condition and shows that Tom's work had a tenacity for the long haul. This guitar will be around in hundreds of years if it receives anything resembling a modicum of care. It's also worthy of note that Tom's stockpile of materials was the envy of all luthiers. The rosewood in this guitar is simply as good as it ever got and is stunning. The top is exactly the kind of spruce I like best. Full of character and so very beautiful. I think, considering Tom's oeuvre when it comes to his Millennium model, this sits near the top and represents a tremendous value. 

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1967 Daniel Friederich

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.

YouTube: 
Frank Wallace - Prelude #3 Heitor Villa-Lobos

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1968 DANIEL FRIEDERICH

Another fantastic Friederich from my favorite vintage. I simply love the spruce guitars of Daniel Friederich from the late 60s and early 70s. His consistency in sound and response is quite amazing given that I have yet to see two of them braced the same way. There are definite Friederich characteristics of design that have always been present but the variations on a theme he explored are quite inspired. As a builder myself, I enjoy seeing how he evolved and still maintained an incredibly high standard. As an aside, I was recently in Paris, speaking with a friend and admirer of Friederich. He confessed that he mentioned to the Maestro his particular love of this vintage in his work. To which Friederich responded "Me too."

The guitars of Daniel Friederich are becoming among the most sought after in vintage guitars. This is a rare feat for any maker: to have their work only appreciate in value and stature after they stop building. Not that this is surprising to me, given the concert qualities of his work, but it is a notable achievement none the less.

This particular example is perhaps a bit more "Spanish" in response and bloom than any other I have handled. It has the weighty and supportive fundamental to its voice that is almost orchestral, yet the upper registers just sing with great clarity, beauty and tonal flexibility. This is also the best preserved example I have handled from this vintage, being in amazingly clean condition. The varnish on the back and sides does not show the characteristic blushing that you often see in this era of his work. This blushing is due to the pumice pore fill that is still on the surface of the wood, returning to it's white color. Not that I consider that a defect, but I certainly appreciate an original Friederich varnish that does not possess this feature.

This guitar is one of the easiest playing guitars I've handled in a long time. It has a neck set that allows for an incredibly low action should that be of interest to the owner. Currently set up with a conventional action, there is plenty of room to take it down, which is often not the case.

YouTube:
FrankWallace - Homenaje - Manuel de Falla

Frank Wallace - The Sweet Voice Sings - Frank Wallace

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1970 Daniel FRIEDeRICH

This particular Friederich is an old friend that I am delighted to have to represent.  It also is from a very interesting period in Friederich's oeuvre from right before he switched to a construction detail he would continue with for the rest of his long and storied career.  This guitar is one of the last before he implemented his doubled sides construction.  Conventional guitar sides are generally hovering in the 2mm thickness.  His doubled sides are more like 4mm.

 I generally avoid drawing direct lines to any particular aspect of construction and the resultant sound of a guitar.  The reason is simply that, as a luthier myself...I know how many variables exist and how they all combine in a singularly unique way to form each individual instrument.  For the sake of telling stories it might be enticing to make these pronouncements but the truth is far more complex and ultimately, interesting than a simple- do this, get that.

One thing that is definitely noticeable about this guitar relative to later examples is the weight, or more so, the lack thereof.  It is a feather but one that feels like it possesses great tenacity.  Because it does.  The sound is open and immediate with perhaps a touch of a more "traditional" guitar voice as opposed to the pianistic voice of later Friederichs especially those made of cedar.  This guitar also has some pretty cool provenance, it was owned for the majority of its life by the great Jazz musician Yusef Lateef.  The guitar was originally brought to me by his family to represent.  Another aspect of this guitar worthy of note is it is remarkably easy to play.  The left hand feels like butter and it is very easy to get a big full sound.  Absolutely a gem of a Friederich from what I have to admit is my favorite era in his work.

SOLD

YouTube:

Sarabande from Cello Suite 1 performed by Christopher Ladd

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2000 RAYA PARDO TORRES MODEL

A fantastic Torres inspired model from one of Granada's leading builders. I must admit to being quite surprised at how impressive this guitar is, not so much because of any feelings towards Raya Pardo personally; but, even more, it tends to take a lot at this point to turn my head. This guitar definitely made me take a second and third look. It is very even in its response, loud as can be with a bright yet full tone. Sustain is excellent as is the projection. It plays like a dream. The owner brought me the guitar to get my assessment of it, not so much because he was looking to have me represent it for him. Upon playing it and giving it a once over inspection, I told him I'd be delighted to have such a guitar move through my studio. 

It would not be accurate to state that this is a Torres copy per se, but the shape is definitely Torres derived and in the best sense of the practice. One can say it is certainly an homage to Torres with a good bit of Raya Pardo in there as well. Not a bad combination as I can tell you from this example. 

The guitar is in perfect condition, no repairs nor issues. The materials are top notch as is the workmanship. But really, it's the sound and how it plays that is what sets this guitar apart and what makes it one I recommend highly, especially for the price. 

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1970 PAULINO 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.


YouTube:
Frank Wallace - Erster Verlust by Schumann

Frank Wallace - Pan City 

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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.

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1991 José Romanillos
ex Pepe Romero

This particularly unique Romanillos came and went so quickly I didn't have time for proper photography. Built in 1991 this instrument is based on Santos and as such does not show the typical Romanillos headstock or rosette. With cypress back and sides this guitar has lightning fast response and surprising sustain on the 1st string. It has weighty powerful notes and a most lyrical voice. No surprise it was snatched up so quickly. To lend to the provenance, there is a lengthy inscription written on the back between the waist brace and the lower cross brace.

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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.


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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. 

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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.

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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."

YouTube:
Tárrega"Prelude in E" - Wallace

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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.


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1971 FRIEDERICH #305

When it comes to the guitars of Daniel Friederich, I am most partial to the spruce examples he was producing in the late '60's and early '70's.  This era in his work is most fascinating for the variety of internal designs he employed and yet his guitars are so remarkably (and admirably) consistent.   The power and pianistic response for which he is so well known is very much evident along with a tonal capacity that only seems to come from the best spruce instruments.   

This particular guitar from 1971 has the great horsepower and pianistic in response for which he is so well known. At the same time the tone and tone palette is decidedly that of a great spruce instrument. What more could you ask for?

To expand on that, the trebles are insanely even in response, balanced and complex. The pianistic response I alluded to is found in those qualities. The notes sustain beautifully and there is no shortage of headroom to achieve great dynamics with this guitar. The basses are open and disciplined at the same time, a quality I particularly love. Another wonderful characteristic of Maestro Friederich's work that this guitar exemplifies is the wonderful, easy string tension. It’s just so comfortable to play. This elusive quality is a function of the overall design and how the guitar works with itself, rather than one specific component. It is a quality that I have been chasing in my own work. His guitars have served as inspiration and informed me in this pursuit.

This particular example is in restored and near mint condition. The sum total of the restoration is the top finish, which has been redone. This would be undetectable were it not for the color. As you can see in the other 1971 example I have in stock, the color was a dark and rather opaque orange. This is a dye that was added during the finishing process, not the color of the finish itself.

The number one consideration here is whether or not the top wood itself was disturbed and I am confident that the answer is no. The reason being is that spruce oxidizes as it ages (becomes darker) and is exposed to UV light. This darker color though is surface level only. The topography of the top is not perfectly flat and if you were to sand it you would remove wood unevenly. The evidence of this work would be very clear to all. I am happy to report that this is not the case. The finish has been applied in the appropriate manner to recreate that which was already there, albeit without the color added. There is also a well repaired, microscopic and undetectable hairline right next to the fingerboard on the treble side. It was only detectable to me when I looked inside and saw some faint glue squeeze out. Interestingly enough a feature Friederich adopted not long after this guitar and one that most every builder these days employs, is a cross grain piece of wood between the two shoulder braces. This in effect creates a plywood resilience and is what is most successful in preventing these minor cracks. Had the repairperson added this feature in keeping with how Friederich did it for the rest of his career....no one would ever have been the wiser. Be that as it may I consider this an absolute non issue and completely irrelevant to the stability or value of this instrument. 

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1971 FRIEDERICH #309

With all apologizes to Chopin, I would propose that nothing is more beautiful than a great Friederich, except, possibly, two. 

I must say that having two 1971 spruce Friederichs in stock a few numbers apart is a very cool thing indeed. 

The attributes and character that I described for #305 are mirrored in this instrument in absolutely the same measure. The pianistic response, eveness and horsepower. The beauty and complexity of its voice and balance across the fingerboard makes this an even more ideal concert guitar. It's soul though is that of a great traditional spruce instrument; so much color and dynamics within a broad tonal palette. 

This instrument was a professional player's instrument for the majority of its life thus far. Thus it shows in how well this guitar is played in. It has a very open response and the sustain on the first string is impressive by any standards. It plays beautifully and has that same easy tension I love in all Friederich’s instruments. 

Condition is excellent with one tight and closed hairline crack below the bridge. This was repaired a few years ago by a great friend and colleague of mine. There is no wood added to the crack, thankfully not necessary. After this amount of time passing I am confident that this crack is a non issue for the stability or musicality of the guitar. It is barely visible so it's not an issue that is, in fact, an issue. 

I am fortunate to have a wonderful video of this instrument from a few years ago with my dearly missed, great friend and collaborator, Frank Wallace. In his hand each and every guitar sang its best...but some still more than others.

YouTube:

Frank Wallace - Prelude #3 by Heitor Villa-Lobos

Sandy, from Friends by Frank A. Wallace

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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 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).

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

Sabicas “Siguirias” - Dennis Koster 

Sabicas “Malaguieňa” - Dennis Koster 

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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.

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

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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. 

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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.

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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

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

“He Pines” - Frank Wallace

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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.

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

Tarrega “Marieta” - Frank Wallace

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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.

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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. 

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1961 José 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. 

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

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1965 RAMIREZ EX ALMEIDA

Without a doubt the most mind blowing cedar Ramirez I've had the pleasure of handling. I've seen a lot of 60's Ramirez and they hold a very special place in my heart, but not always in my hands if you know what I mean. This guitar, in absolutely original condition has a ramrod straight neck and easy action. That in and of itself is remarkable but it's just the tip of the iceberg. 

When I received the guitar the first thing I noticed, before I pulled it up to pitch, is that there is a stamp on the shoulder brace just above the soundhole. This stamp says "Laurindo Almeida" I have never heard of Ramirez dedicating guitars in this fashion so it seems far more likely to me that it was done by Almeida himself. There is no other supporting documentation but I think this is enough to support the conjecture that this was his guitar, at least for a while. 

The maker identified by the internal stamp on the slipper foot is Antonio Martinez. This is the same maker who built the guitar identified as Segovia's as well as guitars for Sabicas and Escudero among others. I do not always put such stock in the initials but I will say that I've yet to play a cedar Ramirez as good as this one. The sound is huge and open with great refinement. It evinces the lush Madrid voice without any loss of clarity while, at the same time, not having that "lute" like voice I've encountered in so many lesser examples. It's insanely responsive and even with great sustain. This is the sound that made Ramirez "the guitar" of the last half of the 20th century. 

The condition is mint, materials are incredible and it plays like no other. While it has a long scale I personally do not put nearly as much stock in that as I do with the neck and set up. These two factors, which are not as easily quantified nor discussed, have far greater impact on how a guitar plays than just the length of the neck. 

Given the importance of Ramirez guitars in the history of the instrument, the immaculate condition and most importantly the spectacular sound and playability of this guitar, I consider this instrument a great bargain and a necessary addition for any collection. But far more than a significant label or provenance, this is a real concert guitar capable of going toe to toe with even the most modern horsepower machines. And so much more beautiful. 

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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. 

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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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1999 Fritz Ober

A remarkably alive and responsive guitar by Fritz Ober. This is the first instrument I have represented from this builder and I sincerely hope it isn't the last. This guitar makes me think of a cross between a Hauser style instrument and some of the best of the Granada guitars I've examined. To be more specific, the balance and tonal capacity of this guitar is very much in line with the Hauser idiom, whereas the responsiveness and open and immediately full quality of it's voice makes me think of Southern Spain. It is a mix of qualities that live very nicely in harmony with each other and, as such, this is a very impressive and fun guitar to play.

The construction of this guitar is first rate, full marks from me as a fellow luthier. I adore the materials. I have remarkably similar sets of rosewood as what is seen here. I might add that those sets of rosewood are among my most prized tone woods for acoustic reasons as well as visual.

Fritz Ober enjoys high regard as a luthier and it is not surprising to me in the slightest after having spent some time with this guitar. A fantastic instrument at a fantastic price.

YouTube:
Frank Wallace - Villa Lobos - Prelude #3

Price-12,500 USD

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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. 

YouTube: 
“Round the World” - Frank Wallace

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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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2001 Daryl Perry

Not something you see every day! Daryl Perry is one of the finest luthiers working in Canada, well known for his Hauser style classicals. This guitar is a very unique 8 string model in gorgeous birds eye maple, spruce with Torres inspired aesthetics. Workmanship and attention to detail is second to none. Sound is clear and refined with great projection, great for counterpoint as well as any other music you'd like to try out. Obviously if you ever wanted to play lute music on the guitar and felt restricted by only having 6 strings, your next guitar awaits.


Price-8,500 USD

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1929 SANTOS HERNANDEZ

A great Santos classical is a truly magnificent and soulful thing.  This one is, so far in my experience, the greatest yet.  At least relative to his own design (as opposed to his work with Manuel Ramirez or guitars like the 1927 currently in stock that follow in that tradition).  The owner is the son of the man who bought it from one of the Blain brothers (estimated purchase date is sometime in the 1950's) and as such, this is the first time the instrument has been offered on the market.  

What strikes me as extraordinary about the guitar is the weight, complexity, and power..particularly of the first string.  A guitar can very well be on death's door and still have a beautiful and full bass..but the treble response is a very definite sign of not only the guitar's excellence but also a good metric of the life within the guitar.  And this one says it's just getting going. 

It’s kind of rare though to play a guitar whose notes seem like they weigh a ton but fly out of the guitar like they are on fire.  Those are for me the very best guitars and so far in Santos, I haven't really seen that particular attribute.  Until this one. 

To be utterly transparent, this guitar has had some repairs in its life and they need to be redone.  I am happy to do this work with my restoration partner Karl Franks or this work can be undertaken by the luthier of the buyer's choice.  I honestly believe that as good as it sounds now, shoring up the repairs will only help it perform in a more unimpeded fashion. None of these issues are due to faulty design, materials, or construction.  They are due to a totally different mindset and expectation of professional players when it comes to taking care of their guitars.  In the violin world, which is far more familiar with repairs to keep the best instruments in service, none of this would be surprising or concerning.  The guitar world has been led astray but those who can't speak to much more than "condition".  But the good news is that given the appropriate care, these iconic guitars can be enjoyed for generations beyond what they otherwise could possibly attain. Just like it is with violins.  

SOLD

YouTube:

El Testament d'Amèlia performed by Christopher Ladd

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1934 SANTOS HERNANDEZ

Santos Hernandez is among the most historically important luthiers of all time. During his time in the shop of Manuel Ramirez, he was the principal constructor of the guitar that would be Andres Segovia's first real professional quality concert guitar (which can be seen at the Met in NYC). After striking out on his own he established a successful shop building both classical and flamenco guitars, influencing generations of luthiers (including Hauser). His instruments are rare and, in my experience, generally do not possess the warmth and bloom as this 1934 does. A totally alive and responsive instrument, it has seen years of usage. The guitar has a stunningly beautiful tone and bloom to the notes, the g string particularly impressive by any standards. As this guitar approaches 84 years of age it is apparent to me that there are many, many more years of life in this important instrument.

We restored this guitar a few years ago. The only visible top crack was repaired prior to our restoration and, while it isn't the most invisible of repairs, we opted to let sleeping dogs lie. The guitar is now totally stable and good to go with no splints in any of the repaired hairline cracks. All original and more so, sonically amazing. A great value for those who have the ears to hear.


YouTube: 
Frank Wallace - Cuna - Frederico Mompou 

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1934 BARBERO (CLASSICAL)

An incredibly well preserved, alive and rare rosewood classical guitar by my all time favorite Spanish builder. Legendary for his flamenco guitars, there are very few rosewood classicals of which I am aware, especially in this condition. This instrument's top looks like the day it was made, without any distortion from age and string tension. The sound is very Santos-like in my opinion, clear and focused with great vitality to the notes. The attack demonstrates why Barbero’s flamenco guitars are so highly regarded but I consider this attribute something any guitarist would desire. The hallmark of a great Barbero is its tonal flexibility; his flamencos are perfectly suited for classical repertoire and I'd say this rosewood classical would not disappoint any flamenco guitarist. That, to me, is the balance that makes a great guitar and it is very much after my own heart as a builder. 

This example is one of the earliest Barberos known to me. Without a doubt it demonstrates his great genius, sadly cut short at his prime not much more than 20 years after this instrument was built. The neck is very comfortable, and the setup is perfect. A joy with which to play and explore tone, this guitar would be a very important addition to even the most discerning collection. 

YouTube:

Frank Wallace - Villa-Lobos - Prelude #3

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1927 FRANCISCO SIMPLICIO 2

And speaking of Garcia's famous disciple, I am honored once again to offer a truly magnificent showpiece of this luthier's art and skill. Simplicio is perhaps even more famous than his teacher and it is guitars like this one that captured the attention of both players and collectors. This is the third heavily ornamented/cuban mahogany with a tornavoz Simplicios I've had. So I think it's pretty accurate to state that they comprise a series of guitars with a very particular sonic and visual aesthetic. The headstock carving and crest are different from the other two I've had and stays just on this side of restraint comparatively. Both the design and execution are truly as close to perfection as I've ever seen. I very much like the crest pattern on this particular guitar. The Cuban Mahogany is gorgeously figured like the others I've had which makes me think that his stash of Cuban Mahogany must have been cut from the same boards.

The sound of the guitar is deep and velvety without being tubby or diffuse. The voice is clear while still allowing each note to blend into the next one as you move up the fingerboard. It has strong fundamentals to the notes with a broad tonal palette. It plays beautifully with a very comfortable neck and action. As much as this looks like a collector's piece, this is 100% a player's guitar

In remarkable condition, this guitar seems to be ageless and from another age at the same time. There is really nothing quite like a Simplicio. If you play this one, you'll understand what I mean. 


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2012 Robert Ruck

Three is indeed a charm. This is the third Ruck I have currently in stock and it is without a doubt a most impressive spruce top example of his work. This one has soundports which gives the player more of a monitor effect than anything, in my opinion, but that is a very cool feature for those who play in ensemble settings. The sound is clear and powerful, refined with a great deal of weight to the notes. Colorful and even up and down the neck, it is a testament to the great talents and skill of it's maker. And this is one extremely good looking guitar as you can see from the photos. A great guitar for the concert or living room artist.


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2007 FRITZ OBER

This is the second guitar I've represented by the great Munich builder, Fritz Ober. Sadly, Mr. Ober passed away recently and this is a great loss for our community. Even though I have limited experience with his work, the excellence of his guitars and the qualities they share are enough to tell me everything I need to know about the caliber of this luthier. Bravo, Maestro, I am sorry I never got the chance to meet you.

Regarding this guitar, it is constructed of European spruce, flame maple with snakewood appointments. The top in particular is exactly the kind of spruce I like best, stunningly beautiful as well as an (obviously) superior piece of tonewood. As far as maple goes, this is far and away the best contemporary maple guitar I have ever played. I am a huge fan of flame maple and use it all the time in my own guitars. But for its aesthetic value and not so much the back and sides. I tend to regard maple guitars as tonally monochromatic. That is absolutely not the case with this guitar and my hat is off to its creator. Regarding the aesthetics, I love the relative simplicity of its decoration, given the spectacular nature of the materials used. This is exactly as I would have it as it gives so much more room to appreciate the workmanship, form, and balance of the guitar's design (as well as the materials themselves). This also leaves nothing to hide behind, so once again hats off to Maestro Ober. 

Sonically speaking, the guitar possesses surprising weight and complexity to the notes. I say surprising because the response is lighting fast, bordering explosive. The trebles are super powerful and even and at the same time gorgeously formed with a broad expressive and tonal palette. This is no small feat under any circumstances but I've never experienced that in a contemporary maple guitar. The basses are equally impressive and perfectly balanced with the trebles. 

The neck is very comfortable with a perfect action and relief. The pulsasion (inherent tension of a guitar) is ideal; not too tight nor loose. It also can take a pounding as it were without breaking up or buzzing excessively. This gives an already expressive guitar even more dynamic range. 

Condition is near mint with light handling and playing wear. This guitar has been well-loved and absolutely deserves it. If you ever wanted an Ober or the very best in maple, you will not be disappointed.

YouTube:
Bach - Sarabande from Cello Suite No. 1 performed by Christopher Ladd

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1976 MANUEL VELAZQUEZ

The only thing more beautiful than one Velazquez is two! Pretty sure I read that somewhere....

This 1976 example is equally stunning and provides a very compelling view into the tonal landscape of Velazquez. It is likewise a powerful and concert-worthy spruce top. This period of his work is a model that is all his own, not really showing as much of the Hauser influence that is seen in his earlier work (50's and 60's) nor his later work which demonstrates a return to a more Hauser-identifiable model. 

That being said, the Hauser influence in the sound of Velazquez’s guitars was always present in the complexity and "classical" nature his instruments always possess. There is a lush sweetness of tone that is all his own which adds a very beautiful and accessible tonal component to his guitars.

This 1976 example is exactly that. It’s refined and sweet with great tonal complexity and flexibility. It is powerful, even and open. This guitar is great for dynamic contrast as you can really push it without the sound breaking up. As per usual with Velazquez it is stunningly beautiful and made of textbook perfect materials. Rosewood in this case with a glorious bearclaw figured spruce top. This guitar also features a dark varnish which was typical of his work of this vintage. Condition is near mint and structurally perfect. I put this guitar up against the 1971 Friederich I just sold (well both of them) and it represents admirably. As such, I consider a great Velazquez to be just about the best value in vintage classical guitars.

YouTube:

Rivera Cancion

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1929 Francisco Simplicio

The guitars of Francisco Simplicio have always been regarded as a high point in the art of guitarmaking.  His spectacularly decorated Cuban mahogany guitars are the stuff that only a genius builder from Barcelona, working during the art nouveau period, surrounded by Gothic architecture could produce. As a builder myself, I can attest to the great skill and artistry required to produce these instruments. However it is (for me) his relatively less decorated rosewood guitars that are his most impressive sounding.  I consider the best of them to be among the most concert worthy guitars to have ever come out of Spain.

This 1929 Simplicio is my favorite yet.  The first thing you notice, other than its spectacular condition, is how utterly alive the guitar is.  Every single note leaps out of the guitar like it was an eager teenager instead of pushing 100 years old.  As you play the guitar you can feel it vibrating against your body.  Not exploding when you happen upon an active note but more so a consistent feeling of a whole lot going on (which is exactly the case here). A very cool attribute which points to a guitar that is responsive and even at the same time.  The basses are a mile deep yet clear and defined.  The trebles are velvet lasers with an incredible color palette. Playability is astounding.   

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1929 FRANCISCO SIMPLICIO-3

The guitars of Francisco Simplicio have always been regarded as a high point in the art of guitarmaking.  His spectacularly decorated Cuban mahogany guitars are the stuff that only a genius builder from Barcelona, working during the art nouveau period, surrounded by Gothic architecture could produce. As a builder myself, I can attest to the great skill and artistry required to produce these instruments. However it is (for me) his relatively less decorated rosewood guitars that are his most impressive sounding. I consider the best of them to be among the most concert worthy guitars to have ever come out of Spain.

This 1929 Simplicio is my favorite yet.  The first thing you notice, other than its spectacular condition, is how utterly alive the guitar is.  Every single note leaps out of the guitar like it was an eager teenager instead of pushing 100 years old.  As you play the guitar you can feel it vibrating against your body.  Not exploding when you happen upon an active note but more so a consistent feeling of a whole lot going on (which is exactly the case here). A very cool attribute which points to a guitar that is responsive and even at the same time.  The basses are a mile deep yet clear and defined.  The trebles are velvet lasers with an incredible color palette. Playability is astounding.   

Evocacion by José Luis. Merlin

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1969 HERNANDEZ Y AGUADO

The guitars of Hernandez y Aguado often seem in my opinion to be either very personal and charming Spanish soul machines or loud, projecting, and pianistic concert guitars.  It's not often I have encountered one that kind of has the best of both worlds though and this one is most definitely that.  Very powerful and precise but with a gorgeous tone and tone palette this guitar makes me think of Fleta and Miguel Rodiguez at their best along with a bit of de la Chica in there.  So very Spanish.  I have yet to encounter one that plays as easily as this one, despite its 660 scale it feels like a flamenco guitar in some ways.  The ramrod straight neck, perfect setup, and friendly tension to the left hand make this an absolute joy to play and one of the finest mid-century Spanish guitars you could ever ask for.  Mint condition too!

YouTube:

Rain in DR by Frank Wallace performed by Christopher Ladd

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