Historical Guitars , unlike the Archs, are only recently gaining the consideration they deserved. More and more professionals and advanced amateurs are actually choosing to play the instruments of a certain area and time philologically, in order to follow the connection with a particular Composer of the past. It is no more unusual to use a Viennese Guitar (by Stauffer or his disciples) to perform Mertz‘s music, a Fabricatore for Giuliani‘s tunes or a Garcia for Tarrega‘s melodies.
In this section it is possibile to have a look – and buy – high quality Historical Guitars, all available in our Atelier.
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“N. 157/ Manufactured by/HOLLOWAY 5, Hanway Str.t Oxford Str. LONDON”The instrument was clearly made like a Panormo on the outside: the body shape and size, the woods, the head and the machine heads. As Guiots were French, they perhaps chose to decorate their instruments more than Panormo himself. This is evident in all Guiot guitars examined until now. Having taken this in consideration, we would like to suggest that it bears a more beautiful appearance than the original Panormo’s: the threads and the rosette are of ebony and mother-of-pearl, built with exquisite mastery, one part of the rosette recalls some French guitars of the period, like the one by Pons Brothers; the top is, of course, of spruce, with ornamental patterns along its perimeter, similar to the rosette; back and sides are of a very dark solid Brazilian rosewood, with no laminates; the still straight neck is of mahogany, as the headstock (which is usually made of maple for the regular Panormo). The body is deep, as in the Panormo style, the string length is 630 mm. The only exception is in the inside bracing which is not composed by the Spanish fan that Panormo used to insert at the beginning of his career, but instead by typical nineteenth century transverse bracing. All these characteristics provide for modern Classical guitar sound, even if sweeter and sharper as in the English tradition of those years; the bass goes in depth and the action is low, making it easier to play. The tuning is easier without pegs, very accurate and regular. The machine heads of ivory are perfectly working and also decorated, even if not as much as Panormo’s Bakers, bearing a distinctive British crown engraving. The guitar's condition is overall very good, even if there were three small cracks, on the top and on the back, which have perfectly been repaired by a professional luthier: the fretboard was levelled and new German silver frets took the place of the old one and it was covered with new shellac polish, retaining its original varnish.
"fait par Brugère, élève de Marcard, Mirecourt, Vosges*"
"built by Brugère, apprentice of Macard, Mirecourt, Vosges"the instrument is undoubtedly very similar to the one we keep in our shop. This Guitar was made for the British market of the time, hence the "Panormo" shaped head. Scale lenght 630 mm. *(2007, La guitare - Paris 1650-1950, ed. Il Salabue, pp. 46-47)