Frontview of this small bodied guitar that was
probably manufactured around 1870.
The flowermotif was quite popular at that time
in the collection of this factory that produced fairly
large quantities of all kinds of instruments.
Here's a description about this builder and the connection
with the Mirecourt based famous luthier Aubry-Maire:
Aubry fils is the son of Aubry-Maire, the famous guitar
maker of Mirecourt. He worked in his father’s workshop,
then for Jérome-Thibouville-Lamy, and signed "Aubry Fils"
He died in 1890, at age 57. Jérome-Thibouville-Lamy
was the most prominent manufacturer of musical
instruments in France. It was founded around 1730, in
la Couture-Boussey, with the manufacture of wind
instruments, then moved to Mirecourt around 1760
and general numerous workshop consecrated to
violins, guitars, mandolins, and musical accessories.
The company would experience an immense commercial
success and opened branches in Paris, then London.
It would produce thousands of instruments of quality
that it would export to the entire world.
The famous and very durable EON tuners were fitted on
this instrument. Sides and back were made of Brazilian
rosewood. The neck of this particular instrument has been
lacquered black as was original. Quality of workmanship
proves to be good.
Jerome Thibouville Lamy Guitar II
This is a somewhat later Jerome Thibouville Lamy guitar
probably made around 1890 - 1900 though even in
the 1902 catalogues of this firm this model was present.
On Len Verret's site "Early romantic guitars" a
similar model can be seen but without its label.
As it is known that Aubry fils was working for
JTL this guitar can be dated but only if there
are marks in pencil by Aubry fils. I still have to
investigate. Spruce soundboard. Solid sides but
the back has the softer spruce inner side veneered
with Brazillian rosewood on the outside.
Ebony fingerboard with the original (!) hardly
worn fretwork but a laquered neck and head as
was usual on these instruments.
Even the back is in very good condition and it
is remarkable that there are no cracks in back and front.
The sides tend to have some minor spots but on the
inside the sides are reinforced.
This is the well known flower design that was popular
for a long time. We can see this on an Aubry fils
signed guitar as well as in the 1902 catalogue of JTL.
Otto Vowinkel Concert Guitar 1994
Still the auction offered picture but I will come up
with the guitar as it is now together with this one.
A 1994 Vowinkel, so about 10 years after his very
first start in building guitars. He still uses the head-
form later used for the second line instruments
made in Spain by the Picado company.
Probably the collection of a deceased person that
probably wasn't able to do anything anymore to
bring the guitar back in its' old lustre.
This guitar came in a more recent "Fazley" branded
case. Certainly not the guitar was sold in when new.
This case suits a "Dreadnought" sized model better.
Personally signed by Otto Vowinkel with the year of
production. He answered my mails around this guitar
very friendly and provided with the headstock
information. After that conclusions could be drawn
that this was his Concert model in those times. The
sound simply confirms that.
I made the first reparation on the soundboard as it
had a crack just against the left wing of the bridge.
As it still closed and appeared to be quite "fresh" I
figured no splint was needed to make a proper repair.
Equipped with a 5 fan bracing with two closing ribs
one can conclude it to be with a Torres kind of
approach in mind. The guitars built in the nineties
often were constructed with these iconic guitars
of the past in mind. Old tradition but carried
on to a new level soundwise.
The headform that now has been used for the
second line series made in Spain in the Picado
workshops. A newly made topnut has been
added as the old one needed to be hightened
with a piece of paper to work properly.
A simple rosette this guitar has been equipped with.
Nowadays, he uses the Amsterdam city flag as an
inspiration for his rosettes. This instrument made me
clear that Vowinkel is a top luthier when sound is
involved. Great volume and sustain but a pleasant
and friendly rounded tone in the whole frequency
register. Apart from that the guitar colors so
surprisingly well once strikes at different spots
on the strings.
I always add these kind of pictures to show the condition
of the frets. I do not know wether if these are the original
frets and as they were a bit uneven hammered in. I
levelled them to make the whole fretwork smooth and
easy playable again. I encounter these "shortcomings"
more often on handbuilt instruments. Fretwork is not
always is the most favorite part of guitar building for
some luthiers, so it seems....
On the back there was a damaged spot up to the
bare wood. when you want to restore that partly
color differences are the result as the layers of
French polish are coloring a bit yellowish over
time. Therefore the whole back has beeb French
polished by me. Back in its' old lustre.
And the back here can be seen in detail just by
clicking on this picture.
The nice Schaller tuners that do their job well. I've
made a new topnut and that has everything to do with
the distance of the first string to the edge of the neck.
I like that to be a bit more than on the bass side.
When you often perform with more than one guitar
it is more comfortable to have the exact same string
distances on each of the nuts.
The sides are in pristine condition now though I've
corrected some spots a bit as they were damaged.
Quite a normal move: To have the soundbox a bit thicker
towards the bottom of the guitar.
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