This is an Oscar Teller Classical guitar from 1971. One of their
highest models then. Fairly well played! This guitar is immediately
recognizable by the double inlay on the head. In a Mason Williams
video, published by Vintage Guitar Magazine, Mason shows the
guitar on which he recorded "Classical Gas'. It was labelled
"Cordova" but as he explains there, it is built by Oscar Teller.
The example here above is newer but the head inlay remained
as did the edge inlay of the soundboard, the rosette and
the inlay on the bridge. The inlay around the back on this
guitar is more luxury done but the double ebony stripes on
the back are not present on this example.
OK. The guitar needs some restorations but all in all it can be done and a lot of things are more cosmetic.
This guitars' own frequency lies on a G# so in Hz that
would be around 104 Herz.
The label, always with the model, year of manufacture and
production number, visible on the next picture.
The back has some disturbing damage but only in the
lacquer so it will be no problem to fix that properly.
I restored it with French polish and it is beautiful again.
The same thing counts for the soundboard. No cracks
but a bit unrespectfully treated by its' former owner.
The soundboard has been equipped with a fan bracing
but not symmetrical: fewer braces on the bass side and
thus more on the treble side of the soundboard. On
both halves closing ribs have been added. Finely
shaved and securely placed.
Here the mounted tuners can be seen. Good quality
but a better fit is needed to have them work smoothly.
Probably made by Schaller. Rubner claims them not
to be produced by them.
A nicely decorated head, probably inspired by the way
the Japanese luthiers worked at that time and were success-
ful with it. A good cut topnut anyway. The front has been
veneered with an ebony layer.
The Rubner company also made cheap tuners that in fact weren't
bad at all. These are more deluxe tuners that match the further
quality of this guitar, probably from Schaller?
An inner Spanish heel and nice inner woodwork as can be
expected from a German company existing that long.
The rough treatment not only resulted in various needless
scratches but also a (repaired) crack in one side and an
open crack alongside the gluing surface of back and
sides. Some extra inlay work wil be needed.
With a little effort you can see the interruption in the upper
lining. I made the three part lining new as it was broken and
visible in the first picture of the spot.
In fact the most difficult spot to remove the lacquer
properly. With patience, it works in the end.
A freshly sprayed back that "shines" again. About
8 layers of Alkyd lacquer were needed. Only recently
I French polished the back for an even better result.
Also the entire neck and head have been resprayed.
Now it is a kind of a monument for me as Mason
Williams played one when he performed with the
extraordinary harp player Deborah Henson Conant.
Exactly the same model! The guitar gives that
surprising warm lower end though the higher notes
(above fret 5 of the highest string) could have
been a little more convincingly but it is possible
that intensive playing changes this.
Here above, Mason Williams can be seen with the same
guitar in question. Watch the smart move in the way he
carries the guitar.
A detailed picture I've added in order to compare the bridge, edge and rosette with the guitar I recently was able to obtain.
I will come up with a detailed picture of the bridge as somebody
suggested it to be a Hauser copy and indeed the bridge is very
close to the model that can be found on the genuine Hauser II
guitars of that time.
The way the topnut has been mounted is visible here as well as the tuners of which the knobs are riveted.
The bridge form differs from the usual Spanish way of
making a bridge: A bit more square around the bridgebone
and a less wide string tie block not parallel to the sound-
board. I've added these pictures as coincidentally Hauser
guitars of that Era seems to be occupied with the same
bridge model. Good company anyway
Made out of ebony they are very sturdy but in order to have
a near perfect octave pitch I removed the contact area to the right
which in fact is not customary. Problem indeed can be a kind of
rattle coming from this way of constructing. Not present here,
Also the two inlays seems to be identical to the Hermann Hauser
models of that time. Beware and take a look at the first name
as Hermann Hauser is a totally different guitar compared to the
somewhat less interesting Karl Hauser guitars.
Louis Theress Guitar
Recently I obtained this guitar at an auction in England
I was captured by its' sound and the high degree of work-
manship. Already in playable and restored condition.
Maybe the "LaCote" shaped headform triggered me.
Opposed to many 19th century guitars the sides and
back haven't been veneered on the inside so solid
pieces of rosewood are used here along with a fine
grained table. The neck has been veneered with
an ebony layer while inlay work is meticulous.
Bindings, also on the back, are executed in ivory.
Special attention for these well working tuners as these
can also be found on some Antonio de Torres guitars.
The shape of the knobs on the tuner can be found later
on the Robert Bouchet guitars and ironically keep
popping up, also from Chinese manufacturers.
It is no surprise that the builder although French had his
shop in London and was a successor of Jerome Gerard.
Theress also had a shop in Paris so French after all.
Most likely still the original bridge.
The LaCote style head and slot execution.
Also the neck to head joint betrays skilled
workmanship as this ornament has been
veneered with a layer of ebony afterwards.
The execution of the heel is pointing towards the London
dealer / luthier Louis Theress, a pupil of Gerard who had
a workshop both in London and Paris.
The lining can be studied by clicking on this picture.
And here beyond of course.
Jerome Thibouville Lamy
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.
Vicente Tatay Tomas (Around 1960)
Presented here is the fully restored Vicente Tatay Tomas.
Regarding sound I figured it would be worth all the trouble.
You are able to enlarge this picture by clicking on it.
The "Vicente Tatay Tomas" label with the addition "Vitato".
The picture here above is all about the different labels used
and the period of time when they were sticked into the guitars.
When refinishing these guitars it gives you the
possibility to make the guitar free from scratches
especially the head as people tend to place their
instruments against a rather rough wall.
Is this walnut or mahogany? Difficult
to determine for these guitars as walnut
has a very different appearance.
The extra nineteenth fret has been added for
the "demanding pieces". I've modelled the bridge
as well. Checking the surface on which the bridgebone
is mounted is a must. After that process the bridge can
be lacquered again. Bridgebone as well as topnut are
made out of antique ivory.
A good angle over the bridgebone to assure
enough downwards pressure. The fingerboard has
been shaved a bit towards the head so playing comfort
together with the new frets is better than it ever was.
On this picture the narrow grained soundboard can
be admired. It even has that much wanted "silky pattern
in fact not common on these kind of lower end guitars.
But as we know the student Jose Ramirez were built
in the same factory simply for the sound it provides.
Fretwork is where these companies did a mediocre
job. Copper fretwire and after flattening them they
never were rounded again in those days. That is in
fact a must to obtain maximum playability. These
new nickel / silver frets are more substatial and thus
enhance the tone of a guitar. Also because of the fact
they are glued with a two component glue.
The back of the head that is like new again.
Same thing counts for the front. The metal rollers
can be studied here which places this guitar around 1960.
Sound is typical for the Valencian School. Firm basses,
warm and full of character but now with a much better
playability.
The typical use of a lighter piece of wood for the heel can be
studied here. As this softer wood was easier to work on it
was the way to speed up production processes.
This was the guitar when it came to me in its'
unrestored condition. Neglected but with no
structural damage. But seeing the fingerboard
with its' traces of fingernails something had
to be done.
The guitar with all the lacquer removed. Mind you,
this must not be done with sanding paper as that
makes the components thinner which is not the way to go.
Simply paint remover. And after the old frets removal
a correction has been made to make the right angle:
neck / body which ensures a better string action.
As the soundboard is a soft wood scratches will
happen of course during a lifetime but when not
too deep removal is easy. The bridge had traces of
sanding and filing. It has been removed as a lot
of bridges tend to be pulled up often because
players had putted a set of steel strings on it.
That is a "no go" area!
As there was a limited amount of time the factories sometimes
stained the bridge shortly before glued on the guitar. That causes
traces of stain on the wood of the soundboard as woodglue
contains water.
The old situation again. And it is understandable that
the tuners had to be cleaned. Width topnut: 50 mm.
Scale: 645 mm.
Here the sleeves for the rollers were uneven in length
but that can be cured of course before the lacquering.
The word "VITATO" exists out of Vi(cente) Ta(tay)
To(mas) but why they've added that?? Probably because
his brothers had labels with the same name?
And the label. A lot of Valencian labels can be found
on my friends site: Simply search for "Telesforo Julve"
or his site can be found nowadays under:
www.guitarrasvalencia.wordpress.com
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