Recently we acquired this instrument that bears no label
but is unmistakably a French oriented instrument from
around the period 1840 / 1850. Many features are the
same as on the Rene Lacote guitars but the differences
also are there. Anyway a very securely built and good
sounding instrument in a remarkable condition.
The back the show us the Brasilian rosewood book-
matched halves. The neck has been veneered with
ebony while the heel end is provided with a piece
of ivory as are the bindings and rosette.
The lower ends of the two slots are also comparable
to a genuine LaCote. Probably ivory rollers as well.
The set in of the head to the neck betrays a
lot of craftsmanship as well.
The ivory knobs can be studied here but also the hand
engraved copper tuner plates. Remarkable thing is that
these tuners can also be found on some Torres guitars.
Another heel form compared to the LaCote guitars.
A fine grained table with one repaired crack. The two small
cracks alongside the fingerboard will be repaired in the near future.
The meticulous binding inlay that is of a really high quality.
The soundboard is carried by a kind of ladder bracing but
not parallel placed as also is the case in the LaCote guitars.
Probably the original bridge that has been glued onto the
soundboard but also pinned. I've seen it more the way
they did it and studying the inner looks it is thought
to be original.
The sides that are quite attractive and they are showing
no cracks at all. Both back and sides are not "veneered"
with a spruce layer on the inside as a lot of French
builders did in the 19th century.
The inevitable player wear, also partly due to the low
bridges of that time. The fingerboard could be a later
addition as the frets are not the original ones but modern.
It might have been an "inline" neck with the higher
frets placed into the wood of the soundboard.
A nice shot of the neck and head. Still straight!
David Caro Leonardo
This specific builder lived and worked in the town
Paracho, Mexico, famous for its' guitar builders of
which David Caro Leonardo is one of the better
known ones. The soundboard (cedar) of this guitar
is equipped with a fan strutting with 5 braces.
Scale length is a surprisingly 645 mm.
In fact a guitar in good condition disregarding the two cracks
in the back that are in need of a good repair. This instrument is
worth these efforts as the famous guitar player David Jerome
plays the compositions of Dilermando Reis on one of Caro
Leonardo's guitars.
The headform is a bit reminiscent of the Manuel
Contreras guitars but possibly a coincidence.
Rather simple tuning machines bit they work well.
Two shafts however had some fractures and for that
reason we've changed them for new proper tuners.
Provided with a nice rosette and surprisingly a
rosewood fingerboard. We have to assume mr.
Leonardo used the same South Americain hard
woods for the body and the fingerboard. This
is the case on more Paracho built instruments.
The David Caro Leonardo label and we stil have to
investigate the inner bracing pattern as this guitar
could be suitable for steel strings while most Spanish
built guitars do not withstand that kind of tension.
While searching for this brand we've concluded that
it is better to search with Daniel Caro Leonardo,
most likely "the son of'.
The Spanish luthier Antonio Lopez Martin is relatively unknown.
He manufactured a lot for other more reputable workshops in
which his guitars were resold. He made classical and flamenco
which his guitars were resold. He made classical and flamenco
guitars. There is very little information on his guitars. He apparently
started his career in Madrid in the early 60s late 50s and then
moved to Melilla in the late 60s. However, given the quality of
the model 1 presented here for sale, one can think that this
luthier made very good instruments!
And for its' age, this guitar is still in a remarkable good
and playable condition. No cracks anywhere or whatsoever.
The only (understandable". minor is a bit of a craquelé on
the soundboard bt that doesn't effect the tone production
at all.
This guitar comes with its' original case, another plus to
our believe. I've seen these suitcases around other guitars
built by Madrid based luthiers, e.g. Manuel Contreras.
A nice back with straight figured rosewood. It simply
means that a back like this is less prone to cracks as
the pieces of wood have almost been quarter sawn.
Recently I've discovered a guitar from the same
period and most likely built out of the same batch
of wood. Finefretted describes sides and back as
being made out of Brasilian rosewood!
As is the case most of the time, the layers of
polish tends to color rosewood a bit more yellowish
after the years. When I'm forced to relacquer or
polish an old guitar the final result is much darker
most of the time.
This is the original label in pristine condition that
says the guitar to be built in 1966. It was his highest
model he built at that time and it was nr. 195. A somewhat
later (1969) built guitar carries nr. 311 which means that
he built about 50 guitars each year but that is no more
than a supposition. It is also proof that Antonio Lopez
Martin was already situated in Melilla half way the years
sixties and possibly even early sixties...
This guitar hasn't been oversprayed though it is almost
hard to believe that a guitar that old could be in a condition
like this. As this instrument is entirely French polished
it is easy to do some cosmetic repairs to the lacquer
on some spots. (Headfront and upper left shoulder.)
The tuners most likely are handwork from a Marrocain firm
and possible silver has been used for the base plate. Superior
quality both in looks and way of working. Finefretted claoms
this tuners being from the Fustero company. I've never seen
tuners form the Fustero company working every well as
these ones. Moreover they are simply beautiful as well.
By clicking on this picture an even closer look is possible
A nice undamaged headstock and that counts for both
front and back. As the polish had "crazed" a bit I figured
it to be more beautiful to French polish the head as well.
The knobs are riveted on the axes as is the case
on the higher end Fustero's also. And no damage
to be discovered at the top of this head.
The guitar has been provided with a nice rosette.
The rosewood bridge with its' inlay and a freshly cut bone
saddle adjusted to a nice playing action. The wood used
for this bridge is possibly Brasilian rosewood.
The label is most likely the equivalent of A concert model , or 1A
depending on the name of other luthiers. For the year we can conclude
it to be made in 1966 and this is number 195. The body is of course entirely
solid with a solid spruce top, rosewood back and sides, mahogany neck,
ebony fingerboard and bridge. A very beautiful marquetry on the
rosette, bridge and very fine purfling. Very neat work with very finish
work. In terms of sound, this guitar is ment for the classical player
though the bridge has more a flamenco like hight. The soundbox
is extra deep to enhance the low frequencies but the balance certainly
is there. The guitar has power and at the same time beautiful
roundness of tone .
Specifications:
Solid spruce top, Solid rosewood back and sides, Ebony fingerboard,
rosewood bridge, rosewood purfling, inlaid rosette, rosewood
headstock veneer, Mahogany neck, French polished, tuners original.
headstock veneer, Mahogany neck, French polished, tuners original.
New strings.
The outer heel of this guitar, Gracefully done with again
great craftsmanship. Nice low action.
And that counts for the bass strings as well.
The only "minor" (but I would not call it that way)
is the seam of the two halves of the soundboard that
gave a very slight hairline crack. As this guitar has
been provided with a 5 fan bracing, the brace in the
middle simply covers this area. But to be sure I
worked in some wood glue and I think it is stable
now as a good glue joint is even more strong than
the cells of the wood itself. There are always tensions
between the parts of a guitar and if a crack occurs
it can be seen as a "relief" and the result is that
other cracks are not likely to happen anymore.
Antonio Lorca Model 23 guitar
Though this brand has very little to do with the famous Malaga
based luthier who was active in the 19th century, I've included
it for other reasons: Mr. Joaquin Garcia Fernandez (born 1929)
was the advisor of Guitarras Mervi (Valencia) the firm that
produced this guitar. Ment for the semi professional player it
has an attractive tone and is easy to play due to the 65 cm scale.
Garcia can be found as well in the Romanillos dictionary
All woods are solid: Cedar topped with a rosewood bridge.
Of course a Spanish heel inside and good overall workmanship.
Sides and back are of indian rosewood while the fingerboard
is made of ebony as well as the reinforcement of the neck.
Probably difficult to read but this guitar is a model 23
though the brand Antonio Lorca is a fake name and
probably has been used for commercial reasons. The
more expensive models have a hand signed label.
more expensive models have a hand signed label.
Joaquin Garcia Fernandez was born in Santa Cruz
(Argentina) and active as a cabinetmaker in Asturias. He
returned to Buenos Aires when he was twenty years old.
In 1975 he returned to Spain and settled in Valencia where
he also was advisor to the firm Raimundo y Aparichio.
Eventually he established his workshop in Torremolinos
(Argentina) and active as a cabinetmaker in Asturias. He
returned to Buenos Aires when he was twenty years old.
In 1975 he returned to Spain and settled in Valencia where
he also was advisor to the firm Raimundo y Aparichio.
Eventually he established his workshop in Torremolinos
in 1982. He learnt his craft from the old Spanish guitarreros.
For people who a searchin for prices of these guitars I've
included one picture out of the "Renner" pricelist. The
prices here beyond are also derived from that site. The
site gives a good description of the woods used in each
model. I do not know from which year these prices are
alass but it is a good guideline to my opninion.
http://www.renner.com.sg/antonio.html
Model 8 : USD 275
Model 8 ST : USD 289
Model 8 DS : USD 310
Model 10 : USD 375
Model 14 : USD 462
Model 16 : USD 450
Model 18 : USD 599
Model 20 : USD 799
Model 22 : USD 1399
Model 23 : USD 1599
Model 24 : USD 2299
Funnily enough there are also Valencia built guitars
from the "Guitarras Mervi Company" on the market
that bear the same model numbers. Again very decently
built guitars under the brand "Jose Rodriguez". The
label in these guitars even mentions the brand: "Antonio
Lorca" that were built in the Mervi factories in the
neighbourhood of Valencia.
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