Andres Martin 1960 / Mirecourt guitar around 1840 (Nicolas Morlot?)

This Andres Martin guitar I was able to buy on an auction and 

though I really have enough guitars, this one I could.nt resist

with its' beautiful old school sound. some reparations were

needed but the superior inlay work on both the rosette and

the sides are betraying superior workmanship.

You can click on this picture to study this meticulous made

rosette on this flamenco ment guitar. From 1960 (Madrid)

His typical headform though a bit vulnerable to

damages to my opinion. Andres Martin often is 

confused with the Valencia based Andres Marin.

The back of the head that is carrying the typical 

early sixties Fustero tuners of the past age.

the cypress back with one well repaired crack in the 

lower bout on the right.

As can be expected a light guitar with a beautiful

resonance. Andres Martin learned from Santos 

Hernandez and Marcelo Barbero not the least in

the luthier world of Madrid.

The body on the front that also has a well repaired crack.

I'm not that afraid buying guitars with cracks as a good

repaired guitar brings it back to its' former glory.

The Label here that has been hand signed and moreover 

also the inner soundboard has been signed and dated.

It says number 275 - 1960.

A good picture of a later signed Andres Martin guitar that 

shows us the way Andres Martin signed his soundboards.

Mirecourt guitar

This typical french Mirecourt guitar isn't labeled 

but thoughts are that it could be a Nicolas Morlot,

a luthier who also built good violins. Well known is 

the Chevron type inlay. The bridge is a later addition 

to my believe as the model is not similar to other 

bridges on instruments of that time. 

This picture shows us the wood that has been used for the 

back: Apparently Cuban mahogany. Mahogany is also widely 

used for fine furniture: However, the rarity of Cuban mahogany 

and over harvesting of Honduras and Brazilian mahogany has 

diminished their use. This typical wood is prone to cracking 

however. This instrument is in good though not original 

condition. It has a sweet and even voice over the different 

strings. The inside of the soundbox has been veneered with

spruce as was quite common at that time.

A nice picture of the head that also differs a

bit of what was conventional, though the "Eight"

model was well known. Veneered with ebony.

Here you can take a close look at the wood 

used for the sides of this nice instrument.

ANONYMOUS MIRECOURT GUITAR (1825).

This instrument hasn't got a lot of decorations.
The soundboard apparently hasn't even been quarter sawn
being a sign of some cheapiness. After restoration this
guitar appears to be a very well balanced sounding
instrument with a nice and sweet voice.

This picture clearly shows the ivory frets while ebony has been
used for the highest frets. Note that fingerboard and
soundboard are in one line as was done up untill 1835.

These heels are quite common on french made guitars
of that period. This particular instrument has a wooden
binding on the back.

The back of this Mirecourt guitar has been veneered 

with a kind of mahogany on spruce. The neck has been 

veneered with ebony. Violinlike pegs are used for tuners.