Francisco Esteve (Manuel Adalid!) / Nicolas Bonafon (around 1840)

Francisco Esteve Concert Model: Labelled "Francisco"

Definately a Francisco Esteve Concert guitar that has

been built by Manuel Adalid but with a rather disturbing

label as this guitar was made for the Spanish Guitar Centre

in Newcastle upon Tyne in Great Britain and thus bears

their label. Superior craftsmanship as can be admired

in the shaping of the rosette but also inner woodwork.

Price: € 1750,- (SOLD)

The round label looks a lot like the Tatay labels of that 

time. Probably no coincidence as Esteve worked for the 

Tatay company. Built in 1973 it is their 75th guitar

that year. Most likely numner 75 in this range.

At the bottom right the same rounded label can be seen

that is presented in this guitar. As was common these com-

panies often worked for Music shops and even other makers.

A beautiful back (and sides) this model is provided with.

It could even be Brasilian rosewood but we're not sure yet.

The upper picture has been taken after intensive French

polishing work that was needed to put it back in its'

old glory again. And thereby: It is a keeper.

A nice executed Rozette completes this furthermore

flawlessly built instrument. Inner woodwork is simply

of top quality. The golden Spanish Guitar Centre

label is sticked at the bottom. The soundboard is

strengthened with a traditional fan bracing and the

sound is as can be expected from a Valencian maker:

"Woody"  and with a kind of springyness and lots

of volume and tone colour.

The bridge has been provided with a 12 hole construction.

More easily to put on new strings but moreover, a better

angle over the bridge bone.

Hardly any traces of play wear though there is a slight

craquelé visible at close inspection. In fact normal 

regarding the age of this guitar.

Not any damges to the head that often occur when

placed against a wall.

The back and heel from another angle.

The tuners that work well.

The frets that are in a great condition and placed

in an ebony fingerboard.

The proof that this guitar was imported by the Spanish guitar 

center in England and for that reason got another label.

I did some investigations at first as I was blown away by its' 

sound qualities and already suspected it to be built by an

experienced luthier. I'll include the result of my E-mail

contact with the Francisco Esteve company here beyond.

You can click on it to enlarge this picture but the translation

has been placed here beyond for your convenience.

Good afternoon Noud,

 

I was quite certain but I wanted to verify with Manuel Adalid about this instrument.

“This guitar is how you can see a concert instrument, the best thing that I was doing 

in Esteve's workshop at the time. It's a concert guitar because of the constructive 

details that you correctly pointed out. These were made for the English house, the

Spanish Guitar Center”. We believe that all of it is finished in shellac, top and body.

 

It is possible that the overhead is from Palosanto de Río as well. It's a guitar on which

more than one luthier intervened and in which D. Manuel Adalid father (and the eldest)

did part of the work on it. It is artisan and entirely by hand. Today it would resemble a

60th Anniversary model, the most elaborate thing we do of concert models but with a

soundboard with a classic traditional system. 

 

The recommended retail price of the model new 60th Anniversary is about 6000 euros 

depending on the place due to taxes and rates of each country. You have a wonderful 

instrument and we hope you enjoy it. It seems to be in good condition.

 

Regarding the Elec model, it is a model that we continue to manufacture today and is 

the highest of range of electro-acoustic guitars with cut-away.

 

I hope it has helped you

 

Take good care of yourself and kind regards

 

Sergio Camargo

 

And what a surprise! We were able to buy a second one.

We already knew the quality of these guitars but we had

to pay a bit more alass.. This one is from 1971 and in

 a near mint condition. I decided to do some work on the 

neck as these were quite thick on both guitars. I know, 

not original anymore. For that reason I decided to sell 

the 1973 guitar. Soundwise they are similar. But this 

one remains in my collection. Scale 650 mm.

Not any damage on head and back. No cracks which is 

remarkable being more than 50 years old. Nr. 48.

And its' label of course stating that this guitar was being 

made in 1971 an possible was the 48th one in range.

Nicolas Bonafon

The fully restored Nicolas Bonafon guitar.

It has all the details of a mid 19th century guitar.

In my opinion most parts aren't original anymore .

It was quite common to modernize older instruments.

E.g. the hightened fingerboard and the head.

"Die Geigen- und Lautenmacher vom Mittelalter

bis zur Gegenwart" is a very useful Dictionnary.

You can download it but it is not a very easy

task. It shows the following text:

Bonafon, Nicolas. — Paris. 18. Jahrhundert Eine Viola, 

die dem Aussehen nach dem Anfange des 18. 

oder Ende des 17. Jahrhunderts angehört haben dürfte, 

trug den Zettel : Abb. 49.

This is the one piece original back that was
too far gone. The wood insects also destroyed
that part of this instrument. The guitar has been 
gamma radiused so there aren't any living insects 
left,  hopefully! Regarding the age of this guitar: 
Suspects are that the fingerboard mounted up to 
the soundhole is not original. The Dictionnary 
"Vanne" mentions Bonafon as a Paris based luthier. 
A pochette (travel violin) is known to be made 
with the following label:

Nicolas Bonafon (sic) Luthier à Paris 1799
V. Etiquette n° 62."

For the back and sides I used the wood from

another older guitar that was of little value.

The orange colour I obtained with a staining process.

A close look at the bridge where I restored the

outer parts and even made new dots with ivory

inlays to have it close to it's original condition.

Even the soundboard is not free from wood
insect traces. Yet a wonderful sound!

The back of the head with the EON Tuners

with ebony tuning knobs. The design of this head

resembles that of some René Lacote guitars as well

as the later produced Thibouville Lamy instruments 
(around 1860) It is clearly visible that the head is not 
exactly centered with the neck. Suspects are that the 
head with these later tuners is an addition as well.

A nice picture of the sides that shows the uneven
depth of the soundbox along this instrument.

Here's the Bonafon guitar in its authentic situation.

The bridge ends have disappeared. The fingerboard
is in bad shape.The sides and back are too far gone

as a result from wood insects. Though this guitar 
was not that expensive, I decided to bring it back to 
life and in a playable condition. It was worth all that 
trouble! A nice warm and clear tone with remarkable

sustain comes from this instrument. Tonecolour and 
balance between the different strings proves to be 
absolutely astonishing.

On this picture you can see I removed the fingerboard

and back allready. I presumed the sides could be used

again but that would have been a lost case.

The back of this guitar also shows the holes

made by wood insects. The back was also
damaged too far especially on the ends.

It was a one piece back as can be seen

on other pictures I've included.

The original label on the new two piece back.
The wood came from an old german guitar
that was furthermore of little value.



The well known EON mechanics were fitted on
this instrument. Just by selling these ones I would
have all my investments in this guitar back! Note 
that the tuners appear to be mounted the wrong way.

In fact, no: This is the way these tuners work the
proper way. Compare this to the same tuners on 
the Thibouville Lamy guitar also on this site.

Again the old situation: The sides just broke off with
little effort. Also can be concluded that the insects
didn't "attack"  the guitar from the inside as the inner
soundboard was free from the small holes they cause.

Here are the newly made sides.

I bowed them with the soundboard plantilla as a model.
The original back that looked much better than it really was.

Still beautiful to look at as it has a fine grained and striped

piece of maple. (second picture)

To reassure people who really want to

stay close to the original. The poorly

conditioned inner part! This guitar would 
have ended as garbage and another reason is 
that there are numerous guitars of this age 
still in existance!

The back finished with the new wood parts.

The struts are the original ones but have been wettened
and put into a micro wave oven to kill possibly
remained wood insects. This procedure can be
done with all smaller parts but not metal!