It is my great pleasure to be able to offer for sale magnificent examples of historical and otherwise significant luthiers' work.
On this site you will see some of the guitars I am currently offering as well some of my favorite guitars that I have had the privilege of representing. Through my studio I offer restoration services of the highest caliber and welcome all inquiries. If you have a guitar you wish to have me represent, please contact me; furthermore if you are looking for a specific guitar you do not see here I would be happy to hear about it. I am always seeking out the very best guitars and only offer those that represent their maker´s work at its finest.
In stock
1941 Hauser
1936 Hauser Segovia
1927 Santos Hernandez
1986 José Romanillos
1911 Vicente Arias
1910 Manuel Ramirez
1972 Hernandez y Aguado
1974 Ignacio Fleta
1983 Ignacio Fleta e Hijos
1972 Papazian
1960 Velazquez
1990 Velazquez
1985 Velazquez
1964 Manuel Réyes
1968 Manuel Contreras
2010 Paco Santiago Marin
2012 Byers
1998 Gernot Wagner
2015 Aaron Green
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In Stock and soon to be listed
1978 Velazquez
1972 Romanillos
1941 Hauser
1941 Hauser, the crown jewel of any collection. This particular example has been restored by Karl Franks and myself a few years ago. It is without a doubt my favorite example of this builder's work, being darker and deeper in tone than is the norm. Velvet trebles with great clarity and profundity. Powerful basses that are clear and disciplined. Easy to play and a joy to behold.
YouTube :
Isabel by Tárrega
Bach Sarabande Cello Suite 1
Federico Mompou Cancion - Frank Wallace
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1936 HAUSER SEGOVIA
An amazingly alive and colorful Hauser with a voice that leans a bit more on the German classical side, as opposed to the more humid and lush Spanish voice..until you start to explore the tonal possibilities which appear to me to be limitless. This is a guitar I have known for some years and have great affection for. I had the pleasure of hearing Xavier Jara perform on this instrument a few years ago (I had it in my possession and he needed a guitar for a performance with the rest of the San Francisco conservatory teachers so...). In his hands the colors and complexity of its voice utterly captivated the audience and frankly exposed all that was missing from the other guitarists' instruments that evening. As great as each performer was, he was far greater.
In excellent condition with no structural or aesthetic concerns, this instrument has some hairline cracks that have been expertly repaired and are not evident until you start really looking for them. It plays like a dream as well. A stellar concert guitar by any standard, this Hauser would be a crown jewel in any collection.
YouTube :
Cançó del Lladre performed by Christopher Ladd
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1986 José Romanillos
It would be hard to overstate the significance of José Romanillos within the world of the Spanish guitar, as a builder, scholar and author. He was also a heck of a nice guy and someone I was deeply honored to have met 30 years ago, in the early days of my career.
This instrument from 1986 is from his 600 series, which is (to the best of my knowledge) his largest body shape. About the same size as a Friederich, it isn't a terribly large guitar by such standards but relative to his oeuvre, I have yet to see any larger from him.
Sonically this is a very sweet and colorful example of Romanillos, the projection is superb and this is a very comfortable guitar to play. As an object, it is one of the most beautiful i have seen out of him and the condition is as good as it ever gets. An A++ example from one of the great Masters of the instrument
YouTube :
Description & Maria Luisa by Sagreras
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1927 Santos Hernandez
Santos Hernandez is rightfully one of the pillars of the Spanish guitar and one who's fame is equal in both the classical and flamenco guitar world. When Hermann Hauser decided he was going to build guitars in the Spanish tradition, (in addition to Torres) he studied Segovia's Manuel Ramirez guitar, built by Santos. Just to place him within the proper historical context.
So far I have represented a few of his classical guitars and one in particular with important provenance. I have never been anything less than impressed with his work. This 1927 Santos stands alone for me in the guitars of his I have handled. First is the plantilla, the body shape. Smaller than his usual model this guitar reminds me of a gorgeous 1912 Manuel Ramirez owned and played by my dear and dearly missed friend and collaborator, Frank Wallace. A bit bigger than the Ramirez this Santos is a 640 scale and very much in this earlier style. Straight forward in design and execution this guitar has a stunningly beautiful voice and no shortage of vitality in its response. This is the voice of the Spanish guitar. It is incredible to me that it has thrived for close to 100 years and remained in such condition. Some guitars just have a life force all their own and this is one of them. For the curious, the label is not signed but there is Santos' signature near the soundhole on the top.
YouTube:
Descent of the Dove by Wallace
Cancion del caminante enamorado by Merlin
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1911 VICENTE ARIAS
The guitars of Vicente Arias are among the rarest of the rare. There are, at most, 50 known examples in the world and this one was recently discovered and restored by Karl Franks and myself. The guitar has no splints in the top or back and is in excellent condition. The cypress back and sides are not in any way meant to indicate an intent by the builder that this is a flamenco guitar, as in those days such a designation was non-existent. The sound is full and rich with great warmth, depth, and range of color. There is nothing quite like the sound of a well-preserved older guitar. Thankfully one doesn't have to imagine as the videos of Frank Wallace can attest to the sonic excellence of this instrument.
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YouTube:
Frank Wallace - From a Windy Place - Frank A. Wallace
Frank Wallace - Estudio Op. 6 #11 b - Fernando Sor
Frank Wallace - Air From Quatre Pieces Breve - Frank Martin
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1910 Manuel Ramirez ex Wallace
This gem of a guitar is an absolute wonder and was very much loved by its former owner, my great and greatly missed friend Frank Wallace. Frank recorded on this guitar for his album Four Spanish Guitars and concertized on it from time to time as well.
I seem to recall getting to know this guitar at some point in the mid to late 90's, although I am not entirely sure exactly when Frank acquired it. I do remember being absolutely blown away at how alive it was (and is) and the gorgeous tone and color especially in Frank's hands.
This particular Ramirez was built for a dealer in Argentina as it states on the label, it is unclear to me which builder in the shop may have constructed this guitar but it does share some rather interesting aspects of "the maker's hand" with the 1927 Santos that is in stock. Not enough for me to assign or even suggest Santos as the builder but given who was in the shop at that time ( Santos, Esteso and Borreguero) there are no bad choices and the resultant guitar really speaks for itself.
This guitar is a 630 scale and in remarkable state of preservation, a great addition to any collection or for the most discerning concert artist.
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YouTube:
Description and performance
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1972 Hernandez y Aguado
The guitars of Hernandez y Aguado, for me, represent the very best of what I refer to as the mid century Spanish guitar. In every way they are the consummate concert guitars and exceptionally beautiful. This cedar example is no exception. A one owner guitar, this instrument is quite loud and open, with lightning attack and evenness of response.
Gloriously beautiful materials and workmanship, with the iconic headstock carving these instruments are known for. A 660 scale with a new fingerboard (in the style of the original) by me, properly intonated, ramrod straight and plays like an electric guitar. I have always felt that scale length was given far more significance, relative to playability, than it actually warrants, given all the other metrics that come into play. That being said, I think most players would be unaware of the length for how easy the guitar plays.
No cracks or otherwise outstanding issues.
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1974 Ignacio Fleta
A fantastically alive and powerful cedar top (Indian rosewood back and sides) is an example of this iconic maker's work. Orchestral in response, even up and down the neck while retaining a beautifully singing voice, pianistic without the nasality this kind of instrument sometimes possesses. The notes themselves are weighty and clear, easy to produce while sustaining the fundamental and abundant yet controlled overtones. This particular example may be the easiest playing Fleta I've encountered, perfectly set up with a relaxed inherent string tension (an aspect of how a guitar feels, known as "pulsasion" to the flamenco guitar crowd.)
This guitar has had some work in it's past, all of which was perfectly executed. There are a couple small and completely closed hairline cracks in the face (no splints) and what appears to be a refinished top. None of which affects the musical integrity of the guitar nor the structural integrity for that matter. What it does affect though is the price making this Fleta the very best deal in Fleta I have ever been able to offer. If you have a desire for a Fleta this is not one to be passed by.
YouTube:
Frank Wallace - Two Pieces - Wallace
el Noi de la Mare performed by Christopher Ladd
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1983 IGNACIO FLETA E HIJOS
The guitars of Ignacio Fleta e Hijos were some of the most striking examples of the emergence of "super guitars". Guitars designed to produce more volume for less effort and project from the concert stage. Often referred to as piano like in their response and evenness across the registers, they were in their time, all but unobtainable.
This particular guitar from 1983 is an early-ish example of when the sons were the head of the workshop. Ignacio had passed in 1977. That being said, they were present and instrumental in the construction of his guitars for many years at that point, with the "e Hijos" designation on the label showing up in the mid 1960's.
This guitar is the finest I've seen from the sons and probably the easiest playing Fleta of any of them. The neck and inherent tension of the guitar is so incredibly comfortable. Volume is prodigious and focused, projection is incredible. The piano component is a little more present than the 1976 example I am currently representing but it reminds me very much of a 1969 Fleta I had a few years ago. This is a formidable concert guitar with a beauty of tone rarely present in a guitar with such horsepower.
Youtube:
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1972 Manouk Papazian
This is an instrument that I have some history with and was utterly delighted to have the opportunity to represent. Back in 1996 or so I paid a visit to Manouk Papazian at his home in NYC. He was, for all intents and purposes, retired, but he was the builder of my friend Robert Sullivan's magnificent guitar and as such I wanted to meet him. He had a guitar in his home that he never sold but kept to show prospective clients as his showpiece instrument. This is that guitar.
First of all, the materials are still, to this day, among the most spectacular I have ever encountered. As nice as that is, the sound is what really caught my attention back then and still does now. It is an incredibly realized guitar, huge response and color palette a mile wide. When Papazian got it right, he really got it right and hit it clear out of the park. No repairs or issues, this is a guitar who's value well exceeds the price. I would put this up against any vintage guitar by any of the great Masters. It is that good.
Youtube:
Description & Luisa performed by Christopher Ladd
Price-18,000 USD
1960 MANUEL VELAZQUEZ
I've represented a lot of Velazquez guitars in my career and have a soft spot in my heart for his work. Besides being the first truly world class classical guitar maker in the U.S, he was incredibly prolific and held up the highest standards in his work. While I never met the man, from all accounts he was an absolute gentleman.
This 1960 Velazquez comes from a one owner family. The original owner (now passed) ordered this guitar and picked it up from Velazquez, played it until the end of his days and it passed to his son some years ago. The owner's regard for this guitar shows; it has always been cherished and meticulously maintained. It features some of the finest materials I've ever laid eyes on and is in perfect condition. Sonically this is Velazquez at his best, rich and soulful with clarity and a present, singing first string. I must admit that I am very fond of this vintage in his work, which was perhaps the closest to the original Hauser ideal from which he took such inspiration. A great instrument for the player or collector from one of the best luthiers ever. And at a price that is a bargain for such quality.
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1990 Velazquez
Good things come in pairs and everything I said about the 1985 Velazquez currently in stock, applies to this recent addition to the line up. Honestly this example from 1990 is remarkably similar and yet still has it's own personality and charm. Which is exactly as it should be when dealing with a maker such as Velazquez. The first string on this guitar really has a fantastic attack, presence and projection. The playability is excellent, condition is mint and the soul is pure Velazquez at his best. As a builder myself, I'd be very happy with a big stash of tops like this one, it's just perfection defined.
Price-18,000 USD
1985 Velazquez
As I have mentioned many times before, I have always had a soft spot in my heart for the guitars of the legendary Manuel Velazquez. His career is the stuff of legends, wildly productive for such a long time while maintaining the highest of standards in execution and sound. Then there is the incredible standard he set for the materials he used. This example from 1985 is no exception and is among the finest-sounding examples I've seen in some time.
One characteristic that is consistent with these guitars, especially as his work evolved through the later ‘60s and ‘70s is the incredible sweetness of their voice. Not in a sugary or cloying fashion but just the friendly and easily accessible beauty of tone. In this guitar's case, married with a very present and impressive first string, a broad color palette, and big weighty fundamentals. A real masterpiece by one of the great masters of the classical guitar.
YouTube:
Isabel by Tárrega
Price-18,000 USD
2010 Paco Santiago Marin
A magnificent concert guitar by a builder who I consider the best of Granada. I met Paco Santiago Marin in NYC in 1995, very early in my career. A number of the players I knew in NYC were playing his instruments, including my dear friend, mentor and client Dennis Koster. His guitars were among the earliest examples of the standards I should be working towards attaining in my own work. All these years later, his guitars still impress.
This particular example is a 30th anniversary model, in Indian rosewood. One owner with no repairs or concerns, it is a guitar who's value well exceeds its price.
Price-16,000 USD
2012 Greg Byers
The guitars of Greg Byers represent for me an ideal marriage of traditional and modern guitars both sonically and aesthetically. Very powerful and even with great separation and balance, it has a beautiful tone and plays like a dream. I have always admired Byer's work and am happy for the opportunity to represent one for sale. In spruce and Indian rosewood this is an excellent concert guitar by any standards. Condition is excellent with no outstanding issues or repairs. A professional's instrument, it has been masterfully played in and is my favorite Byers I have encountered yet.
YouTube:
Descent of the Dove performed by Christopher Ladd
Price-16,000 USD
1964 Manuel Réyes
One of my all time favorite Spanish builders and frankly one I am very disappointed that I never met, Manuel Réyes rightfully belongs among the greatest names in guitarmaking of the 20th century. And what a body of work he has left us. I have yet to find one that didn't impress. For me his work is a continuation of the direction established by Marcelo Barbero and stands in stark contrast to what the flamenco guitar has become these days...a one trick pony. This isn't a great flamenco guitar, it is simply a great guitar that is well suited for flamenco. Or classical. Or jazz or whatever you wish to play upon it.
As per usual with his earlier work in my experience, this is perhaps a little closer to the Barbero ideal and shows that even in 1964, Réyes was a masterful builder. In excellent condition and sound, I love this guitar very much and am quite certain you will too!
Price-14,000 USD
1968 Manuel Contreras
A monster blanca from one of the truly great expats of the Ramirez workshop. When it comes to guitars from Spain, particularly Madrid, it is hard to imagine a better vintage than the 60's. The caliber of builders, their sense of aesthetics and the style of guitars they were building, for me, is the apex of the classical and flamenco guitar in Spain. I am always happy to get my hands on a Contreras and this one is no exception.
This instrument was brought to me by the family of the original owner. It is constructed of the finest materials and attention to detail as one can rightfully expect with Contreras. The fingerboard is ever so slightly (and intentionally) with negative relief and a super low action. Feather light with a beautiful and colorful voice that definitely aligns with what I consider the best of cypress guitars. In addition to being a great flamenco blanca, it is ideal for a jazz guitarist looking for a nylon string or a classical guitarist who wishes to explore a totally different tonal landscape. A guitar who's value well exceeds its price
Price-7500 USD
1998 Gernot Wagner
Gernot Wagner is rightfully known as one of the finest luthiers in Germany and one of the originators of double top technology. His are the finest I've heard and the only convincing argument for doubletops from a tonal perspective. Just my opinion, of course.
I do think that Wagner is equally impressive in the most traditional designs as well. This Hauser inspired guitar is an extraordinary instrument. Elegant and refined with a huge voice. Clarity and separation married with warmth and bloom to the notes. It's quite easy on the hands and fun to play. Beautiful materials too and, as a builder myself, this kind of rosewood is the kind I love best. Lightweight and super resonant. Just like the guitar itself. There are a couple of hairline cracks which we repaired, taking the long approach to do it correctly with no additional wood added to close the cracks. As it is they are almost totally invisible and certainly will present no further issue. A masterful concert guitar guaranteed to please even the most discerning player.
Price-18,000 USD
2015 Aaron Green Cypress Classical
This 2015 Green is a spruce top classical of a design that I regularly utilize on many rosewood classical guitars. Without implying any kind of specificity, the top bracing is more aligned and inspired by the work of Daniel Friederich than any flamenco guitar design I am aware of. While there are physical components that can be said to be inspired by his approach to bracing, this alignment is also very much found in the way the guitar works with itself, something not easily discernible from physical inspection.
I have always had a great love of cypress as a material and have also felt its designation as a wood for flamenco guitars solely to be a huge loss for the classical guitar. In my own work, I would say that the lighter weight and more compliant cypress gives a lyrical, singing nature to the trebles while also being lightning-fast with great clarity and separation. loud and projecting, the notes are complex and weighty with disciplined and well-constructed harmonic overtones. Less than it would be new and without the multiyear wait Excellent condition
YouTube:
Bach - Sarabande from Cello Suite I
Price-11,000 USD
1991 Manuel Contreras
I am delighted to have such a lovely example of the work of Manuel Contreras, senior. I have been fortunate to have a few of his guitars over the years. One was in for a massive restoration. The other was a really beat up flamenco from the early 70's that, in spite of it's sorry condition, still was able to turn heads with its prodigious and excellent sound.
All of that is to say this, of the Madrid ex Ramirez builders, Manuel Contreras may be my favorite for the incredible soul his guitars seem to possess. I don't think I've ever played one that didn't have this quality so it seems worthy to mention it as an inherent component of their sound. From everything I've been told, it sounds like a natural extension of the man himself. I never met Contreras senior but I am lucky enough to have met his son Pablo (RIP) on two occasions in Madrid. The first was in 1996 on a guitarmaking/wood hunting trip with a great friend and colleague Charles Vega (also RIP). We went into Contreras' shop and upon learning that we were guitarmakers, he rolled out the red carpet, spent hours with us and directed us to a wood vendor he was friendly with. Five years later I walked into his shop again and he immediately recognized and remembered me. So off we went to a local tavern. He wouldn't let me pay either. He was just like that and from all I have heard, his father was too. As a luthier myself, I firmly believe we all put ourselves in our work which naturally includes the sound.
This particular Contreras is gorgeous. Masterful workmanship and truly masterful materials. The condition is as new and, with a 650 scale length, this guitar is easier on the hands than many of the Madrid school instruments. The sound is firm and clear with great weight and ease of sound production. It has that gorgeous Spanish bloom yet the separation of voices and precision of tone leaves nothing to be desired.
A handmade signed Contreras is a truly world class instrument and well worth anyone's time to get to know. I also think these days they represent a great bargain in the guitar world and harken back to a time where soul was the hallmark of a great guitar. In my humble opinion this is a quality the guitar world would be well advised to retain.
Price-10,500 USD
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2019 Walter Verreydt
A maker that, until recently I was not acquainted with with, this is a most impressive Hauser-esque instrument with powerful trebles and full basses. Responsive and even its super light in your hands which is an attribute that I always like in a guitar, you can feel the guitar vibrating as you play it. This is an instrument whose value exceeds its price for sure.
Price-14,000 USD
1991 Paul Daniel McGill
A fine guitar with a big voice and is easy to play. An under-the-saddle pickup system makes this an ideal gigging guitar and a real bargain whose value far exceeds the price. Lovely materials and well constructed there is nothing I don't like about this guitar. It was also owned by a dear and dearly missed client of mine who regularly performed on this guitar.
Price-7000 USD
1985 Thomas Humphrey
When I consider the entire oeuvre of Tom Humphrey I must admit that my absolute favorite guitars have always been the period right before he launched his famous, career defining and guitar world changing design known as the Millennium.
As great and innovative as those guitars are (and check out the gorgeous 1995 example listed on the SOLD page) I simply adore the more traditional yet throughly "Humphrey" guitars he was making in the mid 1980s. This one being my favorite thus far. One thing about Tom's guitars that have been well proven by the passage of time is that they are built for the long haul. His work would generally fall under the "bold stroke" category (as the violin folks like to call such workmanship), but the tenacity of his guitars is beyond argument. They really, really hang in there and that is quite an accomplishment.
This guitar is made of the most stunning materials and, like other examples from this era I've handled, shows a four piece top. Tom had acquired a bunch of spruce from the Steinway Piano factory and, never being one scared of going against convention, saw no reason not to use a multi piece top. Ahead of the curve? Always, but at the same time and in this regard he was following the footsteps of other luthiers such as, you know, Torres.
Playing this guitar is like driving a classic muscle car, say a 60's GTO. It's got so much power and presence but it's more like endless torque you can access than a jumpy modern guitar that spits out sound at the lightest touch. The first string really sings and is quite even and full. The basses thunder and the projection is remarkable. Clarity and weight abound. For me, this is as good as it ever got in Humphrey.
Price-14,000 USD
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1965 Irving Sloane
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