I don't see many of these at all so when Jim brought this in to show me a few weeks ago I was delighted. It is a 5 course guitar from approximately 1650 although like many of the guitars from this time it has been 'restored', repaired and altered.
The decoration is perhaps a little florid for modern tastes but you can still appreciate its flamboyant exuberance. The white inlay material is ivory and the black is a mastic, or filler.
This guitar would originally had five courses (or pairs of strings) but at some point (almost certainly in the 19th century) has been converted to six single strings and this is evident in the cut down headstock and the replacement bridge. The neck shows considerable signs of alteration. The ivory inlay is surrounded by a cracked black mastic,but a small piece of snakewood is evident, indicating that the neck veneer was originally this wood, so matching the back and ribs.
This view of the inside shows the sides lined with linen, and the delicate shaping of the bars on the soundboard.
Having used some snakewood recently, I was intrigued to see the back and ribs of this guitar which are made up of snakewood strips separated by ivory.
The label visible through the soundhole is in fact an American repair label from 1930. The original maker is not known.
I don't see many of these at all so when Jim brought this in to show me a few weeks ago I was delighted. It is a 5 course guitar from approximately 1650 although like many of the guitars from this time it has been 'restored', repaired and altered.
The decoration is perhaps a little florid for modern tastes but you can still appreciate its flamboyant exuberance. The white inlay material is ivory and the black is a mastic, or filler.
This guitar would originally had five courses (or pairs of strings) but at some point (almost certainly in the 19th century) has been converted to six single strings and this is evident in the cut down headstock and the replacement bridge. The neck shows considerable signs of alteration. The ivory inlay is surrounded by a cracked black mastic,but a small piece of snakewood is evident, indicating that the neck veneer was originally this wood, so matching the back and ribs.
This view of the inside shows the sides lined with linen, and the delicate shaping of the bars on the soundboard.
Having used some snakewood recently, I was intrigued to see the back and ribs of this guitar which are made up of snakewood strips separated by ivory.
The label visible through the soundhole is in fact an American repair label from 1930. The original maker is not known.
Wow, this is a beautiful guitar! So glad i stumbled upon your site. I was searching for some ideas and this has definitely inspired me. Thanks!
ReplyDeleteIt really is stunning - I'm pleased it has provided you with some ideas. I'll post more pictures of it in 2011 as restoration progresses.
ReplyDeleteNice Venetian guitar. Probably from the Sellas family. Perhaps Michele
ReplyDeleteThank you Andrew. Certainly the owner of this guitar has had Sellas in mind since he acquired it. A number of makers and scholars are researching this guitar at the moment so we may be able pin it down fairly soon. Thanks again for your contribution.
ReplyDelete