Antonio Lopez Martin 1966
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 around 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! Original case
included. SOLD.
Antonio Lopez Martin sold his guitars through shops in Cadiz
and Sevilla. He was a supplier of guitars in Malaga as well.
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.
and of course Jose Ramirez among others
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.
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.
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. I've seen these
tuners also on a concert classical guitar from the fifties but
can't remember who made that guitar.
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 on the front showed some
craquelures I figured it to be more beautiful to French
polish the head as well. Striking detail is that the head-
form also can be found on Casa Garrido labelled
instruments. As Antonio Lopez Martin was active
in Madrid during the first half of the sixties of the
past age it could be possible that he built for this
music shop. Then he possibly must have used this
headform after settling in Melilla. The topnut is
an example in the eye for details from this luthier.
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 label again tells us that this guitar has been made in
Melilla I 1966 and was nr. 195, probably by counting his
number 1 models. Useable for those who have a guitar
but with a missing label.
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. Often I'm lowering
the slot for the bridgebone in order to get it closer to the
soundboard itself and have more "flesh" to hold the
bridgebone in a proper way.
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!
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 nice finishing
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
shows 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.
