Antonio Lopez Martin Model 1 (Built in 1966)

 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 

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 

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. 

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.