Vintage Guitar - March 2017 - Open - 70

to dealers in South The back is likely
A me r ic a , w he re a "slip match"
Ma nuel Ra mírez made from two
and other prominent consecutive
Spanish makers also lengthwise cuts.
exported, his instruments often appear in their catalogs - usually the more-deluxe models since during
Esteso's lifetime, South America was where
the wealthy buyers lived. Esteso used several
labels, especially for models exported to this
region, but the instrument featured here
carries his classic label, used for non-export
models his entire career.
During Esteso's life, it was common
to make guitars in a variety of sizes,
to fit the hands of the player. So,
this instrument is smaller, with a
633-millimeter scale. This works
out to be nearly 25", and there's
no compensation at the bridge,
so Esteso was possibly working in
inches even at this late date; that
was certainly the case with Antonio de Torres in the 19th century,
as Spain was relatively late to adopt
the metric system.
Made with Brazilian rosewood sides
and back as well as mechanical tuning
machines, when this instrument was new
it would have been considered very deluxe.

In those days, materials costs were a significant
portion of an instrument and Esteso was buying woods from Telésforo Julve, in Valencia,
the commercial center of lutherie suppliers.
In addition to being a wood supplier, Julve was
also a mass producer of cheap student guitars,
either with his label or unlabeled for sale by
other shops who would insert their own.
The spruce soundboard with inlaid rosette
featuring a central mother-of-pearl repeating
design set in black mastic, and sound hole
border of "barber pole" light/dark edging, was
probably also supplied by Julve already inlaid
to the jointed/rough-planed soundboard.
Esteso would have subsequently planed and
thicknessed the soundboard to his personal
satisfaction. The tuning machines were also
probably supplied by Julve, and we can see
they're original by the lack of "hanging"
hole in the head.
In those days, few players would own
a case, which was an expensive luxury
ordered from case makers. So, it was
normal to hang a guitar on the wall when
not playing. If it had pegs, they would not
be used to tie the hanging ribbon because
that risked breaking them. Instead, makers
would typically drill one or two holes in the
head to tie the hanging ribbon through, and
the guitar would be hung on the wall from a
nail or wooden post.

VINTAGE GUITAR

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March 2017


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Table of Contents for the Digital Edition of Vintage Guitar - March 2017 - Open

Contents
Vintage Guitar - March 2017 - Open - Cover
Vintage Guitar - March 2017 - Open - IFC
Vintage Guitar - March 2017 - Open - 3
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Vintage Guitar - March 2017 - Open - Contents
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