The label mentions the year 1862 but that was the year
this guitarreros won a gold medal at the Malaga exhibition.
However the adress and other features are pointing towards
an instrument made between 1862 - 1882.
Premium grade materials have been used for this guitar
and in fact its' sound is no less. Brasilian rosewood most
luthiers in the 19th century tend to use. Not the more
orange varant which is in favour nowadays.
It could be possible that Molina used pins to get the
exact location for the bridge and placed the two dots
on each wing to mask that afterwards.
A nice shot of the treated fingerboard and their new frets.
It was a must to do so. The original fretwork wasn't there
anymore and someone made the original fret slots much
too wide. Filling them in the first place was the first job
to do. The length of the head seems to be OK as we
compared it with some 19th century Malaga guitars
in the flamenco museum there. This headform seemed
to be in favour with more guitarreros there.
The original pegs have disappeared in favour
of the more known tuners.
The head has been veneered with a layer of Brasilian
rosewood as well. A new topnut still to be installed.
The "Plaza de Merced" label that mentions the award won
by this guitarreros in 1862 from the city of Malaga.
Wether if this is the original rosette we do not know for sure as
most likely the soundboard has been replaced during an extensive
restauration. The sides and back are typical late 19th century
Brasilian rosewood ones. A five piece fan bracing with two
closing ribs has been placed on the top. And a narrow
but tasteful rosette completes this instrument.
The back of this guitar has developed some inevitable
cracks during its' lifetime. But still beautiful woods
have been used for this guitar as can be seen here below.
A cedar neck but surprisingly no inner Spanish heel
Nicolas Morlot
This anonymous instrument has a Chevron pattern as
decoration and the headstock design of the first half of
the 19th century. Guitar expert Alex Timmerman thinks
it to be a Morlot but there are no labels or stamps on
this instrument.
mahogany on spruce as was common in french guitarbuilding.
The neck has been veneered with ebony as is the head.
Violin style tuning pegs.
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