Carlos Perez Nanclares - 1952
Carlos Perez Nanclares - 1952
Details
Details
Overview
Overview
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Shipping important note
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Details about GPSR
Details about GPSR
Video overview
More details about the guitar
About the luthier
Carlos Perez de Nanclares stands in the Madrid lineage of guitar making and is closely connected with the Ramirez workshop, where he is described as one of the most gifted pupils to emerge from that circle. An article in the Österreichische Gitarre Zeitschrift (Austrian Guitar Journal) presents him as a new star among Spanish makers and praises the depth of his basses, the luminous singing quality of his trebles and the immaculate interior workmanship that reveals a calm and methodical craftsman at the bench.
The same source places Nanclares within a broader movement of Spanish makers and players who were drawn to Paris in the first half of the 20th century. Manuel Ramirez had once considered opening a workshop there before deciding to remain in Madrid. José Gómez Ramirez later moved to Paris around 1914, and Robert Bouchet built his first guitar there in 1946. Paris had by then become an important centre where Spanish builders and musicians met a wider European public. Nanclares belongs to this context as a Spaniard formed in the Ramirez tradition who later worked in Paris. The article documents his Paris workshop at 144 rue de Foutenay, Vincennes and that his activity continued at least into the 1950s.
About the guitar
This 1952 instrument shows Nanclares working with assurance and a very clear sound ideal. The bridge has ornamented wings that bring José Ramirez I to mind, while the tie block is deliberately plain, which keeps the whole design quiet and focused. The rosette carries an intricate mosaic, and a very fine pluma line follows the purfling around the top. The headstock has an understated elegance, and the original tuning machines are still present and in very good working order. The instrument is signed on the underside of the top, and the build year 1952 is clearly stated.
The voice of this guitar is distinctive and memorable. The separation of the voices is remarkable, so inner lines and bass melodies remain clearly shaped even in dense textures. The overall character is graceful and poised, yet the guitar has such an individual colour that its sound can be recognised among many instruments. The response is immediate and the guitar rewards a light touch with clear, singing notes. Its dynamic range is broad. Quiet playing keeps warmth and definition, while stronger projection opens the sound freely without harshness and without losing refinement in the trebles. The light build and the spruce top give the attack a quick bloom, and the Brazilian rosewood deepens the colour and resonance of the lower register. The air body resonance lies between G sharp and A and can be felt as a subtle support to the main voice of the instrument rather than a dominant emphasis in the bass. The overall impression is of a poetic and articulate guitar that invites nuanced and expressive playing.
Condition
This instrument shows the traces of careful use, and after a long musical life has been carefully restored. The top presents several repaired cracks. There is one crack on each side of the fretboard, both reinforced with cleats. A longer crack runs along the left wing of the bridge, with the lower section supported by cleats. Other cracks in the top have been glued without need of additional reinforcement. The sides also show several repaired cracks. The back contains multiple repaired cracks that have been stabilised with cleats. All restoration work is stable and has been carried out in a professional manner. The French polish on the soundboard and body displays natural ageing and wear consistent with regular careful use. The original tuners remain in place, function well and are in very good condition for their age.
Regular care extends the life of the instrument
Even with careful use, a classical guitar may gradually change in appearance or respond to unstable storage conditions. Have a close look at your guitar regularly and be attentif to changes. If your instrument is suffering from its environement, it will let you know.
Protect Your Guitar: Handle with Care
Be mindful when touching your instrument with greasy or unwashed hands: any skin contact is a small attack on the varnish. Of course, a guitar is made to be played, but taking a few precautions helps preserve its beauty: wash your hands before playing, wear long sleeves, and avoid unnecessary direct skin contact with the body of the instrument.
Pro tip: Avoid playing with a button-up shirt, heavy jewelry, or a belt, as these can scratch the guitar. Also, make sure your guitar case is free of any objects that could damage the instrument during storage.
String care
A good habit to adopt is wiping down your strings briefly after each playing session. This small action significantly extends their lifespan and helps maintain a consistent, comfortable feel under your fingers.
Most importantly, clean strings are essential for keeping your instrument in tune. Corrosion, sweat, and dust can affect the uniformity of the strings and interfere with accurate tuning across the entire fingerboard.
Pro tip: If you're having trouble getting your guitar in tune, it might be time to change the strings. A useful test is to compare the pitch of the 12th fret harmonic with the fretted note at the 12th fret; if there's an unusually large gap between them, your strings may have lost their integrity and should be replaced.
Keep Your Shellac Finish Shining!
Got a guitar with a shellac (French polish) finish? Here's a simple trick: Take a clean microfiber cloth and gently breathe on the surface to create a light mist. Then, softly rub to remove fingerprints, sweat, and grease. That’s usually all it takes to keep it looking great, no products needed!
Pro tip: Every few years, treat your guitar to a check-up with a luthier to keep it in top shape.
Storing Your Guitar: Climate Matters
Your guitar can safely stay outside its case, as long as the surrounding environment maintains 42–55% humidity and a temperature between 18–25°C.
Keep in mind that humidity levels can still fluctuate inside the case, especially during seasonal changes.
- Too much humidity may cause overtightened strings and a dull tone.
- Too little humidity can lead to a bulging top, string buzz, or even cracks.
Avoid placing your guitar near radiators, air conditioners, or windows with direct sunlight.
Pro tip: Always close your guitar case while playing. This helps preserve a stable microclimate inside the case, so your instrument is protected the moment you put it back in.