Enrique Garcia - 1922 No. 257 Ex-Sinopoli
Überblick
Überblick
At the turn of the 20th century in Bercelona, cultural life was thriving, and Art Nouveau was enthusiastically welcomed. As the city developed a school of architecture, the Catalan guitar-makers developed their own style, incorporating the decorative motifs that became icons of the Catalan city. Perhaps the most prominent exponents of this phenomenon, Enrique Garcia became one of the most thought after guitar-makers of his time, especially in Argentina that also had a growing lutherie scene at the time, and he won important international prizes such as the Chicago World Fair in 1893. His designs did not only feature breathtaking ornamentation but were also developed with delicately carved thin tops and complex bracing arrangements, to satisfy the tonal qualities as demanded by some of the most recognized guitarists such as Domingo Prat and Francisco Tárrega.
Antonio Sinópoli with his Enrique García guitar (1929-03 Violao Newspaper).
Born in Madrid around 1865, Garcia began an apprenticeship with José Ramirez I at the young age of fifteen and later worked in the workshop of Manuel Ramirez from ca. 1883 to 1900. He strongly influenced many other guitar makers from Barcelona such as Francisco Simplicio, Enrique Sanfeliù, Ignacio Fleta, and many more. Upon his dead in 1922, Francisco Simplicio took over his workshop.
This guitar, numbered 257, was built in 1922 and is one the last guitars built before his passing. It was especially made for Antonio Sinópoli, a distinguished Argentine guitarist, and composer, who was also part of the active guitar scene between Spain and Argentina, having played with Domingo Part and also collaborated with Francisco Simplicio to create the “Sinópoli model”.
The breath-taking decoration of this guitar is only elevated by the high quality of the inlays included throughout the instrument. The delicate mother of pearl inlays on the rosette and the headstock are particularly rare features for late Garcia guitars, and create a subtle pattern against the carved headplate and the generously sized rosette. The Brazilian rosewood back and sides show impressive patterns with deep black lines running along the tightly packed grain that make the golden colored purfling appear ever more eye-catching.
The condition of this instrument is admirably good, despite its age and having crossed the Atlantic back and forth, is in perfect playing conditions. The guitar has been re-polished at some point and the spruce top shows three cracks in the region of the bridge, one on the left-lower bout, and one on the right-upper bout. All of them have been professionally repaired and are considered stable. The Brazilian rosewood on the back and sides is free of cracks or noteworthy blemishes.
| Luthier: | Enrique Garcia |
| Construction year: | 1922 |
| Construction type: | Traditional |
| Top: | Spruce |
| Back and sides: | Brazilian rosewood (CITES certified) |
| Finish: | French polish |
| Air body frequency: | F # |
| Scale: | 645 mm |
| Nut: | 49 mm |
| Weight: | 1450 grams |
| Tuners: | Antique |
| Strings: | Knobloch - EDC 34.0 |
| Condition: | Very good |
| Case: | Hiscox Pro II “Siccas Edition” |
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