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.

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