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Principal Builder Robert Pimentel, Albuquerque, New Mexico, June 1999.
Southwestern Collection Series (Jazz classic cutaway style). Grand Concert B.R. 4 NSM.
Paul Szmanda Collection, 2005.
This guitar, designed for nylon strings like a traditional classical instrument, features a cutaway upper bout that facilitates playing in the upper registers. Made from fine Brazilian rosewood and German spruce, the instrumentís decoration features traditional Southwestern motifs and materials, including turquoise and red coral.
Inscriptions: Printed in brown ink on paper label, the text superimposed over faint image of vihuela and lute, with single line border, the given names, model, serial number, and dates written in blue ballpoint pen: Lorenzo, Rick, Robert / PIMENTEL / OF ALBUQUERQUE / Model Southwestern Collection Series / Serial No. Grand Concert B:R. 4 NSM [sic] / Date June 99
Signed in silver ink on back of peghead, under finish: Pimentel & [ampersand in form of E with vertical line] Sons / New Mexico / USA 99 / 1951 [decorative device] 1999
Ebony veneer label to treble side of signature label with cut corners, written in silver ink, with single line silver border: Paul W. Szmanda
Label (above) with Owner's Name
Body: Soundboard: two-piece, German spruce, fine grain. Back: two-piece book-matched Brazilian rosewood. Ribs: two-piece, book-matched Brazilian rosewood. Head: slotted, mahogany peghead veneered with triple-layer ebony over blue-dyed holly over ebony. Neck: Honduran mahogany; flared heel.
Trim: Heel cap: ebony. Fingerboard: African ebony; 21 nickel-silver frets under E- and B-strings; 19 nickel-silver frets under G- and E-strings; 18 nickel-silver frets under D-string; 14k gold side dots behind 3rd, 5th, 7th, 9th, and 12th frets. Nut: fossil ivory. Bridge: Brazilian rosewood; bone saddle; rectangular turquoise inlay on string anchor surrounded by 14k gold wire, ebony or ebony strip, and bone edging. Tuners: two sets of Waverly gold-plated steel worm-gear machine heads with white plastic rollers, ebony heads with gold pins, the plates stamped with floral design, the upper end of plates terminating in lyres. Endpin: nickel-plated steel jack plug attached to Fishman classical soundboard transducer set into top. Finish: clear.
Inlay: Binding: rosewood with blue-dyed holly, holly, and ebony purfling strip trim on top, holly purfling strip trim on ribs and back. Rosette: ebony, turquoise, 14k gold, and red coral with geometric southwestern motifs, and secondary ring of two ebony purfling strips with gold wire strip in center, with natural wood in between inner and outer rosette bands. Back stripe: alternating strips of holly and ebony forming herringbone pattern, with very narrow holly purfling strip through center, the herringbone surrounded on each side with two strips of holly and one strip of ebony purfling. Head inlay: stylized figure of flutist in abalone, turquoise, red coral, and 14k gold. End graft: alternating strips of holly and ebony forming herringbone pattern, with very narrow holly purfling strip through center, the herringbone surrounded on each side with two strips of holly and one strip of ebony purfling.
Interior: Linings: kerfed Spanish cedar. Neck block: Spanish cedar; extended foot on back side. End block: maple. Top bracing: spruce X-brace; two braces in lower bouts parallel to center joint, with one cross brace near bottom; two cross braces above soundhole; spruce graft above upper braces; soundhole reinforced with dark brown softwood. Back braces: three Spanish cedar back braces. Back graft: Spanish cedar.
©National Music Museum, 2006-2014
Most recent update: March 24, 2014