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Grand Concert (classical). Brazilian RW 6 NSO.
Paul Szmanda Collection, 2005.
This Grand Concert classical guitar was made in 2001 by Lorenzo Pimentel, marking the 50th anniversary of the instrument-making workshop he founded with his wife, Josefina. To mark the occasion, the guitar features a gold 50 set with diamonds on the headstock.
Originally from Durango, Mexico, Pimentel studied guitar making with his brothers in Ciudad Juárez before moving to Carlsbad, New Mexico, in 1951. While initially working as a baker, he began to make guitars. In 1962, the Pimentels moved to Albuquerque, where the business is still located. Today Lorenzo builds instruments with four of his sons, Rick, Robert, Agustin, and Victor. Gustavo and Hector work as professional guitarists, based in Albuquerque.
The Pimentelsí work is characterized by fine woods, artistic inlays, and innovative construction.
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: L. Pimentel / PIMENTEL / OF ALBUQUERQUE / 50 / Model Grand Concert / Serial No. Brazilian RW. 6 NSO [sic] / Date June 2001
Signed in silver ink on back of peghead, under finish: Especially Made for / Paul Zmanda / By / Pimentel & [ampersand in form of E with vertical line] Sons / 2001
Inlaid in 14k gold on head with four meleé diamonds set into the number, 5: 50
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 rosewood over holly over rosewood. Neck: Honduran mahogany; flared heel.
Trim: Heel cap: rosewood. Fingerboard: African ebony; 19 nickel-silver frets under E-, B-, A-, E-strings; 18 nickel-silver frets under G- and D-strings. Nut: bone. Bridge: Brazilian rosewood; bone saddle; rectangular abalone inlay on string anchor surrounded by 14k gold wire and blue-dyed holly strips, and bone edging. Tuners: two sets of Waverly gold-plated, steel, worm-gear, machine heads with white plastic rollers, ebony heads with turquoise cabochons set in ends, the plates stamped with floral design, the upper end of plates terminating in lyres. Endpin: none. Finish: clear.
Inlay: Binding: rosewood with four-ply, blue-dyed holly, 14k gold, red-dyed holly, and ebony purfling strip trim on top, three-ply holly and ebony purfling strip trim on ribs and back. Rosette: light hardwood, red-dyed hardwood, blue-dyed hardwood, ebony, and 14k gold square custom mosaic with S motif, surrounded on each side by strips of ebony, blued-dyed holly, 14k gold, and thin mosaic comprised of alternating, angled strips of holly and ebony. Back stripe: rosewood strip surrounded on each side with two strips of holly and one strip of ebony purfling. Head inlay: purfling (ebony-14k gold-ebony) along sides; 14k gold 50 on head with four meleť diamonds set into 5. End graft: rosewood strip 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: spruce, the grain running perpendicular to plane of top and back. Top bracing: spruce ladder braces; two braces in lower bouts parallel to center joint; 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