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Guitar attributed to Matteo Sellas, Venice, ca. 1640


NMM 3385.  Guitar attributed to Matteo Sellas, Venice, ca. 1640Bass side of guitar Lower end Lower end Neck heel Treble side of guitar Back of guitar

Note: Click on any major structural area of the instrument to see a close-up of that area.

NMM 3385. Guitar attributed to Matteo Sellas, Venice, ca. 1640. Five double courses. Vaulted back and sides of fluted ebony with ivory stringing; back of neck veneered in ivory with inlaid ebony in a complex vine design. Original spruce belly with floral marquetry and a four-tiered rose of parchment, paper, and leather stained red and parti-gilded, surrounded by a geometric inlay of ebony and ivory. Six ivory plaques, three with rural scenes, on the fingerboard and head, five of them later replacements, but typical of the period. Overall length: 962 mm. Similar to the Matteo Sellas guitar, Venice, ca. 1630, in the Brussels Conservatoire collection (550). Exhibited at the Castello Sforzesco, Milan, in the 1950s. Ex coll.: Bisiach, Milan. Witten-Rawlins Collection, 1984.


Rose

Guitar's rose

Guitar's rosette Guitar's rosette, view 2

Note: Click on images above to see larger images of the rose.


Views of the Peghead

Front of peghead Back of peghead

Note: Click on images above to see larger images of the peghead.


Details of Plaques on Peghead

Maker's name

Second plaque

Third plaque

Note: Click on images above to see larger images of the plaques.

Matteo Sellas, father of the instrument maker Domenico Sellas (b. Venice, ca. 1632), was born in Füssen, ca. 1599-1602, and died in Venice in 1654. The crown ("Alla Corona") inscribed on the peghead was the shop sign used by these two Venetian luthiers. Matteo's family immigrated to Venice in the early seventeenth century. Following his training, Matteo established his own highly prolific workshop in the 1620s, where he eventually employed numerous apprentices, some of whom followed their mentor's example, became prominent makers, and established their own instrument-making workshops.


Details of Plaques on Fingerboard


First plaque

Second plaque

Third plaque

Note: Click on images above to see larger images of the plaques.


Literature

André P. Larson, "Early Italian Plucked Stringed Instruments at the Shrine to Music Museum," Lute Society of America Newsletter 20, No. 1 (February 1985), p. 8.

André P. Larson, The National Music Museum: A Pictorial Souvenir (Vermillion: National Music Museum, 1988), cover, p. 40, and inside front cover.

ClassicNotes: KDFC 102.1 FM (San Francisco) 11, No. 3, Issue #7 (Spring 1996), cover.

Steve Beckermann, Rusty Freeman, Michael Keller, and Michael J. Olsen, Art of the Guitar: A Luthier's Renaissance, Catalog of Exhibition at the Plains Art Museum, Fargo, North Dakota, February 26-June 7, 2009 (Fargo: Plains Art Museum, 2009), pp. 6 and 15.


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A postcard of the Matteo Sellas guitar is available from the Gift Shop

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Front of peghead Maker's name Plaque on peghead Plaque with flower Plaque with musician Plaque with hunter Front of neck Decoration on upper end of belly Soundhole Decoration on lower end of blly Lower end of guitar Treble side Neck heel Treble side of body Lower end Back of pegbox Head and back graft Back of neck Neck heel Back of body Lower end