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I was invited to study a Torres which had never been catalogued but has an impeccable pedigree. The story as it stands is on my blog starting from March 25. John Ray blog I have linked to it from Delcamp and some of the reactions have been hilarious. I can't wait to see if we can get even crazier here.
I guess the five hundred dollar question is what is she worth if proven to not be genuine? Who might have built her and why? I wonder if other possessors of real Torres guitars are reexamining, or not.
I saw your first post on the Delcamp and looked at your blog photos, I check your bob every few weeks anyway, couple questions:
-Noticed the back seam doubler grain is parallel to the back and wondered if that was the norm back then or was it somthing Torres did or did not?
-noticed in the headstock the inside tuner berral on the 4th/D string appeared to have a large bushing and it seemed some major repairing has been done? I also got the idea it she might have been a peg head by just looking at her but nothing more then a hunch.
One other observation, seems the top is not origanal, or at least a rather fresh sanding/scraping and shellac? It just looks too new.
That's my two cents anyway, I'm just a couple years into this luthiery adventure so take my internet observations for what they are worth.
HR
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I prefer my flamenco guitar spicy, doesn't have to be fast, should have some meat on the bones, can be raw or well done, as long as it doesn't sound like it's turning green on an elevator floor.
Ok, couple,other things after going back and watching the bore scope vid.
The tentalones over the lateral braces seem incongruent, would need to compare to a known Torres
Pencil marks in places they are not needed, agian one would need to compair with a know Torres
Inside patina doesn't seem to be old enough?
The linings do apear to be exactly as I've seen in other Torres. I've trip to replicate them, and mostly failed, so I have become intamate with their look.
Funny, I'm a retired airplane mechanic, many lives counted on my ability to inspect and detect issues before they became a safty of flight problem. Been retired for a few years but I felt my Inpectors Autherization hat tugging at my forehead as I squinted into the details...
HR
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I prefer my flamenco guitar spicy, doesn't have to be fast, should have some meat on the bones, can be raw or well done, as long as it doesn't sound like it's turning green on an elevator floor.
One thing you mentioned was that whiteglue was used in the second repair. As this has only been in use since the 1950s, and the ownership of the instrument is traceable to the early 60s, I wonder if the owners would be able to shed any light on the matter, as it’s possible the repair was done while the instrument was in their possession.
I was pleased to see you reference the current views on restoration in your blog and discuss the need for historical sensitivity, to the extent of mentioning that even poorly executed repairs are part of the history of an instrument which should not be eradicated without careful consideration. In line with this, I notice the article “Adopting a policy of faithful copies of historically important musical instruments as an alternative to restoration.” (John Ray et. al.) in “Wooden Musical Instruments: Different Forms of Knowledge.” Paris 2018 Cité de la Musique, is available online in PDF form in a couple of digital archives (HAL and ResearchGate) and can be found by search engine.
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