"They are outstanding instruments, which I have had the privilege to encounter while preparing my photo essays for Orfeo Magazine, and which are housed in collections in France, Spain, Italy, Germany and the [US]." - Alberto Martinez

This is a very interesting Rodriguez. When we acquired it, we noticed there is no date or signature on the label - unusual! The label is stamped in the lower right corner (so a genuine Rodriguez built by Miguel Jr.). Pepe Sr. called us one day after seeing it and told us that the guitar was originally made for him.

The most obvious and striking thing about this guitar at first glance is the two soundhole "Dos Bocas" system fitted around either side of the fingerboard. This is inspired by guitars of the same design from Francisco Simplicio, who built these in the 1920s and early 1930s.

This is an excellent and very impressive guitar all around - our second CSAR model from this very fine maker, and it's lovely to see one after having had several others made with a myriad of woods.

The "Model 17A" ("A" for "antiqued" look) is based largely on an 1864 Torres, known as "FE 17" - the earliest of Tarrega’s 3 Torres instruments that he would play throughout his career. This is a charming, first-epoch style guitar with a slightly more compact body size and shorter scale length.

This guitar is a monster of a blanca built in the 3^rd decade both of this guitar maker’s career and of the 20^th century. Although it was built in the mid-1920s, it has all the punch and power normally associated with the great mid-century Andalucian flamencos.

This model is a re-issue of a José Ramírez I "Guitarra de Tablao" and is based on a template dated to 1913. The current design features slightly altered details of construction, adapting it to current playing preferences. It is absolutely charming to play, and has plenty of power for any concert setting.