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Details
Description
This 1998 Gerundino Fernández is a flamenco guitar (blanca) with a spruce top and cypress back and sides, built in Almería, Spain, by the maker whose guitars were played by Paco Peña, Tomatito and Eric Clapton.
A Later Gerundino Blanca from Almería
This 1998 is an excellent example of a later Gerundino blanca. It is large-bodied, aggressive and loud, with an unmistakable raspy "Andalusian" character – not surprising, as Gerundino himself lived and worked in the city of Almería: birthplace and home of Antonio de Torres and the modern Spanish guitar.
Condition
Condition is excellent, with only one (invisible) repair to the side of the fingerboard, recently done by German Vázquez Rubio, and only the smallest amount of playing wear. The guitar is otherwise set up comfortably and ready for the stage or studio.
Background
Gerundino Fernández: Flamenco Guitar Maker of Almería
The late Gerundino Fernández (1931–2006) is considered by many to be one of the best flamenco builders of the latter half of the twentieth century, along with Arcángel Fernández and Manuel Reyes. His guitars have been played by many top players, most notably Paco Peña, Paco del Gastor, Tomatito, Juan Martín and even Eric Clapton – and also by Paco de Lucía, Vicente Amigo, Raimundo Amador and Pedro Bacán.
Prizes and Honors
Gerundino won First Prize at the International Festival of Guitar Makers in Ronda (Málaga) in 1978, and ten years later, in Paris in October 1988, both First Prize and the award for Best Acoustics at the 4th International UNESCO competition for guitar makers. His home city of Almería – birthplace of Antonio de Torres – honored him with its City Shield in 1979. He died in Almería on March 14, 2006, and the city later dedicated a bronze bust to him and named a street after him: Calle Guitarrero Gerundino Fernández.
Gerundino Fernández Hijo
His son, Gerundino Fernández Hijo (Gerundino Fernández Llamas, born in Almería in 1974), grew up constantly in the workshop, assisting his father over many years with such tasks as sanding wood, inlaying kerfings, gluing backs and tops, etc. He also regularly accompanied and assisted his uncle Eladio in locating, cutting and selecting the best woods that would eventually become the material for his father's guitars – and now, his own. In 2015 he began building professionally in the family tradition, using his father's techniques, tools, plantillas and design, and even much of the wood his father left him, some of it drying for more than 40 years. When he showed us a couple of his instruments, we were immediately convinced that he possessed the same subtle touch as his late father.
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