2012 Marcelino López "1851 José Pernas" SP/IN
| Year | 2012 |
| Top | Spruce |
| Back & Sides | Indian Rosewood |
| Scale Length | 650 mm |
| Nut width | 51 mm |
| Finish | French Polish |
| Country | Spain |
| Luthier | Marcelino López Nieto |
This guitar is no longer available in our inventory. If it interests you, click the ”notify me when available” button to be notified in the event that we re-acquire this guitar for re-sale.
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Description
This 2012 Marcelino López Nieto is a replica of an 1851 José Pernas guitar in spruce and Indian rosewood, made in Madrid, Spain, from the original in his collection – kept in his private collection until his passing in 2018 and offered through the GSI Foundation.
A Copy of an 1851 José Pernas
As well as his traditional "Torres" style guitars, Marcelino built many historical instruments on pre-Torres designs – vihuelas, Baroque guitars, Baroque and Renaissance lutes, and other instruments such as violas da gamba, harps, harpsichords, clavichords and period-styled violins and violas. This guitar, made in 2012, is a meticulously built copy of an 1851 José Pernas guitar from Marcelino's vast collection of historical instruments, so he was able to study the original first-hand when building this replica.
José Pernas, born in 1804, was a guitar maker living and working in the Andalusian city of Granada, where he allegedly gave early advice to a young Antonio de Torres. Pernas was greatly celebrated for his work in his lifetime, and in 1851 (the same year as the original of this guitar) he was awarded a gold medal by the Sociedad Económica de Amigos del País.
Colorful Details and an Authentic Period Sound
The instrument itself is extremely charming – it has a smaller, more compact box with a very "flat" bottom and colorful detailing (top purflings include half herringbone flanked by 4 layers of green, yellow, beige and red, and the rosette has a multi-colored mosaic with purflings in green, red, yellow and purple!). Although smaller in size than a contemporary "full-sized" guitar, it is very comfortable and easy to play and has surprisingly large volume. The quality of sound is very authentic, with an "antiquey," pre-Torres tonal character, perfect for getting closer to the period sound of the early-to-mid-19th-century music of such composers as Sor, Giuliani, Aguado, Legnani, Diabelli, Carulli and Coste, just to name a few!
The guitar is in excellent condition with no damage or repairs, only some very mild wear in the finish. It is concert-ready for any performance situation. This is a fantastic "period style instrument" by one of Spain's most enduring and experienced legends. Includes a custom hardshell case perfectly fitted to the dimensions of the instrument. This instrument was in Marcelino López's private collection and was only sold after his passing in 2018.
A GSI Foundation Guitar
This guitar was donated to our non-profit charitable organization, the GSI Foundation. Guitar sales through the GSI Foundation raise money to directly benefit music education in public schools.
Read more: Orfeo Magazine No. 3 – interview with Marcelino López Nieto · Orfeo No. 3 on our blog · our 2008 interview with Marcelino
Background
Marcelino López Nieto (1931–2018): Guitar Maker of Madrid
The late Marcelino López Nieto was one of Spain's most respected guitar makers of the 20th century. He was originally a performer of the guitar – a student of Daniel Fortea, who was himself a pupil of Tárrega – and his professional background was in cabinetmaking, so the move to guitar making came naturally, as it has for so many builders throughout history. After the death of Santos Hernández in 1943 he befriended Santos' widow, Matilde Ruiz López, and was able to spend time in the Santos workshop before setting up his own shop in 1949, at the age of 18. He also worked with Hernández y Aguado in the early 1970s and built several "Hernández y Aguado" models over the years.
Small-Bodied Guitars in the Tradition of Torres
Although a Madrid maker, Marcelino never fell under the shadow of the larger, sturdier guitars of the Ramírez school. He always preferred to build in the traditional style of Antonio de Torres and the southern Spanish makers – a smaller body without double sides, mostly spruce tops and a French polish finish. Alongside his classical and flamenco guitars he also built historical instruments, from vihuelas, lutes and Baroque and Romantic guitars to violins, many of them after originals in his own large collection.

