This guitar was generously 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. Feel free to contact us for more information.
This anonymously built guitar bears a label attributing it to René François Lacôte (c. 1785–1871) but clearly shows many features that are hallmarks of the 19th century guitar making school in Mirecourt, France, which for centuries has been a busy hub of stringed instrument making. Please click on the link for the Orfeo article about Mirecourt for a fascinating insight into this very important center of musical instrument production.
Although likely not built in the Lacôte workshop in Paris, this is still a wonderful instrument all around and is almost certainly built in the Lacôte tradition. It is a great-sounding (and playing) period instrument for players seeking an authentic sound to their performances of Sor, Aguado, Giuliani and the other great 19th century classical and Romantic composers for the guitar. It also has surprisingly "modern" volume - ample sound to satisfy the expectations of any contemporary player. It is also a marvel to behold for its beautiful materials and highly intricate inlay work. We believe the material for the back and sides is European pearwood - a wood that was commonly used by Mirecourt makers throughout the 19th century, particularly for more expensive guitars intended for wealthier clients. It develops a rich amber color with age which is precisely what we see here and this particular set exhibits a highly quilted figuring in the grain. The inlay work is simply stunning with an engraved mother-of-pearl floral border around the top and bridge, elaborately engraved abalone rosette with birds and flowers, and the abalone headplate medallion also with flowers. This degree of ornamentation suggests that this guitar was intended as a high-grade instrument rather than a standard workshop model.
Regardless of its ultimate origin, this is an exceptionally well-preserved mid-nineteenth century French instrument. In addition to the features already mentioned it also has a black stained neck with v-joint at the head, scalloped fingerboard, pin bridge and bone bindings for both the top and back. There are some cracks in the top that have been conservatively repaired with glue only, leaving the original sound intact and in concert-ready condition with excellent playability. While the instrument may have originated in one of the better Mirecourt ateliers rather than Lacôte's Paris workshop itself, its overall conception, tonal characteristics and decorative vocabulary are unmistakably mid-19th century French.
c. 1845-1875 French Romantic guitar “1844 Lacôte” SP/PW
| Year | c. 1845-1875 |
| Top | Spruce |
| Back & Sides | Pear |
| Scale Length | 645 mm |
| Nut width | 45 mm |
| Finish | French Polish |
| Country | France |
| Condition | Excellent |
| Exchange | ExchangePlus |
Description
This guitar was generously 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. Feel free to contact us for more information.
This anonymously built guitar bears a label attributing it to René François Lacôte (c. 1785–1871) but clearly shows many features that are hallmarks of the 19th century guitar making school in Mirecourt, France, which for centuries has been a busy hub of stringed instrument making. Please click on the link for the Orfeo article about Mirecourt for a fascinating insight into this very important center of musical instrument production.
Although likely not built in the Lacôte workshop in Paris, this is still a wonderful instrument all around and is almost certainly built in the Lacôte tradition. It is a great-sounding (and playing) period instrument for players seeking an authentic sound to their performances of Sor, Aguado, Giuliani and the other great 19th century classical and Romantic composers for the guitar. It also has surprisingly "modern" volume - ample sound to satisfy the expectations of any contemporary player. It is also a marvel to behold for its beautiful materials and highly intricate inlay work. We believe the material for the back and sides is European pearwood - a wood that was commonly used by Mirecourt makers throughout the 19th century, particularly for more expensive guitars intended for wealthier clients. It develops a rich amber color with age which is precisely what we see here and this particular set exhibits a highly quilted figuring in the grain. The inlay work is simply stunning with an engraved mother-of-pearl floral border around the top and bridge, elaborately engraved abalone rosette with birds and flowers, and the abalone headplate medallion also with flowers. This degree of ornamentation suggests that this guitar was intended as a high-grade instrument rather than a standard workshop model.
Regardless of its ultimate origin, this is an exceptionally well-preserved mid-nineteenth century French instrument. In addition to the features already mentioned it also has a black stained neck with v-joint at the head, scalloped fingerboard, pin bridge and bone bindings for both the top and back. There are some cracks in the top that have been conservatively repaired with glue only, leaving the original sound intact and in concert-ready condition with excellent playability. While the instrument may have originated in one of the better Mirecourt ateliers rather than Lacôte's Paris workshop itself, its overall conception, tonal characteristics and decorative vocabulary are unmistakably mid-19th century French.
