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Lot Essay
It is traditionally believed that Antonio de Torres constructed this guitar in 1864 for his own personal use. Torres' work was normally simple, clean and austere. The especially fine and intricate inlay work along with the highly figured woods used on this guitar would lead us to think that the maker had a special vision for the destiny of this instrument. This would prove to be true when in 1869 Torres sold the guitar to the young Spanish virtuoso, Francisco Tárrega.
Born in the Castell region in 1852, Tárrega began his studies at the age of ten with Spanish guitarist Julian Arcas. With the acquisition of the Torres, Tárrega suddenly possessed an instrument with the sonority, power and balance of tone required by a concert soloist. He had found the perfect vehicle in which to transform the guitar from a folk instrument of the working class, heard in the local tavernas, to a concerto instrument worthy of the concert halls in Madrid, Paris or London. By the end of his career he would be credited with 78 original works and over 120 transcriptions for the guitar and for establishing the guitar as a classical solo instrument. Tárrega's association with Torres continued throughout his career. He would own and perform on a total of three guitars by this maker before his death in 1909.
After Tárrega's death the guitar remained in the possession of his family until 1917 when it was purchased for the Argentinean guitarist Maria Luisa Anido. A great admirer and follower of Tárrega, Anido had studied under two of Tárrega's most accomplished disciples, Miguel Llobet and Domingo Prat. The instrument remained in Buenos Aires for nearly seventy years before returning to Spain in the 1980s when it was purchased by the collection of Prat Pallares. The current owner, an American collector and connoisseur, came into possession of the guitar circa 2003.
Born in the Castell region in 1852, Tárrega began his studies at the age of ten with Spanish guitarist Julian Arcas. With the acquisition of the Torres, Tárrega suddenly possessed an instrument with the sonority, power and balance of tone required by a concert soloist. He had found the perfect vehicle in which to transform the guitar from a folk instrument of the working class, heard in the local tavernas, to a concerto instrument worthy of the concert halls in Madrid, Paris or London. By the end of his career he would be credited with 78 original works and over 120 transcriptions for the guitar and for establishing the guitar as a classical solo instrument. Tárrega's association with Torres continued throughout his career. He would own and perform on a total of three guitars by this maker before his death in 1909.
After Tárrega's death the guitar remained in the possession of his family until 1917 when it was purchased for the Argentinean guitarist Maria Luisa Anido. A great admirer and follower of Tárrega, Anido had studied under two of Tárrega's most accomplished disciples, Miguel Llobet and Domingo Prat. The instrument remained in Buenos Aires for nearly seventy years before returning to Spain in the 1980s when it was purchased by the collection of Prat Pallares. The current owner, an American collector and connoisseur, came into possession of the guitar circa 2003.