Six of Tarrega's colleagues played these in his home.
645 mm Scale, 43 mm Nut, Very Fine to Medium grain Spruce Soundboard and Cuban Mahogany back and sides. Cedar Neck, which allows modern strings to be mounted on it, for a more powerful sound, and wider dynamics. French Polish. 5 Fan Braces. The Pegs are encrusted with Mother of Pearl.
There are 2 repair labels, one of a business card for Juan Mateu, the other of the Juan Estruch workshop, which is barely visible, due to it losing most of the text.
Label Text: Instrumentos de cuerda
Frente la Calle de Obradors
Fabrica de Altimira
Calle de Escudillers 61.
According to Domingo Prat’s "Diccionario de Guitarristas" published in 1934, at least five of Francisco Tarrega’s colleagues knew about and bought guitars from the Altamira workshop: Baldomero Cateura (Bandurrista), Federico Cano (who wrote the “Andante”, dedicated to Agustin Altimira, and published the year after he passed away, see photo) and guitar collector Mario Palmes all owned Altimira guitars. Mario Palmes also owned the 1858 Antonio de Torres that won the Bronze Medal in the Seville Exhibition the same year. Antonio Mestres, “Diccionario de Guitarristas” by Prat page 204, dedicated a song “Elegia” to Agustin, also being mentioned in a 1914 publication "La Guitarra, su construccion y su musica" by Fernando Mestre and published by Utiel-No typos on the names, these are as listed in the “Diccionario de Guitarristas."