Jose Ramirez III - 1959 Flamenca - Augustine Collection
Jose Ramirez III - 1959 Flamenca - Augustine Collection
Details
Details
Overview
Overview
Shipping important note
Shipping important note
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Details about GPSR
Details about GPSR
Video overview
More details about the guitar
About the luthier
José Ramírez III was born in Buenos Aires in 1922 and grew up within one of the most influential families in the history of Spanish guitar making. After returning with his family to Madrid in the early 1920s, he entered the Ramírez workshop as an apprentice at the age of eighteen. In 1957 he assumed responsibility as maestro of the family workshop, which by then spanned three generations. Under his direction, the Ramírez workshop became the most influential training ground for guitar makers of his era.
Beyond his own production, José Ramírez III played a decisive role as a teacher and organiser of talent. From the 1960s onward, the workshop trained an exceptional number of future master luthiers, many of whom later established highly successful independent careers. At the same time, Ramírez introduced important technical developments that shaped modern classical and flamenco guitar making, including the widespread adoption of western red cedar soundboards and extended scale lengths for greater projection. Through the scale of his production and the consistency of his designs, his guitars became the reference instruments for generations of professional musicians, students and concert artists worldwide.
About the guitar
This flamenco guitar from 1959 is an exceptionally well preserved example of José Ramírez III’s work during a formative period of the Madrid school. Built with a spruce top and cypress back and sides, the instrument follows traditional flamenco construction principles with a lightweight build and a lightly braced soundboard using five shallow fan struts. The guitar originates from the Augustine collection and retains a remarkably original character.
The sound is direct, powerful and penetrating, with a fast and immediate response that supports the rhythmic clarity essential to flamenco playing. The attack is crisp and defined, while the tone retains substance and focus rather than thinning out at higher dynamics. Despite its brightness, the sound carries depth and core, allowing both percussive articulation and lyrical passages to remain clear and controlled. Internally, the guitar is stamped with the initials AM, most likely indicating Antonio Martínez Ortega, a maker associated with instruments built for Andrés Segovia and Christopher Parkening. This connection places the guitar firmly within the lineage of the Madrid workshop tradition of the period.
Condition
The guitar is in excellent condition. There are no cracks and no repairs have been carried out. The instrument has been carefully preserved and remains structurally intact and fully functional.
Regular care extends the life of the instrument
Even with careful use, a classical guitar may gradually change in appearance or respond to unstable storage conditions. Have a close look at your guitar regularly and be attentif to changes. If your instrument is suffering from its environement, it will let you know.
Protect Your Guitar: Handle with Care
Be mindful when touching your instrument with greasy or unwashed hands: any skin contact is a small attack on the varnish. Of course, a guitar is made to be played, but taking a few precautions helps preserve its beauty: wash your hands before playing, wear long sleeves, and avoid unnecessary direct skin contact with the body of the instrument.
Pro tip: Avoid playing with a button-up shirt, heavy jewelry, or a belt, as these can scratch the guitar. Also, make sure your guitar case is free of any objects that could damage the instrument during storage.
String care
A good habit to adopt is wiping down your strings briefly after each playing session. This small action significantly extends their lifespan and helps maintain a consistent, comfortable feel under your fingers.
Most importantly, clean strings are essential for keeping your instrument in tune. Corrosion, sweat, and dust can affect the uniformity of the strings and interfere with accurate tuning across the entire fingerboard.
Pro tip: If you're having trouble getting your guitar in tune, it might be time to change the strings. A useful test is to compare the pitch of the 12th fret harmonic with the fretted note at the 12th fret; if there's an unusually large gap between them, your strings may have lost their integrity and should be replaced.
Keep Your Shellac Finish Shining!
Got a guitar with a shellac (French polish) finish? Here's a simple trick: Take a clean microfiber cloth and gently breathe on the surface to create a light mist. Then, softly rub to remove fingerprints, sweat, and grease. That’s usually all it takes to keep it looking great, no products needed!
Pro tip: Every few years, treat your guitar to a check-up with a luthier to keep it in top shape.
Storing Your Guitar: Climate Matters
Your guitar can safely stay outside its case, as long as the surrounding environment maintains 42–55% humidity and a temperature between 18–25°C.
Keep in mind that humidity levels can still fluctuate inside the case, especially during seasonal changes.
- Too much humidity may cause overtightened strings and a dull tone.
- Too little humidity can lead to a bulging top, string buzz, or even cracks.
Avoid placing your guitar near radiators, air conditioners, or windows with direct sunlight.
Pro tip: Always close your guitar case while playing. This helps preserve a stable microclimate inside the case, so your instrument is protected the moment you put it back in.