The fretboards, mostly made of mahogany/cypress/rosewood, are stained in 2 layers: 1st red;  2nd black and count 18 frets. Fretwire used is copper/brass mould with square top section.

Not seen yet are “zero-fret” (next to the nut), nor binding, nor  fret markers (except UK export which include markers on 3,7,9 and 12 fret position).


Mahogany, spruce and cypres are used frequently. Spruce necks are often used on older guitars and combined with wooden pegs.

The heel/foot is shaped traditionally.

Neck joints (or heel) developed slowly along typical shapes and material choices for neck/heel:

The older types rounded, the youngest are sharp and, as expected, the ones in between have a transition shape round>sharp.


The forms used by Julve you find below:

Headstock and neck are rarely from 2 pieces! Nearly 100% are from 1 piece.

Wooden pegs are used untill the sixties. Mechanical tuners were most common with bronze winder shafts. Modern plastic winder shafts used from approx 1960. However, all types of replacements can be found.

The headstock veneer material is often linked to the body sides. Its inlay is quite often related to the guitar’s binding type.

Rather quick, Julve decided to use bone cams for the bridge. Older bridges are more square and look sturdier (like this one).

Typical materials: mahogany/cypress stained in 2 layers: 1st. red;  2nd  black.

High end models bear additional ornaments, see below.


Shape: The different body shapes and dimensions are not cleared up yet.

             E.g. Julve models acc to the “schools” of Sevilia, Madrid, a.o. have to be studied still.

Back: Most older models are flat; after certain date (1960?) the back is curved by ±10mm;

3 struts are used at some 125mm spacing, The butt joint is reinforced by square grained strips, later on with diamonds.

Sides: Binding:  varies from simple square section to inlays with mop. Younger models are seen  without any binding.

Support of the soundboard by seperate consoles, support of back with a strip.

Seperate supports for the traverse struts of the soundboard.

Marks are on the foot of the neck connection and the soundboard strut below the soundhole (unmarked copies are also noted). Meaning of the marks not known yet.

By Ton Bogaard


  Julve guitar details

Labels (see seperate section for labels dating) or download the labels directly here



Acc. to Julves’ pricelist the rosettes were made at price adders. They range from a few simple circles untill eye catching m.o.p. inlay models or ornamented leaves in wood or tin.

A usual sound hole was 80mm and had a rosette of 23,5mm wide plus an edge of 3mm, giving it an outer diameter of: 133mm.

THE EXCEPTION: an archttop spanish jazz guitar

Everything stated above is not valid for the 1933-Julve that Joe Hymas has found in the UK.

This guitar has the typical central soundhole instead of two F-slots, which are todays standard.


Thinking of Spain in 1933 this archtop is quite exceptional for a Spanish luthier. There is little left  reminding of Spain (except the rosette, headstock and tuners). Even for todays jazz guitars the zero fret and a total of 23 frets are exceptional. Acc to José Romanillos, archtops built by Spanish luthiers are seldom (Santos Hernandez and Jose Ramirez both have made one). More research is necessary to reveal the exact source and production methods, meanwhile the pictures (with courtesy of Joe) are self explanatory.

             Sunken tip                                 Pointed                                Pointed + slot                       Shouldered

             Curved                                       Bulbed                                       Double bulb

   From 1910   catalogue

Tekstvak: Bracing: 6		          Underside bridge: 7	                            Foot: 8
			        Note the red stain traces

The metal tornavoz on instrument nr 0,535 of the Museum Nacional de la Musica, Havana.


In many publications Julve is mentioned in conjunction with the tornavoz, a cone mounted inside the guitar (fixed to the soundboard) to give it a longer lasting dark sound. The tornavoz is not mentioned in Julve’s 1922 catalogue.


A Julve tornavoz is now traced in the Museum Nacional de la Musica in Havana on Cuba. The type of metal is not detected yet, but could be zinc/tin.

Tornavoz (todays execution) example, ready to be installed.


95% of the soundboards are in 2 pieces, book matched, rest 3 pieces; butt joints reinforced with diamonds.

Typical Julve soundboard


Sound board

Julve used solid spruce tops all the way. No cedar seen yet.

Julve supplied lots of luthiers with soundboards 1

Spruce in all kinds of quality: fine to scoarse grain and even wide waved grain, showing typical patterns. (more patterns here)


Soundboards with and without bracing, also depending the thickness. Thickness of 2,3mm with bracing; thickness over 3mm without bracing. The bracing was 3-5-7 in fan shaped lay out.

The soundhole bracing is per traditional pattern.


The most typical Julve bridge bears  two small stripes aside the outer strings. (old types mother of pearl, later on  milky plastic).

The mahogany necks are mated with spruce to form the heel. (A less expensive -Valencian- solution)

Older guitars have stained necks with additional paint in stone-red or black.

    Rounded                               Half round                                Sharp

    1909-1945                              1935-1960                                  1950-1975

    Spruce/spruce                      Mahogany/spruce                  Cypress/cypresss


It is believed that Julve bought all tuners from abroad. A detailed specification of tuners can be downloaded here.


Here you can hear and compare music samples of traditional and recent music

1. traditional by Henk Brouwer on his Julve: “Soleares”

2. recent composition by Antonie Baars (and Jim Gramze) on his just restored Julve: “Julve sings again”

3. more recent song by Dennis O’Toole with a Mariana Pineda Julve: “Brigadeer”

4. Noud Koevoets plays his

Julve, Contreras, Orozco, Ramirez, Arias, Mateu, Ibanez, Parres, Padilla, Romero and Husson&Duchene.

Compare the traditional Valencian sound with well known makes, including concert guitars.

18-fret fretboard  is shaped to the soundhole diameter.

Fret surface often roughly ground (visible on the 15th frets and on).

Carved soundhole

(guitar ±1924)

Mosaic rosette.


3 Julve recepees for connoisseurs