Fretboard

The fretboards, 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.

18-fret fretboard  is shaped to the soundhole diameter.

 Extended fretboards having a 19th (half) fret. (mostly found in Hispano Americas). These type of fretboards come together  with the mosaic rosettes. The source of these guitars is not cleared yet

Neck

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.

Headstock

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 well ornamented/shaped bridges

Body

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.

Luthiers marks are on the foot of the neck connection and the soundboard strut below the soundhole (unmarked copies are also noted).

Bracing: 6                       Underside bridge: 7               Bracing: 8

                                          Note the red stain traces

Foot: 1.                     Foot: 1.                             Foot: 8

Bracing: 5               Bracing: 6                        Bracing: n.a.

By Ton Bogaard

  TELESFORO JULVE     

Julve guitar details

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

 

Rosettes

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.

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

Tuners

It is believed that Julve produced tuners by himself. A detailed specification of tuners can be downloaded here

 

Carved soundhole (guitar ±1924)

After this first research phase, I wonder what the quality difference is between the workshops (fábricas): Andrés Marín; Salvador Ibáñez and Telesforo Julve. To me it seems that workshop conditions were the same, the appearance of many instruments is similar and all three knew each other quite well. It is accepted that instruments from a fábrica have less quality compared to those from a solo working luthier.  

Looking at these fábrica guitars you can say that there was a good knowledge how to build a guitar.

In these production shops the major attribution for instrument’s quality goes to the crafts-men/luthiers.    

A list of names with marks and their skills is lacking yet.

 

Sound

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:   “Lagrima” / “Estudio” / “Sarabande”   

             compare the traditional Valencian sound with well known makes, including

             concert guitars.

Quality

The quality was not part of my research, as most of it was done via internet.