Sinier de Ridder - La Guitar 2

During the 18th century in France, the hurdy-gurdy aroused great enthusiasm. Paris was the cultural and social capital that influenced the whole of Europe, and luthiers were faced with an ever-increasing demand for their instruments. In these pages, we propose to unveil a large number of these instruments, from the most sumptuous to the most modest, some authentic, some copies, and some counterfeits... 24cm x 17 cm, 54 pages, more than 30 instruments, numerous color photos, soft cover, 40 €.

The French hurdy-gurdies of the 18th century
Cultural exceptions and practices of lutherie.

To order, contact: Sinier de Ridder

Sinier de Ridder - La Guitar 2

Whether it was "Neapolitan" with "4 courses", or "Milanese" with "6 courses", it is the French mandolin that we wish to present in this book. Two musicologists, virtuosos and mandolin historians, Jean-Paul Bazin and Alex Timmerman, have agreed to accompany us on our journey. On sale from the author for €50 + postage (€10 for France, €15 for Europe, €20 for the rest of the world). A full-colour 84-page book, showing over 75 instruments. An English translation is available on request.

French mandolins 1750-1950
Cultural exceptions and lutherie practices

To order, contact: Sinier de Ridder

Sinier de Ridder - La Guitar 2

This book written by Francoise de Ridder, Daniel Sinier and Jerome Casanova recounts the history of the Spanish guitar since its origins until 1950. Ninety-five historical instruments are presented, never seen for the most part, modest or luxurious, typical of an era, a repertoire but especially a country and a culture.

We see in particular the guitars of Durán, Sanguino, Pagés, Benedid, Pernas, Torres, Santos Hernandez, Fleta.

Françoise de Ridder, Daniel Sinier and Jérôme Casanova share their passion and years of experience.

The Spanish Guitar, 1750-1950.

F225 x 300mm, 208 pages, 420 photos.
Available on May 13.
75 € + shipping.

To order, contact: Sinier de Ridder

Sinier de Ridder - La Guitar 2

This book aims to put an update, complement the previous volume on guitars made in Paris from 1650 to 1950. Since we wrote this book, a decade has passed and some instruments have come back to us for assessment, maintenance or repair. In addition, instruments previously unknown to us have been brought to our workshop for expertise or restoration. In other words, we have been able to examine new instruments as well as deepen our understanding of ones we knew. In this context, it seemed an update to our previous publications was called for, so we could share what these new or returning instruments have taught us.

We hope that these updates about Voboam, Pons and Lacote will fascinate you as much as they have thrilled us.

Sinier de Ridder, La Guitare
Tome 1, Paris 1650-1950.

French, english and Italian texts.
Format 24 x 34 cm.

ISBN: 978-88-87618-18-1
120 € + shipping.

To order, contact: Sinier de Ridder

Sinier de Ridder - La Guitar 2
Aubry Jacques, 
Beau Simon, 
Bonnel Joseph, 
Breton François, 
Brugère François, 
Calot Joseph, 
Charpentier Auguste, 
Collin Hyppolite, 
Deleplanque Gérard, 
Denis Nicolas, 
Derazey Honoré, 
Didier Nicolas, 
Grobert Nicolas, 
Lajoue, Lambert, 
Leblanc Claude, 
Marcard Pierre, 
Mast Jean Laurent, 
Mauchant frères, 
Nicolas Didier l'Aîné, 
Otte Charles, 
Petitjean, Pons
César, Roudhloff fils, 
Roudhloff François, 
Salomon Jean François, 
Thibouville-Lamy Jérome, 
Vissenaire Nicolas.

After the volume on Parisian guitars, we wished to pay tribute to luthiers of other regions of France and their talents. During our 40-year career, we have examined guitars made in Lille, Lyons, Troyes, Toulouse and Bordeaux, but mostly a considerable number of guitars made in Mirecourt and its area. Mirecourt is a small village in the Vosges area where in 1732, the Duke of Lorraine created a "charta of corporation" to regulate the professional uses of an activity in full development.

Often anonymous, based on more imaginative than luxurious constructing techniques, instruments made in Mirecourt are appreciated the world over and have been able to impose their particular style. We tried to describe the social and professional functioning of a region entirely dedicated to the valorisation of one product: lutherie. We felt like telling how those poor men in the rural - but already industrious - Vosges set, starting in the 18th century, a remarkable professional system controlling in an autonomous way each stage of the construction of instruments; from the wood trade to the apprenticeship of the young, the finishing, the set-up and the sale of instruments and their accessories, by taking advantage of a solidarity network of travelling salesmen and dealers who sold the finished instruments to the most prestigious workshops in France and abroad.

We were touched by these luthiers, who, to answer an ever growing demand, constructed thousands of musical instruments which were not signed, leaving this care to the dealers or to their colleagues established in large cities. They have widely contributed to the spreading of French lutherie by the quality of their instruments, even if, for commercial reasons, they preferred to remain modestly hidden in a comfortable family anonymity. It is their guitars we would like to display here.

A third book will be dedicated to Italian guitars, wrote in collaboration with guitar maker and collector Giovanni Accornero, a fourth to English, Austrian, and German guitars, a fifth to spanish guitars, and another, maybe in a different template, (note-books), dedicated to the restoration of the guitar an its specific problems.

Sinier de Ridder,
The Guitar
Tome 2, Mirecourt, les provinces françaises.
French, english and Italian texts, about 50 unpublished guitars, more 400 than photos and drawings.
Format 24 x 34 cm.

ISBN: 978-88-87618-16-7


Robert Bouchet
Jean Joseph Coffé
Gaudet pour Lucien Gelas
Joseph Gérard
Julian Gomez Ramirez
Nicolas Grobert
Charles Jacquot
René Lacote
Jean Nicolas Lambert
Étienne Laprévotte
François et Nicolas Lupot
Mario Maccaferri pour Selmer
Nicolas Mareschal
Guillaume Martin
Pierre Michelot
César Pons
Joseph Pons
Louis David Pons
Renault & Chatelain
Edmond Saunier
Joseph Serdet
Charles Valance
Alexandre Voboam
Jean Voboam
Jean-Baptiste Vuillaume

The guitar is probably one of the world's widely-played musical instrument, as well as the most frequntently produced.
Over the centuries it has adaptated to composorers' needs and musicians' tastes, to new styles of performing music, to progress in the field of strings, glues and warnishes, keeping pace with fashion and oblivion.
After 35 years spendt observing and restoring guitars, encouraged by colleagues and friends, we feel the need to make our experiences public. These range from the period of ostentation, the 17th century, down to the early experiences of industrial manufacture in the 20th century.
Without making any claims in historical or musicological terms, we dedicate the first book in the series to guitar artisans, the parisian luthiers who invented the instrument. From 1650 to 1950, from Voboam to Bouchet, by way of Pons, Lacote and Laprévotte, who graced the wonderfull 19th century. In all about 50 magnificent instruments are proposed, almost all previously unpublished. Projects, innovations, transformations, and acoustic theories are examined as they contribute to the evolution of the guitar.
The instruments published have been carefully selected, and we invite you to discover them one by one, to trace their evolution, to reconstruct the work of a great maestro, of his school, of his pupils and followers

Sinier de Ridder,
The Guitar
Tome 1, Paris 1650-1950.
French, english and Italian texts, about 50 unpublished guitars, more 400 than photos and drawings.
Format 24 x 34 cm.

ISBN: 88-87618-09-7
220 € + for shipping.