Neck:Mahogany
Fingerboard:Ebony
Finish(Top):Shellac
Finish(Back & Sides):Shellac
Tuning Machines:ALESSI
String Height(1st):2.5mm
String Height(6th):3.8mm

Maker Profile

Gerhard J. Oldiges (b. 1955, Germany) is one of the leading contemporary German luthiers. After graduating from university, he trained in several workshops specializing in guitars and historical plucked instruments before earning the German Geselle qualification through the national guild examination in 1985. In 1986 he joined the repair department of the newly established Lakewood Guitars, and in 1988 attended José Luis Romanillos' legendary guitar-making course in Belgium. Romanillos' teaching profoundly influenced Oldiges' philosophy of instrument making and ultimately shaped the direction of his career.

Having obtained the title of Meister in 1989, Oldiges established his own workshop. His relationship with Romanillos continued for many years both as student and close friend, later serving as one of the master's assistants at the celebrated Sigüenza courses in Spain. Oldiges also translated Romanillos' monumental work Antonio de Torres – His Life and Work into German, making a significant contribution to the wider appreciation of classical guitar culture.

His own instruments are deeply rooted in the Spanish tradition established by Antonio de Torres and, in particular, the aesthetic and tonal ideals of Hermann Hauser I. Produced in very limited numbers, Oldiges guitars are admired for their refined craftsmanship, elegant appearance, and sophisticated tonal character. They are played by distinguished concert artists—including the legendary Julian Bream—and are regarded among the finest examples of contemporary German lutherie.

Instrument

Offered here is a remarkable 2008 Gerhard J. Oldiges 'La Honra', his Hauser I model built at the personal request of Julian Bream.

Stamped inside the neck block is the inscription:

'GJO 06-2008 – MADE AT THE REQUEST OF JULIAN BREAM.'

This confirms that the guitar was commissioned directly by Bream himself. Deeply honored by such a request from one of history's greatest guitarists—and one of the finest connoisseurs of concert instruments—Oldiges named the guitar 'La Honra' ('The Honor'), reflecting the significance the commission held for him.

The instrument is based on Hermann Hauser I's celebrated Segovia model, retaining the original seven-fan bracing layout while incorporating important modifications. Although the overall architecture closely follows Hauser's design, the fan braces and closing bars are substantially larger than those found in the famous 1937 Hauser, and the body resonance is deliberately lowered to approximately F–F#, unusually low for a Hauser-inspired guitar. While it is unknown whether Julian Bream specified every structural detail, it is highly likely that this lower resonance was intentional. Bream famously preferred the deep, cello-like bass response of his own 1940 Hauser I, whose resonance has been reported by British luthier Gary Southwell to lie around F#.

The internal construction remains faithful to traditional Hauser principles: a reinforcement plate and harmonic bar above the soundhole, a second harmonic bar below, side reinforcement patches between them, seven symmetrical fan braces, V-shaped closing bars at the lower bout, and a thin bridge patch beneath the bridge. Oldiges, however, significantly enlarges the dimensions of the fan braces, creating a structure that offers greater power while preserving the balance and transparency associated with the original Hauser concept.

Among Oldiges' instruments, the Hauser model represents one of his flagship creations, and this example stands out as one of the finest. It possesses the defining Hauser quality of translating the tactile sensation of the plucked string directly into an exceptionally refined sound. Notes emerge with remarkable clarity and precision while maintaining an unmistakably organic connection to the player's touch. The tonal balance is piano-like in its coherence, allowing melodic lines to unfold seamlessly with convincing depth, dynamic nuance, and natural phrasing. Despite its extraordinary transparency and structural clarity, the instrument remains highly lyrical, responding beautifully to even the smallest fluctuations of string vibration. Complementing these Hauser characteristics is Oldiges' own musical personality—a subtle warmth and gentleness that soften the strict classical ideal without diminishing its elegance, resulting in an instrument of exceptional sophistication and humanity.

The guitar remains in excellent structural condition with no cracks, major repairs, or alterations. Originally fitted with Sloane tuning machines, it is now equipped with a premium set by the Italian maker Alessi. Cosmetic wear is limited to light playing scratches on the soundboard, minor finish rubs and superficial marks on the back and sides from normal playing contact, small fingernail marks on the back of the neck, and minor string-change marks on the rear of the headstock. None affect appearance or performance. The neck and frets remain in excellent playing condition. The neck features a slim, comfortably rounded D-profile approaching a C shape, providing an exceptionally comfortable grip. Current action measures 2.5 mm / 3.8 mm (1st/6th strings at the 12th fret) with approximately 2.5–3.5 mm of saddle remaining. The neck-to-headstock joint employs traditional V-joint construction.

After its completion, this guitar was owned by Julian Bream and was later sold by him through Kent Guitars in England, now closed, making this an exceptionally well-documented and historically significant instrument.