Neck:Cedro
Fingerboard:Ebony
Finish(Top):Shellac
Finish(Back & Sides):Shellac
Tuning Machines:WOOD PEGS
String Height(1st):3.0mm
String Height(6th):3.9mm

[Profile]
Joan Pellisa was born in 1979 in La Fatarella, Catalonia, Spain, where he continues to maintain his workshop today. Initially interested in his native folk music and instruments, he briefly pursued a career as a wind instrument player but had to abandon it due to physical reasons. While exploring other paths, he began studying woodworking at an early music instrument workshop.

During this period, he was commissioned by Romà Escalas, a prominent early music scholar and curator of the Barcelona Music Museum, to document the museum’s historical instrument collection—a project he continued for ten years. In parallel, Pellisa conducted independent research on the history of Catalan guitar making and became known for his writings and lectures.

He also continued his guitar-making apprenticeship under early instrument maker Jaume Bosser and later came into contact with the legendary José Luis Romanillos, whose guidance decisively shaped Pellisa’s approach. Having since left his museum position, he now focuses entirely on guitar making. His instruments are highly regarded for their faithful integration of early instrument knowledge and woodworking expertise, capturing the essence of historical instruments with remarkable authenticity.t detract from its overall pristine appearance.

[Description]
This guitar is a Joan Pellisa Torres model, a copy of Antonio de Torres, SE109, 1887. According to Pellisa, the original Torres SE109 was among the most economical models made by Torres: a cedar body, mahogany or rosewood neck, head, fingerboard, and bridge plate, wooden pegs, and simple ornamentation. While less elaborate than Torres’ concert guitars, these instruments still carry the essence of the master’s tone within minimal materials.

Pellisa’s copy faithfully reproduces this “economical” character while offering a distinct, archaic charm not achievable with modern guitars. Despite the modest body size, the guitar produces a surprisingly full and rich sound with natural wood resonance and excellent responsiveness.

The soundboard bracing is simple yet effective: one harmonic bar and a thin reinforcing plate on the upper (neck) side of the soundhole, one harmonic bar on the lower (bridge) side, and five symmetrical fan braces, with no closing bars at the bottom. Resonance is set slightly below B.

The guitar is finished entirely with shellac, and while there are a few minor playing marks and scratches around the soundhole and on the back, it is overall in very clean condition. There are no cracks, major repairs, or modifications.

Scale length: 604 mm

Peg type: Wooden friction pegs, virtually no wear, stable tuning

Action: 3.0 / 3.9 mm (1st / 6th string at 12th fret)

Saddle surplus: 1.5–2.5 mm

Condition: Excellent playability, neck and frets in very good shape

Includes: Dedicated hard case

This is a rare opportunity to own a guitar that combines historical authenticity, exceptional craftsmanship, and a unique, expressive voice.