[Profile]
Born in Paris, France in 1932. Since Robert Bouchet, he is one of the leading makers of France in the 20th century. A family of German furniture craftsmen, Daniel began working as an apprentice in the family business at the age of 13 and began to master woodworking techniques. Impressed by the performance of the famous French guitarist Ida Presti in 1954, he began playing the guitar himself and learned to play with Christian Oban at a music school. At the recommendation of Oban, who also made guitars, the following year he completed his first guitar for himself. His fifteenth guitar, completed in 1959, was hailed by Robert Bouchet, which led him to begin his career as a maker in earnest. After that, the guitarist Alexandre Lagoya, who is known for his duo with Presti, introduced him to the American market, and in particular, he won the award at the guitar making competition in Liege, Belgium in 1967 (the chairman of the judging committee is Ignacio Freta). Its fame grows internationally at once.

He was both a guitar maker and a researcher, devising fretting for meantone scales and trying to adopt carbon fiber tops to achieve modern acoustics. And he always wrote down the data of each and every guitar he made in detail, and did his work throughout his life to further mature his work.
His favorite guitar sound was 'rich, musical appeal and depth, more like a piano than a harpsichord'.
Presti-Lagoya, Alvaro Pielli, Roberto Ausel, Eduardo Fernandez and other modern virtuosos love his guitar.

[Description]
This is a Spruce / Cypress model, a very rare flamenco model made in 1969 (No.240). Like his top model 'Concert' in the 1960s, the serial number is printed on the label, indicating that this is a high-spec model. Unlike the arrangement of bars used in the classic model, the orthodox internal structure based on Torres is adopted.
It has a unique sound that is extremely Fredrich, and the feel and tone that you touch with your fingers when you play a string has a very unique charm with a certain darkness. However, its sensitivity, clarity of each sound, and moderate sustain are suitable as a flamenco model, and it is suitable for those who want a taste different from the orthodox flamenco sound.

At the time of arrival, the original shellac sold at Laverdure, an art supply store in Paris, which Fredrich used to love, was kindly handed over by Mr. Alberto Martinez of Orfeo Magazine, and the top that was noticeably damaged was completely refinished.
There is a history of repairing cracks on the top and the side of the fingerboard. Back & sides are original lacquered, but in good condition considering age. There is no problem with the neck, frets, and other parts related to playability.