Neck：Mahogany
Fingerboard：Ebony
Finish：Shellac



[Profile]
Robert Bouchet was one of the greatest French guitar makers of the 20th century, and to this day he continues to influence classical guitar making in Europe and beyond. With only 154 guitars made in his lifetime, all of his models are among the most highly prized after Torres and Hauser I. He was the source of the Presti & Lagoya sound, captivating the young Bream.
He was born in 1889 in Paris, France to a family that owned a tailor shop. He became familiar with painting and music at an early age and began his life as a painter in 1919.
In 1932, he set up a studio on the hill of Montmartre, but at that time, he only played the guitar as a hobby. He met Julián Gómez Ramírez, who had a workshop in the neighborhood at the time, and witnessed guitar making for the first time.
He made his own tools and jigs based on his memory of the entire process in Julián's workshop, which he had observed closely, and finally made a guitar for himself.

His style can be divided into two major periods. The first, from the 1940's to the mid-1950's, was based on Antonio de Torres, but after 1956, he invented his own construction and achieved a very distinctive sound with a solid base and great depth, which has been described as 'organ-like'.

[Description]
Made by Robert Boucher, No.103, 1964. This is the last of the four Bouchets purchased by Julien Bream, and is the model used in his famous album 'Baroque Guitar'. Even without the episode of being used by a rare master guitarist, this is a masterpiece of the highest quality and artistry as one of the guitars of Bouchet's peak period.
There are many guitars that Bream used during his life, all of which are still deeply impressed in the memories of guitar fans along with his famous performances. One of the most impressive is the Bouchet, along with the Romanillos, Hauser, and Rubio. Bream purchased four (some say five) of them, made in 1957, 1960, 1962 and 1964, from Bouchet, one of which was stolen during a concert tour in the U.S. and has never been found, but Bream himself said in an interview that it was made in 1962. Bream then bought this 1964 No.103 (Boucher's signature is on the bar on the back inside the body).

Bream said that he was deeply fascinated by the 'refinement' of Bouchet's guitar treble, and the dense, well-sung treble is truly an art unique to Bouchet. The bass part is also massive, deep, and full of delicacy, and at the same time, has a wonderfully clear penetration. This is a guitar that requires the touch of a skilled right hand, but that is also because it is a masterpiece. This is the ultimate in vintage guitars.

There are scratches all over, but there is no history of cracks or other repairs, and it is in good condition for its age. The neck, frets, nut, saddle, etc. are all in good condition. The tuning machines were replaced (the originals are not available). The finish is the original Shellac with some unevenness from use in places.


Performance video