1983 Thomas Humphrey Classical

We are offering a Hauser style classical guitar, built by Thomas Humphrey in 1983. It is inscribed on the underside of the top next to the soundhole on the bass side: Thomas Humphrey #131 1982 New York.” The label, visible inside the soundhole, is printed Thomas Humphrey Guitarmaker and inscribed “New York 1983.” This guitar was made prior to the transition to Millenium style guitars produced from the mid 1980’s until Humphrey’s death in 2008.

The scale length is 658mm (25.9 inches) and the nut width is 53mm (2.1 inches)

The top is European spruce with an even grain and an even color. The back and sides are highly figured Brazilian rosewood. The neck is Spanish cedar, the fingerboard is ebony and the headplate is Brazilian rosewood with a center strip of ebony and boxwood strips, 9-ply. The bridge is a recent replacement, made to the exact specifications of the original, in Brazilian rosewood. 

The rosette, like most Humphrey rosettes, is whimsical and finely crafted. It alternates between a rose and a profile view of a swan. The body binding is ebony with four ply ebony and boxwood purfling on top and a boxwood line for the sides. The back center strip and end wedge are rosewood in between three ply’s of ebony and boxwood.

The tuners are Hopf “Lanstorfer” clones in gold with mother of pearl buttons. The frets have been freshly dressed and play beautifully with plenty of life left. The bridge, as mentioned above, has been replaced with a new bridge made to the exact dimensions of the original. 

The top is thinly French polished, with a few patches of light pickwear on both sides of the strings, a case bite in the lower bout, some light dings and scuffs, and pressmarks around the treble wing of the bridge. On the back, there are two small and tightly sealed separations at the apex of the bass side lower bout. The thinly applied French polish shows a few scuff marks and press marks. 

Overall, the guitar is in excellent playing and cosmetic condition. This guitar is from an earlier period in Humphrey’s career in which many feel his very best guitars were made. The stunning highly figured Brazilian rosewood is both a visual and sonic treat, the European spruce, now aged to a light butter yellow, only adds to the appeal.