Framed Guitar Top Artwork (2)

In addition to the carved artwork that I do, I also have explored the idea that the guitar tops I make don’t have to go on guitars in every case.  

Accordingly, I’ve completed a series of framed “artistic” guitar tops and backs. The tops have unique hand-made rosettes of a type/design that is new for me. These are framed, with washi (handmade and colorfast Japanese paper) backing.  

Incidentally, each of these tops is suitable to put on a real guitar . . . so that if anyone liked a particular one and wanted a guitar made with it, that could be done.  But until that happens these can remain framed, put on a wall and looked at, and be admired.  The frames themselves are approximately 65 x 55 centimeters (22″ x 26″) in size.

Most people don’t think of wood as being anything other than a material with which to make furniture, railroad ties, house framing, guitars, etc.  One thing about these guitar tops, though — and I alluded to this above – is not just that they are made of wood; they are made of old wood.  Each grain line in wood represents one year’s growth . . . and every spruce or cedar guitar top ever made has at least one hundred and fifty grain lines to it.  And often a lot more; as many as four or five in the 8” wide pieces that guitar tops are made of.

(If you want a second opinion, count the grain lines — starting from the centerline and going out to the edge — on your own guitar top.)  

Interestingly, wood has an identity all its own, aside from its grain count.  It is the skeletal remainder of a life form (i.e., a tree) that once lived long before us, that took in nutrients, grew, adapted to its conditions, participated in the cycles of the seasons, took in sunlight and converted carbon dioxide into oxygen, produced seed and leaves and sap and fruit, interacted with other life forms by giving them food and shelter, held the soil together as it put out roots, propagated itself, lived a long life, and then died.  Or, more probably, was killed in order to serve our species’ needs.  But wood — all wood — is exactly  these things. And, speaking of age, these relatively small slices of guitar-top wood will in every case have come from much larger (and older) trees.  Some felled spruces are larger in diameter than the people who cut them down are tall.

Such age merits respect, I think.

 Regarding this body of work, no two of the soundhole rosettes are alike. Please feel free to look at these, both in the frames and in closeups.  

 This work for sale; prices are in the $3000 to $4000 range.   


Framed Guitar Tops

Unframed Rosettes

Rosette Closeups