The guitar has been displayed in art galleries and shows and is now available for sale to a player, collector, or art investor. When Boaz first moved from his home in Northern Israel to the U.S.A., he was new to the Country. He arrived knowing no friends or, for that matter, guitar clients. He brought with him, this guitar, a work in progress that he brought along slowly over time as he traveled the world and worked on guitars by hand in primitive environments--often without the benefits of electricity or running water.
Now in the US, he moved from New York to Los Angeles, where he completed the guitar. He decided to put all his newfound time and creative energy into finishing this one instrument. Boaz does not work with power tools. He used only his knives, hand planes and small pieces of precious woods he had brought with him. Working with very old pieces of maple, Brazilian rosewood and a well-seasoned Sitka spruce soundboard, he fashioned this fastiduously elegant, inlaid, painted and appliqued guitar with an overwhelmingly complex eighty-two piece back.
Its ebony tuning pins, like those of a violin, and old, embargo free ivory carved key bushings are among the distinct features that set this masterpiece apart from any other. The face of the instrument features an ebony design, inlaid into the spruce by cutting each fiber with a knife. The rosette is perfectly inlaid with high quality shell that lights up like jewelry in the light. A detailed and delicate gold Mother of Pearl hummingbird hovers at the very bottom, lying in wait for your eyes to journey across the decorated surfaces in awe of the artistry evidenced here.
Thousands of hours by firelight and candlelight were invested by Boaz to create this single masterpiece that would launch him into the consiousness of American lutherie, players, and collectors everywhere. This is a prime example of the modern luthier's art, executed in the Baroque style.
