There is a discussion going elsewhere about what makes the difference between a SelMac style GJ guitar and a Martin style flat top. Then there are the wonderful posts from Andy W starring his Sicilian wonders.
So maybe we need another place to dump the rest of the 'nearly-but-not-quite' guitars from around Europe. The oval hole Selmer 503 may be the most famous and is understandably one that many copies have been based on, but at the other end of the scale many gypsy players have been photographed down the years with what often look like cheap basic 12-fret non-cutaway guitars and these are surely the most commonly found historically, it may have been only when a gypsy player started earning real money (bars, dance halls, busking) that a 'proper' GJ guitar could be justified.
The luthiers we now recognise as the important 'names' from Paris were mostly from Italian roots, and most of those were from Sicily. Mainland Italy of course has a long tradition of luthiers and much of what they had handed down must have had an influence on the rest, but do any of you play Italian guitars for their own sake?
Add in to that, the history of the gypsy migration across Europe and the roots of the music handed down and it is not surprising to find other players with different guitars depending how far east you go. So surely there must have been many gypsy players in and around Germany playing German made guitars, and numerically the most common would probably be either the cheap parlor size models with a trapeze tailpiece and floating bridge - look up Hofner 522, but Hoyer or Framus also knocked out similar models in large numbers - or the bigger typical archtops. I have had a few myself, the Hofner Committee (I have had three down the last forty years) is one of the best made archtops and sounds great with 80/20 bronze strings but I never could get comfortable with the thick neck and and the size of the body, so they all went eventually.
Here is the last one I had:
Smaller German archtops still work well with the GJ style though, in fact the lesser models, smaller bodied with pressed laminated tops, seem to get closer to the GJ sound anyway.
WW2 dispersed what had been a thriving industry around Czechoslovakia and many of the craftsmen ended up in Eastern Germany but the skills were not lost even if the quality was downgraded a little. Surely many gypsies who found themselves on the wrong side of the 'Iron Curtain' must have been playing such guitars.
Elsewhere, in Russia the seven string was a popular choice, and of course the gypsy tribes that migrated along the south side of the Mediterranean helped create what became known as Flamenco in Spain which leads to totally different family of guitars.
But one has to wonder what was being played in eastern Europe on those strange Kremona and Orfeus guitars out of Bulgaria.
I have always been attracted to the odd and different and find experimenting with the less common can produce interesting sounds. Certainly, a lot of traditional gypsy music was passed down from those who traveled through Bulgaria, Hungary and Romania. Many a Csardas must have been bashed out on locally made instruments.
Anyway, to start the ball rolling here is the Kremona 'Mexico' model, top of the range for bling: Note that picture of the dancing couple on the lower bout is all precision cut inlay, not as it appears, a transfer print.
A slightly less flashy Kremona Zornitsa: Great sound with a set of Argies.
And a similar shape but much smaller Orfeus: With locally made pickup, I keep this one tuned to Open D.
So there must have been many gypsies throughout Europe playing on guitars other than what we now know as GJ guitars, and yes, I am aware of Oscar Aleman and Serge Camps using resonator guitars, and Lulo Reinhardt's nylon strung hybrid - coincidentally also made by Kremona - but does anyone have any more to share?