Sure, I've done it. One common ground between guitar and fiddle, of course, is O'Carolan. Though he was a harper, and wrote his tunes for that instrument a lot of them have been absorbed into the "traditional" fiddle repertoire, and, there are also many arrangements of them for, and recordings of them, on guitar as well. At the dawn of time, I used to "second" for a fiddle player in New Hampshire. I learned a lot of Irish, Scottish, and Cape Breton fiddle tunes from him. As for influence going in the other direction, i.e., from me to him, we also did arrangements I made, or that we obtained, of Renaissance pieces- I remember our including an Italian Saltarello (not the one apocryphally attributed to Galilleo's dad) in a St. Patrick's day concert, not because it had anything to do with Ireland, but pretty much on the strength of our having decided that , if it wasn't Irish, well then, it should have been! I think the audience appreciated both that and the piece. Even more remarkable was our having essayed and learned a sonata by Ernst Gottlieb Baron (which, believe it or not, we also did in the same concert), scored for guitar (lute) and flute (recorder). I think most people who have explored that repertoire would have encountered it. It was a new sort of thing for my friend, but he bravely took on the task, he did it very well. But, the interesting thing was, his being thoroughly a fiddle player and not a violinist, he, of course, played it like a fiddle player. In doing so, he imbued it with a peculiarly ineffable spirit, a particular sort of elan, that I'm not sure could have been replicated by a more classically trained violinist. There was something rougher about it, perhaps, but certainly not inept, or having thereby come off as naive or unsophisticated -- but he somehow he made it come alive in a manner redolent of a peasant vitality that may not have been as removed to the periphery of musical life in the Baroque as it is today. Maybe this informs a closeness whereby dance forms like allemandes and bourrees were lifted from their origins and appropriated into the cosmopolitan milieu of courtly life by finding place in suites written for the enjoyment of the aristocracy.
Sorry for the tangent- but, yes, it's been done- I'm certainly not the only guy who has done so; I don't even think I'm a rare example of such-- and it's something worth doing. One good thing about it is that, because of the musical patterning and the prevailing diatonicism of the melodies, its good intermediary training in the the inner ear comprehension on which sight reading skills should best be founded, in the sense of comprehending the music directly from the score , and then using ones rapport with the instrument to reproduce that understanding, rather than availing oneself of the score as a mechanistic and complicated pseudo-tablature, upon the execution of which the music is appreciated as an end by-product of the exercise.