Ignacio Fleta – 1954 – N52

About the luthier

Ignacio Fleta (18971977) is considered one of the most important classical guitar makers of the twentieth century. Born in a small village in the Spanish province of Teruel, Fleta was raised in a family of cabinetmakers and developed his woodworking skills from an early age. After moving to Barcelona around 1910, he entered the world of musical instrument making, initially focusing on violins, violas, and cellos. This early work in violin making deeply shaped his approach when he eventually turned to the guitar. Already in the 1930s, Domingo Prats Diccionario de guitarristas, published in 1934, notes that Fleta had distinguished himself in guitar making, producing instruments of such solid and beautiful construction, with such delicate voices, that they stood on equal footing with the best examples by Antonio de Torres and Enrique Garca.The decisive moment came in the early 1940s, when Fleta heard Andrs Segovia perform Bach on the radio. Deeply moved by the sound of the guitar in a concert setting, he decided to focus exclusively on building guitars. His goal was to create instruments that could meet the acoustic demands of the modern concert stage while preserving the expressive nuance of the Spanish masters. By the mid-1950s, his instruments were gaining international recognition. In 1957, Segovia received his first Fleta and later described it as the best guitar he had played since his legendary 1937 Hauser. From 1965 onward, Fletas sons joined the family workshop, and the label evolved into Ignacio Fleta e hijos. Today, the legacy continues with his grandson Gabriel Fleta, who remains dedicated to the familys tradition of excellence.

About the guitar

This instrument, built in 1954 and bearing the number 52, is a fine example of Fletas early mature work. It reflects a moment in his career when his craftsmanship and artistic vision were fully developed, yet still rooted in the foundational concepts of Antonio de Torres. The guitar features a spruce top paired with beautifully figured Brazilian rosewood back and sides, a tonewood combination that has become synonymous with classical guitar excellence. The top is finished in traditional French polish, lending a delicate sheen and acoustic transparency, while the rest of the body is protected with a carefully applied nitrocellulose lacquer.As expected from Fletas first period, this guitar features a seven-fan bracing system complemented by two closing harmonic bars. This layout would later evolve in his work toward more complex eight- and nine-fan systems. At this stage, however, Fleta remained strongly influenced by Torres, not only through design but also through direct experience, having restored several original Torres guitars in collaboration with Francisco Simplicio (Domingo Prat, Diccionario de guitarristas, Buenos Aires: Romero y Fernndez, 1934; reprint in Columbus: Editions Orphe, 1986, p. 368). The nut has a width of 50 millimeters.In terms of tonal character, this guitar delivers a thick, warm sound with an especially nuanced low end that enriches the entire register. The resulting voice is deep and full without sacrificing clarity, offering exceptional complexity. The instrument also plays with great ease, thanks to a comfortable neck profile and a pleasant, responsive feel.This particular guitar was acquired directly from Ignacio Fleta by the guitarist Ramn de Herrera when he was only ten years old, making it not only a significant instrument in terms of construction but also in terms of provenance. It remained with de Herrera throughout his artistic life and was later restored with great care by Gabriel Fleta, Ignacios grandson, ensuring that the instrument retains both its structural integrity and its original voice. Today, it stands as a beautifully preserved and historically rich example of one of the most iconic makers in guitar history.

Condition

This instrument has been carefully restored by Gabriel Fleta and is in very good condition. It shows professionally repaired cracks on both sides of the fretboard and two on the back. These restorations have been executed with expertise, ensuring full structural stability and aesthetic continuity. In addition, the finish has been refreshed, and the top exhibits wear consistent with long-term concert use, including nail marks and signs of regular playing, testimony to a life of active musical service. Despite these cosmetic marks, the guitar remains a compelling and well-preserved example of Ignacio Fletas early work.