Hernandez y Aguado - 1963 No.233
Hernandez y Aguado - 1963 No.233
Details
Details
Overview
Overview
Shipping important note
Shipping important note
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Details about GPSR
Details about GPSR
Video overview
More details about the guitar
About the luthier
Manuel Hernández, originally Santiago Díaz Martínez, was born in 1895 in Valmojado near Toledo. Victoriano Aguado Rodríguez was born in Madrid in 1897. The two met in Madrid while working in a piano factory, where a close friendship developed. They later founded a joint workshop that initially focused on the restoration of furniture and pianos.
Their path toward guitar making began in the mid 1940s, when Victoriano Aguado built two guitars for his own use. These instruments drew the attention of Regino Sainz de la Maza, then professor at the Real Conservatorio in Madrid, who encouraged them to pursue the craft more seriously. Further experience was gained through collaboration with Modesto Borreguero, who had previously worked with Manuel Ramírez. From that point onward, Hernández y Aguado established an international reputation. Their guitars were played by artists such as John Williams, Julian Bream, and Atahualpa Yupanqui, and were exported worldwide.
About the guitar
This guitar from 1963, numbered 233, was built during the mature period of the Hernández y Aguado workshop. It is constructed in traditional Spanish manner, with Brazilian rosewood back and sides and finished in French polish. The visual presence is defined by the characteristic elegance and proportion associated with the Madrid school of the time.
Tonally, the instrument presents a highly refined and balanced voice. The relationship between basses and trebles is exceptionally even, allowing polyphonic textures to unfold with clarity. The bass register is round and supportive without excess weight, while the trebles are singing and transparent, carrying a noble and composed quality. The sustain is long and stable, and the intonation remains precise across the fingerboard.
With an air resonance at F sharp, the tonal architecture feels compact and centred. The instrument reacts sensitively to articulation and offers a wide expressive range, rewarding controlled playing with depth of colour and nuance. More than six decades after its construction, it retains a remarkable structural and acoustic integrity.
Condition
The guitar is in excellent condition. The soundboard has two professionally restored cracks. At the centre seam of the top, a fine strip of approximately 2 mm has been inlaid along the bookmatch joint. The back is free from damage. On one side, there is a very small crack of approximately 2 cm at the lower bout. All repairs have been executed cleanly and the instrument is structurally stable.
Regular care extends the life of the instrument
Even with careful use, a classical guitar may gradually change in appearance or respond to unstable storage conditions. Have a close look at your guitar regularly and be attentif to changes. If your instrument is suffering from its environement, it will let you know.
Protect Your Guitar: Handle with Care
Be mindful when touching your instrument with greasy or unwashed hands: any skin contact is a small attack on the varnish. Of course, a guitar is made to be played, but taking a few precautions helps preserve its beauty: wash your hands before playing, wear long sleeves, and avoid unnecessary direct skin contact with the body of the instrument.
Pro tip: Avoid playing with a button-up shirt, heavy jewelry, or a belt, as these can scratch the guitar. Also, make sure your guitar case is free of any objects that could damage the instrument during storage.
String care
A good habit to adopt is wiping down your strings briefly after each playing session. This small action significantly extends their lifespan and helps maintain a consistent, comfortable feel under your fingers.
Most importantly, clean strings are essential for keeping your instrument in tune. Corrosion, sweat, and dust can affect the uniformity of the strings and interfere with accurate tuning across the entire fingerboard.
Pro tip: If you're having trouble getting your guitar in tune, it might be time to change the strings. A useful test is to compare the pitch of the 12th fret harmonic with the fretted note at the 12th fret; if there's an unusually large gap between them, your strings may have lost their integrity and should be replaced.
Keep Your Shellac Finish Shining!
Got a guitar with a shellac (French polish) finish? Here's a simple trick: Take a clean microfiber cloth and gently breathe on the surface to create a light mist. Then, softly rub to remove fingerprints, sweat, and grease. That’s usually all it takes to keep it looking great, no products needed!
Pro tip: Every few years, treat your guitar to a check-up with a luthier to keep it in top shape.
Storing Your Guitar: Climate Matters
Your guitar can safely stay outside its case, as long as the surrounding environment maintains 42–55% humidity and a temperature between 18–25°C.
Keep in mind that humidity levels can still fluctuate inside the case, especially during seasonal changes.
- Too much humidity may cause overtightened strings and a dull tone.
- Too little humidity can lead to a bulging top, string buzz, or even cracks.
Avoid placing your guitar near radiators, air conditioners, or windows with direct sunlight.
Pro tip: Always close your guitar case while playing. This helps preserve a stable microclimate inside the case, so your instrument is protected the moment you put it back in.