Ignacio Fleta - 1954 - N°52
Ignacio Fleta - 1954 - N°52
Details
Details
Overview
Overview
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Shipping important note
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Details about GPSR
Details about GPSR
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More details about the guitar
About the luthier
Ignacio Fleta (1897–1977) 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 Prat’s “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 García. The decisive moment came in the early 1940s, when Fleta heard Andrés 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, Fleta’s 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 family’s tradition of excellence.About the guitar
This instrument, built in 1954 and bearing the number 52, is a fine example of Fleta’s 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 Fleta’s 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 Fernández, 1934; reprint in Columbus: Editions Orphée, 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 Ramón 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, Ignacio’s 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 Fleta’s early work.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.