1906 Vicente Arias SP/CSAR

A superb and extremely well-preserved 1906 guitar by Vicente Arias, spruce and CSA rosewood, made at his Madrid workshop on Santa Isabel and once part of the Russell Cleveland collection.

A 1906 Vicente Arias with the Medal Label

Its Madrid label – "Sta. Isabel 20" – proudly displays the medals Arias won in competitions in Brussels, Madrid and Barcelona, suggesting he was a household name in his own day, even if we know so little about him now.

An Exquisite Sound

Arias varied his plantillas and bracing a great deal, yet his guitars are known for a consistently beautiful quality of tone, and this one is a great example – simply exquisite for its sound. Rich in overtones, every note keeps an almost unbelievable separation and clarity between voices, and the ultra-lightweight build makes the sound immediate, with ample tonal modulation and dynamic range. An expressive and impressive instrument from one of the most enigmatic builders among the great historical makers.

From the Russell Cleveland Collection

This guitar comes from the Russell Cleveland collection and is featured on pages 22–23 of the book The Classical Guitar – A Complete History.

Vicente Arias (1833–1914): The Forgotten Luthier

Vicente Arias is one of the most intriguing yet shadowy giants in the history of guitar making. Very little is known about his life, and his guitars are rarely seen today, yet among players and collectors they carry a mystique and a standing matched by few makers of his era. For the most current research on him, we highly recommend Camino Verde's book Vicente Arias 1833–1914: The Forgotten Luthier.

From Ciudad Real to Madrid

His labels trace his career. In the 1880s he signed himself "Constructor de guitarras en Ciudad Real"; by the early 1900s he was in Madrid, first at Calle de las Huertas 29 and later at Santa Isabel 20. His Madrid labels proudly display the medals he won at competitions in Brussels, Madrid and Barcelona – a sign that he was likely a well-known name in his own time – and several of his most famous contemporaries, including Francisco Tárrega, played his guitars.

Rosettes, Experiments and a Legendary Sound

Arias never settled on a single design: his plantillas, bracing and degree of ornamentation varied greatly from guitar to guitar. His rosettes and inlay work are among the most discussed and admired in today's guitar-making community for their elegant, original designs and masterful execution. Arias guitars are still played by leading performers such as Stefano Grondona, David Jacques, Raphaella Smits and Javier Riba.