1930 Santos Hernández SP/CSAR

This 1930 Santos Hernández is a spruce and CSA rosewood classical guitar from Madrid with the autograph of Andrés Segovia etched into the soundboard – documented by Jeffrey Elliott in "American Lutherie".

Andrés Segovia's Autograph

This particular guitar, built in 1930, is a gorgeous example of Santos' work, with beautiful materials and great style and charm in design and execution. Curiously, it has the autograph of Andrés Segovia etched into the soundboard.

Jeffrey Elliott's Drawings and Article

Jeffrey Elliott did some repair work on this guitar and, while it was in his possession, also made technical drawings and detailed measurements, all of which are included with the instrument. He also wrote an article about the guitar for the Guild of American Luthiers, published in their quarterly journal "American Lutherie" #115, in Fall of 2013.

Sound

Tone is warm yet clear, balanced and focused, with the deep, old-world sound that players for the past 100 years have valued in these instruments – a wonderful example of Santos at his best.

Santos Hernández and Segovia's 1912 Manuel Ramírez

Santos Hernández (1874–1943) is one of the elite makers of the historical pantheon – along with Torres and Hauser I in terms of collectibility and historical importance. Santos became a very established maker early in his career when he became known as the builder of the Manuel Ramírez guitar of 1912 that was owned and played by Andrés Segovia – this very guitar currently resides in the Metropolitan Museum of Art in New York, right next to Segovia's 1937 Hauser I.

From the Ramírez Workshop to Calle de la Aduana, Madrid

Born in Madrid, Santos started out as a boy making the gold and silver trimmings for bullfighters' suits, and turned to the guitar in 1886. After his apprenticeship and five years of military service, Manuel Ramírez – the teacher he always considered his true one – took him into his workshop, where he became foreman. Two years after Ramírez's death in 1916, Santos set up his own shop, soon on Calle de la Aduana, where the great guitarists of the day came to visit and where he worked until his death in 1943.

A Guitar for the Great Players of His Day

Many others have played his instruments, including Regino Sainz de la Maza (for whom the "Concierto de Aranjuez" by Joaquín Rodrigo was written), Eduardo Abreu, Daniel Fortea, and the Romero family among others, as well as flamenco masters such as Ramón Montoya and Sabicas. Players for the past 100 years have valued these instruments for their charming, introverted quality of tone.