1953 Manuel de la Chica "Coral" SP/PD (ex Pepe Romero)

This 1953 Manuel de la Chica “Coral” is a spruce and padauk classical guitar from Granada, owned for many years by Pepe Romero – one of the very few De la Chicas in this rare wood.

Padauk, or “Coral”

The wood for the back and sides is a beautiful padauk (aka “Coral”), which is rarely seen due to its scarcity – hence the guitar’s name. The Alhambra label – “Manuel de la Chica, constructor de violines y guitarras, Placeta de la Sillería, 8, Granada” – is signed across the center and dated 1953.

Ex Pepe Romero

For many years this guitar was owned by Pepe Romero. Wesley Park plays it in the videos above – solo in Weiss’s Passacaglia, and with his brother Alex in “Drewries Accordes”.

Sound and Condition

Equally at home in classical or flamenco hands, it has a lyrical, singing quality, yet at the same time can bite if pushed. It is very light in weight and has piercing volume. It is in excellent condition for its age – no cracks anywhere; however, due to many years of regular use, it has had fresh finish work done to restore the original polish. This is an exceptional instrument in every regard from this great builder.

Manuel de la Chica: Granada’s Great Master

Manuel de la Chica (1911–1998) is arguably the greatest guitar builder from Granada to date. His early professional background was in cabinet making, as is the case for countless other fine guitar makers. His focus shifted to guitar making in the late 1930s when he had seen and become attracted to the Spanish guitar, primarily those of Santos Hernández. His labels – with their view of the Alhambra – come from his workshop on the Placeta de la Sillería in Granada.

Santos, Barbero and De la Chica

Often his instruments are compared to the later guitars of Marcelo Barbero (who assisted in the construction of several Santos guitars left partially built at the time of Santos’s death), which we feel is a very strong and fair comparison. Like Santos and Barbero, De la Chica was at home building both classical and flamenco guitars, and his finer instruments have the flexibility of being played in either style.

Retirement and Rediscovery

In 1973 he was forced into early retirement from guitar making due to health complications he was experiencing from inhaling dust and chemicals in his taller. From his early departure until his death in 1998, his instruments fell into relative obscurity; however, renewed interest in recent decades and a re-evaluation of his work have convinced many that his contribution, skill and insight into the art of guitar making establish him as one of the great makers of all time. Among those who learned from him was Antonio Marín Montero, his student and friend.