1966 Manuel de la Chica SP/MP

This 1966 Manuel de la Chica is a spruce and maple flamenco guitar with tap plates that would be of equal service to a classical player.

A Maple Guitar for Both Styles

This is such an example of his flexible finer instruments – it has a lyrical, singing quality, yet at the same time can bite if pushed. Although it does have a tap plate for flamenco playing, it would also be of great service in the hands of any classical performer. The label is signed in red and blue and dated July 1966.

In the Spirit of Santos

De la Chica instruments are regularly compared to Santos Hernández in terms of quality and style of sound, as well as for aesthetics – and this instrument is a fine example of just this type. This is a phenomenal mid-century style Spanish guitar by any measure.

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.