We are looking at a flamenco guitar built in 1949, bearing an interior label attributed to Marcelo Barbero, yet featuring the stamps of Modesto Borreguero on both the neck block and the inside of the soundboard. This is a combination we have never encountered before, opening up a fascinating new perspective on the professional relationship between these two guitar makers. Everything suggests that Borreguero was involved in the construction of certain flamenco guitar models, possibly intended for customers with more modest purchasing power than those seeking classical concert guitars.

From a historical perspective, this guitar is an exceptionally interesting piece. Until now, we had come across no documentation or physical evidence confirming Modesto Borreguero’s involvement in Marcelo Barbero’s workshop, assisting in the construction of his guitars. We had always suspected that he may have contributed in some way to certain instruments, particularly those of a lower grade than the guitars intended for the classical concert market. However, this guitar provides particularly significant physical evidence.

For the time being, and in the absence of further discoveries that might help us better understand the nature of this collaboration, this is a unique example as far as we know. An exceptional guitar not only for its extraordinary tonal qualities, but also for the documentary value it represents in the history of the Spanish guitar.

This is a completely original guitar that we have chosen to preserve without undertaking any restoration work whatsoever, respecting its integrity and authenticity to the greatest possible extent. The reason is quite simple: its sound is truly extraordinary in every respect. Without exaggeration, it is one of the most impressive guitars that has ever passed through our hands.

Our philosophy has always been to preserve historical instruments and avoid unnecessary interventions. For this reason, we have preferred to leave the decision on how to approach any potential restoration to its future owner, whether a collector or a guitarist. In our opinion, the guitar is in a condition that allows it to be enjoyed and played without the need for any further intervention. The only work carried out has been to secure the crack in the back; otherwise, it retains its original condition and is ready to continue being played.

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