Neck: Cedro
Fingerboard: Ebony
Finish (Top): Shellac
Finish (Back & Sides): Shellac
Tuning Machines: Fustero
String Height (1st): 3.0mm
String Height (6th): 4.0mm

[Profile]
Jesus Belezar Garcia (1920-1986) was born in Madrid, Spain. He began working as a machinist at the age of 13, while at the same time learning to play the flamenco guitar in a serious way, and by the time he was 17, he had begun to work as a professional guitarist.
In 1945, at the age of 25, he married Emilia, the daughter of Manuel Hernandez, known by the brand name 'Hernandez y Aguado. He used 'Aguado' flamenco guitars as a performer, and because of this environment, he gradually became interested in guitar making. Perhaps aware of his interest, one day in 1966 his father-in-law, Hernández, asked him to become the successor to Hernández y Aguado. At the time, Victoriano Aguado, Hernandez's partner, had already begun to complain of physical disability, and the proposal was made out of concern for the continuation of the brand. He decided to become a maker, and at the age of 46, he learned how to make them from scratch, with two masters, Hernandez and Aguado, of course. He quit his job as a machinist and devoted himself solely to making guitars.
During his lifetime, he produced only 83 guitars. Although he himself was a flamenco guitarist, only three guitars, including the first one (No.1) and the second (No.52) that he made for himself as prototypes, were flamenco guitars; the other 80 were classical guitars. The guitars made after independence are numbered from No.103. The last one is No. 183.
While he inherited many techniques from his mentors Hernandez and Aguado, he is very individualistic and does not stop at being 'Aguado's successor. The sound and tone, which are his greatest characteristics, are gentle and powerful, freely changing expression and singing well, and full of tenderness and strength. Like Aguado's guitar, Bellezar's guitar is also unique among Spanish guitars.
All those who knew him firsthand speak of his gentle and earnest personality, and the guitars he made have a warm and pleasing sound to the ear, just as his character was. He devoted himself to making guitars until just before his death on August 28, 1986, when he sadly passed away.

[Description]
This No.120, made in 1973, is the 18th guitar after the establishment of Beresal’s independent brand. It features graceful, full-bodied lines, a refined headstock design, and a deep, lustrous shellac finish reminiscent of Aguado’s style. The tone is slightly firm yet rounded, with a balanced response across the range and natural dynamic shading akin to the human voice. Its expressive potential is exceptional, capable of conveying the clarity of Renaissance or Baroque repertoire as well as the depth and subtlety of Classical and Romantic works.

Structurally, it closely follows the late 1960s Aguado layout: harmonic bars above and below the soundhole, a treble bar running diagonally from the upper top to the treble side of the lower bout, six fan braces (two treble-side, three bass-side), two H-shaped closing bars at the bottom, and a patch plate at the bridge. The resonance is set just below G#.

There are repairs at the joints of the back sides, as well as minor repairs on the purfling near the waist. Light scratches and play marks are present but overall the guitar remains in good condition for its nearly 50-year history. The neck has a very slight forward bow but plays perfectly; frets are well-maintained. The neck has a thin, flat D-shape, medium-to-firm string tension, and a 660mm scale length. The body weighs 1.51 kg.

Given its limited production and faithful embodiment of Aguado’s tonal philosophy, this instrument is an exceptionally rare and valuable piece of Spanish guitar history.