Manuel de Soto y Solares (1839–1906) was a renowned guitar maker from Sevilla, belonging to a family of skilled luthiers. He began crafting guitars around 1860, establishing his workshop near the legendary Antonio de Torres. While some speculate that Torres may have sold his guitars through Soto y Solares' shop, it is more likely that they had a professional relationship involving the exchange of materials such as woods and components. Soto y Solares adopted Torres' construction techniques, earning him a distinguished clientele, including the famed flamenco singer Juan Breva. Notably, at least two of Soto y Solares' guitars were presented as gifts by the celebrated guitarist Francisco Tárrega.

I acquired this guitar from José Daniel Valenzuela Villanueva, a professional flamenco guitarist who inherited it from his father. Its earlier history traces back to an old gypsy friend who purchased it around 1950 from a guitarist in a family lineage known for accompanying dancers and singers related to Don Ramón Montoya. The restoration of this instrument was entrusted to Aaron Garcia Ruiz, a luthier and musicologist based in Granada. During the restoration, striking similarities between Manuel de Soto y Solares' construction techniques and those of Antonio de Torres were revealed. These included the use of pencil lines for bracing, a three-piece top, and the reinforcement of joins with musical parchment strips.

The restoration also uncovered a plantilla similar to those Torres used between 1885 and 1888. Additionally, the guitar exhibited first and seventh fan braces extending through the harmonic bar, a design feature found in Torres’ SE70 model from 1885. These details not only highlight the influence of Torres on Soto y Solares' work but also showcase the exceptional craftsmanship and historical significance of this instrument.