Historic Guitar Makers of the Madrid School
These biographies are works in progress. If you have additional materials, information, sources, photographs, or corrections you wish to share, please contact me. (Reference Works)
Alonso (Madrid, active c. 1830s)
Alonso was a guitar maker in Madrid circa the 1830s.
Alfonso Benito (Madrid, active c. 1930s-1940s)
Alfonso Benito was a master builder in the shop of José Ramirez II, and according to José Ramirez III, Alfonso and his father were his principle teachers.
Lorenzo Alonso (Madrid, active c. 1758-1796)
|
|
Although we do not have a birth date for Lorenzo Alonso, in
1758 he
opened a shop on the calle Carmen in Madrid. In 1761, he was appointed as head of the
guitar makers guild in Madrid, and granted examination papers to his son, Pedro Alonso,
then three and half years old. As a luthier, he also made violins, cellos, etc. He seems to
have closed his workshop on the calle Carmen in 1788, and died in 1796. He seems to have
risen to prominence and is mentioned in Fernando Sor's Method pour la Guitare.
(Photo courtesy of Felix Manzanero) |
Pedro Alonso (Madrid, 1758- ?)
Pedro Alonso was a luthier active in Madrid around the middle of the eighteenth century.
Agustín de Andrés (Madrid active c. 1900)
|
|
Agustín de Andrés was active in Madrid until the beginning of the 20th
century. In 1902, he moved to Paris where he had his shop on the Rue de Pateaux,
No. 7.
Photograph courtesy of Felix Manzanero.
|
Vicente Arias, (Madrid b. 1840s - d.1912)
|
Vicente Arias was born in the Ciudad Real some time around 1845. He seems to have begun building guitars around 1860. His shop was on the calle Santa Isabel, no. 20. He continued making guitars right up until his death in 1912. He is generally credited with being the only luthier in the 19th century whose instruments rivaled those of Antonio de Torres in the elegance and constructional quality. |
Marcelo Barbero (Madrid, b. 1904-d. 1956)
|
|
Marcelo Barbero was born in Madrid in 1904. Marcelo was trained by José Ramirez II, and gave José Ramirez III his initial lessons in guitar building. When Santos Hernandez died in 1943, Marcelo went to his widow to see about taking over her husband's old shop. She employed Marcelo Barbero first to finish some guitars that Santos was unable to complete, and then to build for her. Marcelo Barbero trained Arcángel Fernández. When Barbero died, his son Marcelo Jr. began an apprenticeship with José Ramirez, however, he left after a couple of years. Marcelo's widow, then asked Arcángel Fernández to train her son. Marcelo Jr. continues to work with Arcángel Fernández Castro Marin Sound Gallery Sample 1947 Marcelo Barbero flamenco guitar Photograph courtesy of Felix Manzanero. |
|
|
Modesto Borreguero (Madrid active c.1910s-1960s)
|
|
Modesto Borreguero was trained in Manuel Ramirez's
shop, and following his death in 1916, took over its management,
continuing to work for Manuel's widow until her death. Even after, his labels touted the
fact the had worked for Manuel Ramirez, Antiguo oficial de M. Ramirez. He later opened his own workshop on the
calle Atocha. In the early 1920s, his workshop was on Zurita 27. In the
mid-1920s he moved to Fernan Nuñez, No. 5. He also taught Hernandez and Aguado guitar
making and also trained the noted Madrid luthier Vicente Camacho. He was a
generous man, who enjoyed drinking, and so was often broke. He seems to
have died some time after 1960.
Photograph courtesy of Felix Manzanero. |
Agustín Campo (Madrid active c.1840)
Agustín Campo was an important luthier in Madrid circa 1840. He collaborated with the guitarist/composer Dionisio Aguado in making improvements to the design of his guitars that were taken up by other members of the Madrid school.
Benito Campo (Madrid, active c. 1850s)
Benito Campo was a guitar maker active in Madrid in the middle of the nineteenth century.
Antonio Carracedo (Madrid, active c. 1860)
Antonio Carracedo was a luthier in Madrid active circa 1860, he produced a guitar with a modern plantilla; that is wider in the lower bout, fan braced, raised finger board, and a modern bridge.
Rafael Casana (Madrid, active c. 1900s)
Rafael Casana apprenticed under José Ramirez I. He latter settled in Córdoba where he seems to have trained Miguel Rodriguez. Rafael, however, was apparently an unstable man, and according to Ivor Mairants, ended up committing suicide in 1905.
Faustino Conde (Madrid, 1913-1988)
|
Faustino Conde Salamana was born in Villalba de los Alcores in 1913. He
began his apprenticeship with his uncle, Domingo Esteso Lopez (1882-1937), when he
was only 13. When Domingo Esteso died in 1937, Faustino and his brothers Mariano and Julio
Conde took over their uncle's workshop in Madrid, continuing to work for their uncle's
widow until her death in 1960 building under the label Vda Sobrinos de
Esteso (Widow and nephews of Domingo Esteso). The Conde brothers continued
building under the label Sobrinos de Domingo Esteso into the 1970s when
they took the name Hermanos Conde (the Conde Brothers). Faustino died in 1988. The original Esteso-Conde shop
currently is run by Faustino's widow, Julia Conde Pastor.
Castro Marin Sound Gallery Sample -- 1955 Vda. de Domingo Esteso (Hermanos Conde). |
Julio Conde (Madrid, b. 19?? - d. 1995)
Julio Conde was one of the Conde brothers, and nephews and successors of Domingo Esteso. He died in 1995.
Mariano Conde (Madrid, b.191? - d. 1989)
|
Mariano Conde, a nephew of Domingo Esteso, and one of the Conde brothers who worked for Domingo's widow, and after her death in 1960, inherited the Esteso workshop. He later left and set up his own workshop. He died in 1989. |
Manuel Contreras (Madrid, 1926-1995).
|
|
Born in Madrid in 1926, Contreras began his working life as a cabinet maker, and reportedly even tried his hand as a bullfighter. In 1959, he joined the Ramirez workshop as a senior journeyman. It was Contreras who made the first José Ramirez guitar Andrés Segovia bought in 1960. After three years with Ramirez, Manuel opened his own guitar workshop in the center of Madrid. He soon earned a reputation as one of the finest and most innovative luthiers in Spain. Among his innovations is the “double top,” a guitar in which a second top is mounted between the braces of the back, improving both the tone and the volume of the guitar. In 1983, Contreras designed a radically different guitar without an upper waist or sound hole for the Uruguayan guitarist, Abel Carlevaro. The assumption being that by enlarging the surface area of the top, the volume and tone would improve. The guitar has also an extra back and sides inside body to isolate the box from the damping effect of the player's body. Instead of a sound hole, there are slits that around the edge of the top, between the sets of sides through which the sound emerges. I have played this model in his shop, and indeed it has better volume and tone, but is a very heavy instrument. His most popular models, however, are built in the Spanish tradition. They are large, long scale instruments, with fan braced tops, based on the successful Ramirez formula. Contreras died in 1994 of cancer, but his shop continues to build the same models under the direction of his son, Pablo Contreras. |
|
|
Juan de Carrión (Madrid, active c. 1600-1620)
Juan de Carrión was a luthier to the Spanish Crown in Madrid at the beginning of the 17th century.
Domingo Esteso Lopez (Madrid, 1882-1937)
|
|
Domingo Esteso Lopez was born in San Clemente
in the province of Cuenca in 1882. He was one the guitar great
makers of the early 20th century based in Madrid. In the 1890s, he began as an apprentice
in the shop of Manuel Ramirez, working along side such greats as Santos Hernandez and
Modesto Borreguero. When Manuel Ramirez died in 1916, he continued to work for Manuel's
widow for about a year. In 1917 he opened his own shop on the calle Gravina, where he was joined by his nephew,
Faustino Conde in 1926. After his death in 1937, Faustino and his two brothers, Mariano
and Julio, took over the shop, building under Vda y Sobrinos de Domingo
Esteso (Widow and nephews of Domingo Esteso. Following the widow's death in the
1960s, they became Hermanos Conde, sobrinos (nephews)
of Domingo Esteso.
Castro Marin Sound Gallery Sample 1920 Domingo Esteso Flamenco Guitar Sound Sample 1933 Domingo Esteso Classical Guitar |
Antonio Carlos Garcia (Madrid, active c. 1860)
|
|
Antonio Carlos Garcia was a maker of guitars and bandurrias active in Madrid circa 1860. The parlor guitar shown was made for the English market where according to its label the Alban Voigt & Co. was Garcia's exclusive distributor in Great Britain and the colonies. This guitar has a three piece top, back and sides of Figured rosewood. Mother-of-pearl is inlayed into ebony of the rosette. The construction of this small instrument (590mm scale), is unusual in that it makes no use of fan bracing. Despite this, its tone and volume are surprisingly big. |
Enrique Garcia Castillo (Madrid, 1868-Barcelona 1922)
|
|
Enrique Garcia was born in Madrid in 1868. Although he was the son of a guitar maker, Juan Garcia, in 1883 he began an apprenticeship with Manuel Ramirez, and continued to work for him for many years. In 1893, his guitars won first prize at the Chicago World Fair. In 1895, he left the Ramirez shop and moved to Barcelona where he opened a workshop on the calle Aragon No. 309. In 1899, he moved his shop to the calle Aragon No. 455. In 1902, he again moved his shop to its ultimate location on the Paseo de San Juan No 110. Enrique Garcia quickly gained an international reputation, and his guitars were particularly in demand in Latin America. By 1912, he was shipping most of his guitars to Latin America. In Barcelona, he had one disciple Francisco Simplicio. Garcia made some guitars that so closely resembled those of Antonio de Torres that their labels have been removed and passed off as Torres guitars. He died on October, 31, 1922. |
Juan Garcia (Madrid active c. 1860s - 1910s.)
Juan Garcia was a luthier active in Madrid in the later half of the 19th century, and father of Enrique Garcia, and gave his son his initial training. He died in 1914.
Antonio Gómez Rodriguez (Madrid, active. c. 1930)
Antonio Gómez Rodriguez was a luthier in Madrid active circa 1930.
Julian Gómez Ramírez (b. Madrid- 1879- d. Paris, ?)
Julian Gómez Ramirez, although not related to Ramirez, was trained by José Ramirez I. In 1922 he moved to Paris where he remained active into the 1940s. Robert Bouchet apprenticed with Julian Gómez.
Francisco González (Galicia, born c.1818-died Madrid, 1880 )
|
|
Francisco González, born in Galicia around 1818, was an engineer who took up guitar making.
In fact, he is credited with making the first car in Spain. Made
before the internal combustion engine, it was a lever operated vehicle. He
is also generally given the honor of being the founder of the Madrid school, this despite the
fact that he was not a native of Madrid, but had moved there in 1835 or 1836. Nor was he the first,
guitar maker in Madrid. There was already a flourishing Madrid school
developing. The
honor certainly is appropriate for being the most influential, for he trained José
Ramirez I, who in turn taught his brother, Manuel Ramirez, and it is two these two
brothers that almost every maker in Madrid traces his lineage. Francisco, however, was
also recognized in his own time as a fine maker. In 1867, at the Universal
Exposition in Paris, he was awarded a bronze metal for his guitars. Francisco
González had his shop on the calle Carrera de San Geronimo, No. 15, near the Puerta de Sol.
Photograph courtesy of Felix Manzanero. |
Marcos Antonio González (Madrid, active c. 1780s-1810s)
Marcos Antonio González was a guitar maker from Madrid, he trained Juan and Manuel Muñoa. He also trained his son, Manuel Narciso González.
Manuel Narciso González (b. Madrid 1781, active c. 1800s-1830s)
Manuel Narciso González was born in Madrid in 1781. He was trained by his father, Marcos Antonio González, and was a brother-in-law of the Juan and Manuel Muñoa. He was appointed a the guitar maker to the Royal Chamber-- a fact recorded on the label of his guitars. He was active during the first third of the nineteenth century.
Hernández y Aguado (Madrid, active 1950s-1970s)
|
|
Manuel Hernández was born in 1895 in a village near Toledo, but his family moved to Madrid when he was eight years old. At the age of 14 he began to work as an apprentice in a piano workshop where soon after he was allowed to work in the area where the main bodies of the piano were constructed, and the attendant acoustic problems solved. Victoriano Aguado was born in 1897 in the city of Madrid. He also grew up in Madrid and was employed as a French polisher at the same piano workshop. There, the two became friends and when the business closed in 1941, they decided to set up a workshop which would specialize in the restoration of pianos and antique furniture. Aguado was an enthusiastic guitarist and Hernández had a love for music combined with his skilled craftsmanship which eventually led to collaboratively making a couple of guitars. They were inspired by the guitar professor Sainz de la Mata at the Conservatorio de Madrid and they learned much by watching Modesto Borreguero at work - he was once a pupil of Manuel Ramirez. After favorable response to their instruments they decided to convert the entire workshop over to guitar production. By the end of their first year as full-time luthiers, they had a waiting list of seventy customers. By 1975 when Hernández died, over 400 guitars had been produced. Although Aguado retired from guitar-making in 1970, the post 1970 guitars were made by Hernández and his son-in-law, Jesus Belezar. The tradition of guitar construction so firmly established in Spain during the last 100 years has been maintained there by a number of modern master makers including Hernández y Aguado. Their partnership is considered one of the most successful in guitar-making history. |
Santos Hernández Rodríguez (Madrid, 1873-1943).
|
Santos Hernández was born in Madrid in 1873. When he was
ten he began an apprenticeship making vestments and ornaments in a shop
that made religious paraphernalia. Unhappy with this vocation, he
apprenticed to Valentin Viudes, the son. After a short time, he left
Viudes shop and went to work for José Ortega in Granada. But, he soon
returned to Madrid and went to work in the prestigious shop of Francisco
Gonzalez, then being run by the son. In 1893, Santos was drafted and was
assigned to a artillery unit during the five years of his military
service. He was sent to Cuba to fight during the Spanish-American war. On leaving the army in 1898, he found work in the shop of Manuel
Ramirez. Santos seems to have been the luthier who was most involved in
building the guitar Manuel Ramirez gave Andrés Segovia in 1912. Although
Manuel Ramirez died in 1916, Santos continued working for his widow until
1921. In 1922, Santos opened his own shop in an alley, La Aduana, in the
center of Madrid, building both classical and flamenco guitars. Santos was
secretive about his arts, and refused to taken on disciples. Santos
Hernández guitars were played by such notable classical guitarists as
Luis Sánchez Granada, Regino Sainz de la Maza, Quintin Esquembre, and
such flamenco players as Ramon Montoya, Niño Ricardo, Sabicas, Esteban de
Sanlúcar, Manolo de Huelva, Manolo de Badajoz etc. After his death in 1943, his widow continued to
run his shop, employing Marcelo Barbero to make guitars.
Castro Marin Sound Gallery Sample -- 1936 Santos Hernandez flamenco guitar |
 |
Francisco Ibarrola (Madrid, active c. 1900-1910s).
Francisco Ibarrola was a luthier in Madrid active at the beginning of the twentieth century. In 1914, he had a shop on the calle Santa Barbara.
Pedro Jiménez (Madrid, active c. 1900-1920s)
Pedro Jiménez, a luthier in Madrid in the early part of the twentieth century had a shop on the calle General Ricardo. In 1918, he moved his shop to the calle Mayor.
Cleto López (Madrid, active c. 1885)
 |
Cleto López was a guitar maker active in Madrid in the late
nineteenth century.
Photograph courtesy of Felix Manzanero. |
Josef Martinez (Madrid, active c. 1800)
|
|
Josef Martinez was a luthier active in Madrid at the beginning
of the 19th century. An example of his work is in the collection of Felix
Manzanero, and according to Manzanero is among the best sounding guitars
in his collection.
Photograph courtesy of Felix Manzanero. |
Juan Moreno (Madrid, active c.1830s).
Juan Moreno was a guitar maker active in Madrid circa the 1830s.
Antonio Muñoa (Madrid, active c. 1820)
Antonio Muñoa was a luthier in Madrid active circa 1820. The nephew of Juan Muñoa, Antonio was trained by his uncle. Dionisio Aguado praised his work in his Method (1820) saying that the few guitars he has made show promise of his developing his uncle's abilities.
Juan Muñoa (Madrid, 1783-1824)
Juan Muñoa was born in Pradoluengo in 1783, and like his elder brother probably learned guitar making with Marcos Antonio González. Manuel and Juan later moved to Madrid, and they were active at the end of the eighteenth and beginning of the nineteenth century in Madrid. Juan died in Madrid in 1824. Juan Muñoa made a guitar for Dionisio Aguado that this guitarist and composer praises in his Colección de Estudios (1820) as being the optimal guitar.
Juan Muñoa II, (Madrid active mid-19th century)
|
|
Juan Muñoa II appears to be a son or grandson of Juan Muñoa
active in Madrid in the mid-19th century. An example of his work dated 1870 is
in the collection of Felix Manzanero.
Photograph courtesy of Felix Manzanero. |
Manuel Muñoa (Madrid, 1779-1815)
Manuel Muñoa was born in Pradoluengo in 1779, and probably learned guitar making with Marcos Antonio González. He move to Madrid with his brother, Juan Muñoa, and they were active at the end of the eighteenth and beginning of the nineteenth century in Madrid. Manuel died in Madrid in 1815. He had his shop on the calle Majaderitos.
José Nieto (Madrid, active c. 1872)
José Nieto was a luthier active in Madrid at the toward of the nineteenth century.
Asencio Ortega (Madrid, b. 1799 d. 1844)
Asencio Ortega was the son of Silverio Ortega, a luthier. Although trained by his father, he wasn't the luthier his father was. Asencio was best know for his violins, but also built some guitars.
Mariano Ortega (Madrid, b. 1790 d. 1865).
Mariano Ortega was the son of Silverio Ortega, a luthier. Mariano was trained by his father, but wasn't the luthier his father was. Nevertheless, he built both violins and guitars, and had a long active career in Madrid.
Silverio Ortega (Madrid, b. 1765- d. 1846)
Silverio Ortega was a luthier in Madrid in the second half of the eighteenth century. He was born in Orusco in the province of Madrid in 1765 and apprenticed as a luthier with his uncle Vicente Assensio, a priest. He built and repaired instruments for the Royal household and Royal chapel from 1782 until his death in 1846. He was the father of Mariano Ortega, and trained his son.
Serafín Pec (Madrid active c. 1890)
|
|
Serafín Pec was a guitar maker in Madrid active at the end of
the nineteenth century. An example of his guitars is in the collection of Felix
Manzanero.
Photograph courtesy of Felix Manzanero. |
José Ramirez I (Madrid, 1858-1923)
 |
José Ramirez Planell was born in Madrid in 1858. His
father was a master carpenter who worked for a developer in the Salamanca district of
Madrid. When he was just 12, he was apprenticed to Francisco González (1818c-1880c). From all
accounts, it was a long and arduous apprenticeship that began with menial tasks, but
slowly as these were mastered progressed to more complex ones, until the responsibility
for complete instruments was given him. In 1882, José opened his own workshop
in the Rastro of Madrid, on Cava Baja-- a street that runs along what was the moot
around the old city, and in 1890 moved to Concepcion Jerónimo 2 where the
Ramirez shop remained for over a hundred years. In 1897, José Ramirez was awarded a
gold medal for his guitars at the Logroño exposition. Like his teacher, José
specialized in large, shallow flamenco guitars with arched tops. José not only trained
included brother Manuel Ramirez Planell (1864-1916), but Julian Gomez Ramirez who later
practiced his art in Paris, Antonio Viudez who
migrated to Buenos Aires, and Rafael Casana. The Jose Ramirez III also
claims that he taught Enrique Garcia. José Ramirez, of course, also trained his son,
José Ramirez II (1885-1957), who took over the business after his father's death. He died
in 1923.
Photograph courtesy of Felix Manzanero. |
|
José Ramirez II (Madrid, 1885-1957)
 |
José Ramirez de Galarreta was born in 1885 in Madrid. At a tender age he began his apprenticeship with his father, also learning to play the guitar. Against his father's wishes, when he was twenty he joined a folk troop for a Latin American tour as a guitarist, going by the name Simón Ramirez. After visiting Argentina, Chile, and Uruguay, he decided not to return to Spain, but to remain in Buenos Aires. There he married, and there his first son, José Ramirez III, was born. It was not until two years after his father's death in 1923 that José II returned to Spain to take over the family business. He soon established himself as a master luthier. In 1929 his guitars were awarded a gold medal at the Latin American Trade Fair in Seville-- a fact that he soon incorporated into his label. During his long career, José Ramirez II trained not only and his own son, José Ramirez III, but Marcelo Barbero (1904-1955). He died in 1957. |
José Ramirez III (Madrid, 1922-1995)
|
|
José Ramirez III was born in Buenos Aires, Argentina in 1922, and was only three when his father returned to Spain to take over the workshop on Concepción Jerónimo 2 in Madrid. Apprenticing with his father, through the difficult times of the world depression and Spain Civil War, José III soon proved to be a tireless investigator of the instrument, and an able business man. Under his supervision, the workshop grew not only into a major enterprise, but José III recruited and trained a host of apprentices--many of whom worked in his shop for years, and many of whom have since become famous luthiers in their own right: Paulino Bernabé, Felix Manzanero, Manuel Contreras, Manuel Rodriguez, Ignacio M. Rozas, Manuel Caceras, Miguel Malo Martinez, José Romero, and José Ramirez IV to name but a few. José Ramirez III is also generally credited with the introduction of cedar as a tone wood. During the 1960s, as high quality German spruce became hard to find, and increasingly expensive, José III discovered and promoted western red cedar by building his both his 1a and 2a models with cedar tops, and by convincing great artists to use them. When Segovia began playing a Ramirez in the 1960s, it became the guitar that every aspiring guitarist wanted. |
Manuel Felipe Ramirez Planell (Madrid, 1864-1916)
|
Manuel Ramirez was born in
Alhama de Aragón in the province of Zaragosa in 1864. His
father, Jose Ramirez de Galarreta, was a master carpenter who worked for a developer in the Salamanca district of
Madrid. His brother José apprenticed with Francisco Gonzalez and then
taught his younger brother, Manuel. Around 1890, Manuel decided to go out
on his own. Initially, he thought of emigrating to Paris as had José's
pupil, Julian Gomez Ramirez (no relation). His brother José helped him
make preparations, but instead he soon opened a workshop
on the Plaza de Santa Ana. José felt betrayed, and the rift this caused was
so deep that they never spoke again. Business, however, was slow and so Manuel always somewhat of
a
restless Bohemian character, he also worked
for a time as an
electrician for the Madrid Electric Company, leaving his shop
in the hands of his disciple, Enrique Garcia. In 1897, Manuel
moved his shop to the Calle Arlabán, No. 10 where he remained until 1912,
moving then to No. 11. Manuel who also made violins
became an official Luthier of the Royal Conservatory of Madrid. He
also won a medal at the Chicago Fair in 1893 for his work. Manuel trained a generation of
great luthiers: Enrique Garcia, Santos Hernandez, Modesto Borreguero, and
Domingo Esteso. Manuel is also remembered for his gift of a fabulous
guitar to a young Andrés Segovia in 1912. Manuel Ramirez died in 1916,
and his shop was taken over and run by his widow. Out loyalty to Manuel,
Santos Hernandez and Domingo Esteso continued to work for his widow her
until her death in 1921.
1900 Manuel Ramirez played by Maya Rafajlovic |
 |
Francisco Rey (Madrid, 19th century)
Francisco Rey was a guitar maker active in Madrid during the nineteenth century.
Alfredo Rodriguez (Madrid, c. 1900)
|
|
Alfredo Rodriguez was a guitar
maker active in Madrid c. 1900.
Photo Courtesy of Felix Manzanero |
Saturnino Rojas (Madrid, c. 1890-1925).
|
|
Saturnino Rojas was a guitar maker in Madrid in the second half of the
nineteenth century and early part of the twentieth century. He seems to have
been an accomplished luthier who made guitars, bandurrias, and laúdes. According to the Madrid guitar maker Manuel Rodriguez,
Saturnino opened his shop on the calle Atocha no. 115 well before 1890, and was the first teacher of Santos
Hernandez.
Photograph courtesy of Felix Manzanero. |
|
|
Enrique Romans Papell (Madrid, 1875- 19??)
Enrique Romans Papell was a guitar maker active in Madrid during the last quarter of the nineteenth century and well into the twentieth century. He was the son-in-law of Francisco Gonzalez, and managed the Casa González. Enrique Romans Papell built some guitars under his mother-in-laws name as, Vda. e Hijos de Francisco González, and some under the name of his brother-in-law's name, Francisco González, Hijo. Finally, he adopted the label Casa González, and continued building under this label into the 1940s.
Benito Sánchez de Aguilera (Madrid, active c. 1790-1800s)
Benito Sánchez de Aguilera was a guitar maker active in Madrid and the end of the eighteenth and beginning of the nineteenth century.
Diego Sánchez (Madrid, active c. 1830s)
Diego Sánchez was a luthier active in Madrid circa the 1830s. Although he was primarily earned his living doing repairs, he also built some nicely made guitars.
Manuel Velasco (Madrid, active c. 1890)
|
|
Manuel Velasco was a guitar maker who was active in Madrid at the end of the nineteenth century. His workshop was at calle Ancha, no. 118 |
Antonio Emilio Pascual Viudes was born in Crevillente in the province of Alicante in 1883 into an old an distinguished dynasty of luthiers. Although his father began his training, at fourteen he was sent to Madrid to enter an apprenticeship with famous luthier Manuel Ramirez that lasted from 1897 to 1902 after which he went to work for Manuel's brother, José Ramirez. Antonio, however, only worked for José for a year, and returned to the workshop of his teacher, Manuel for whom he continued to work until 1909. In 1909, Antonio moved to Buenos Aires were he set up shop. He remained in Argentina where the market for fine instruments was much better in those days. Though he worked in Buenos Aires, he continued to use Madrid as his address on his labels, perhaps because the Spanish makers were held in higher esteem than the Latin American natives, and consequently commanded a higher price for their instruments. He remained in Argentina the rest of his life, building violins, violas, cellos, guitars, and other fine instruments well into the late 1950s. In Argentina ,he trained José B. Romero. He died in Buenos Aires around 1959.
Jose Viudes (Madrid, active c. 1890)
|
|
Jose Viudes was a member of the Viudes family of luthiers, and
was active in Madrid at the end of the nineteenth century. The photo here is of
a 1892 Jose Viudes guitar in the Felix Manzanero collection.
Photograph courtesy of Felix Manzanero. |
Valentín Viudes (Madrid, active c. 1850)
Valentín Viudes, a member of the Viudes dynasty of luthiers was active in Madrid in the middle of the nineteenth century. He trained his son Valentín junior.
Valentín Viudes II (Madrid, active c. 1880-1900)
Valentín Viudes was the son of Valentín Viudes Sr. and was trained by his father. He is best remembered as the first teacher of Santos Hernandez.
| Zavaleta's Home Page | Historic Makers Menu | Articles |
© copyright 1999