Felipe Conde: the luthier of the greats.

**1882 – 1937: The First Period “Domingo Esteso”**

Domingo Esteso stands as one of the most renowned figures in the history of the Spanish guitar. He began his career as an apprentice in the workshop of Manuel Ramírez and, following Ramírez’s death, continued working for his widow, affixing his own name alongside the label. Esteso collaborated with Santos Hernández and Enrique García in the workshop, and together, the three became the principal successors to Manuel Ramírez’s legacy.

The guitars from this period still possess unique qualities that set them apart, whether through their exquisite craftsmanship or distinctive sound characteristics. Later, Esteso established his own workshop at 7 Calle Gravina, where he worked with his wife, Nicolasa Salamanca, who varnished the guitars. This became his most productive era, during which many guitars of great beauty and impeccable craftsmanship were created. Over the years, these instruments have fallen into the hands of individuals who recognised their artistry, and they continue to be cherished today.

Many of these guitars were sold abroad, particularly in Argentina, where a special label was created for the house of Romero y Fernández in Buenos Aires. This was largely due to the high cost of the guitars and the challenging economic conditions in Spain at the time.

In 1926, his nephew, Faustino Conde, joined the workshop, followed by my father, Mariano Conde, in 1929. This marked the beginning of the next phase in the family’s legacy. Under Esteso’s guidance, they learned the intricate techniques and skills involved in crafting Spanish guitars. They continued working with him until his death in 1937, during the Spanish Civil War, when he succumbed to a respiratory illness caused by a draught in the workshop and the lack of available penicillin. Guitar production continued in a limited capacity until 1939 due to the constraints of the war.

**1937 – 1959: The Second Period “Widow and Nephews of Esteso”**

Following the Spanish Civil War, the workshop operated under the name *Viuda y Sobrinos de Esteso* in honour of Nicolasa Salamanca, Esteso’s widow, until her passing in 1959. During this period, Julio, the younger brother of Faustino and Mariano, joined the workshop. They remained faithful to the traditional methods of their uncle’s school, while also introducing small modifications, especially in the guitar design.

Before 1953, they introduced a new headstock design, which later became known as the “half-moon head.” This design was used interchangeably with the traditional Domingo Esteso headstock. They also introduced new mosaic patterns.

This era was characterised by the warmth of sound produced in their guitars, a result of the seamless blending of tradition with a continuous quest for improvement in both sound quality and volume. These developments were overseen by my father, Mariano Conde Salamanca, whose craftsmanship was essential during this time.

Notable professionals who played these guitars include Regino Sainz de la Maza, Alirio Díaz, Quintín Esquembre, and Manolo de Huelva.

In 1957, a new workshop was opened in Pozuelo de Alarcón, staffed by five guitar makers. Guitars made in this workshop bore no signature or stamp and later became known as *guitarras de segunda* (second guitars).

**1959 – 1989: The Third Period “Conde Brothers, Nephews of Esteso”**

Upon Nicolasa Salamanca’s death, the brothers decided to use the name *Sobrinos de Domingo Esteso – Conde Hermanos*, later changing it to *Hermanos Conde – Sobrinos de Domingo Esteso*. This period was marked by a prolific output of guitars, widely sought after by leading musicians such as Niño Ricardo, Sabicas, Melchor de Marchena, Paco de Lucía, Paco Cepero, and many others, including Bob Dylan and Cat Stevens.

In 1960, the “half-moon head” design became a standard feature of the top guitars, and further modifications were made to the guitar template, internal bracing, and mosaic designs, inspired by historic embroidery.

During this period, my father and uncle were the first to introduce rosewood (*palo santo*) in flamenco guitars, traditionally reserved for classical guitars. With the help of Paco de Lucía, this wood became popular for concert flamenco guitars. The rosewood guitars, referred to as *guitarras negras* in contrast to the traditional cypress *guitarras blancas*, developed a distinctive sound with greater volume and unique character, earning recognition in the guitar world.

In 1971, I, Felipe Conde, joined the workshop at 7 Calle Gravina under the tutelage of my father, Mariano Conde, and my uncle, Faustino Conde, marking the beginning of the next generation of guitar makers. From my father, I learned two invaluable lessons: respect for tradition and craftsmanship in guitar making, and the importance of close interaction with clients and musicians, which would guide my work in improving the sound of our guitars. Years later, my brother, Mariano Conde Jr., also joined the workshop.

**1980 – 2010: The Fourth Period “Conde Hermanos Sucesores Sobrinos de Esteso”**

In 1980, my father, Mariano Conde, established a new workshop at Calle Felipe V nº 2, embarking on a new chapter with his sons. Until my uncle Faustino’s passing in 1988, we maintained links with the Gravina Street workshop, but from that point onwards, the Felipe V workshop operated independently.

After my father’s death in 1989, my brother and I took over the business. Initially, we continued the tradition of guitar making but soon embraced advancements in materials, tools, and technology to enhance production, always retaining the traditional sound and craftsmanship that made each guitar unique.

Key models from this period include the Felipe V model, noted for its beautiful wood, intricate marquetry, and meticulous finish, and the *Reedición Domingo Esteso* and *Viuda y Sobrinos de Esteso 1953* models, which were inspired by original templates and aged wood.

Guitarists who continued to use our guitars include many from the previous era, along with new generations such as Javier Conde, Roberto Morón, Lenny Kravitz, David Byrne, and Sergio Vallín.

During this time, I consolidated my professional expertise and expanded the family business internationally, participating in music fairs across the globe and responding to the growing interest in Spanish art and culture.

**2010 – 2021: The Fifth Period “Felipe Conde Guitarrero”**

In 2010, at the height of my professional career, I began a new phase, working alongside my children with renewed enthusiasm. The memory of my father, my greatest teacher, remains ever-present. From him, I learned the value of well-crafted work and the importance of close relationships with guitarists.

I first entered the Gravina Street workshop in 1971 at the age of 14, and under the guidance of my father and uncle, I honed my skills while pursuing my studies. During these years, I had the privilege of working with renowned guitarists such as Niño Ricardo, Regino Sainz de la Maza, Sabicas, and Paco de Lucía, among many others.

I have always maintained the importance of the relationship between the guitarist and the luthier, as dialogue is crucial in striving to improve the construction of guitars while preserving tradition. For me, guitar making is not just a profession; it is a passion and a way of life.

In this new era, I am joined by my two children, María and Felipe, who have been learning the craft in our new workshop for several years. Passing on my knowledge to them is both a great privilege and a source of pride. They have already built several guitars, seeking to develop their own style while remaining deeply rooted in our family’s rich tradition.

To create a more personal and comfortable environment for trying out guitars, I moved the workshop to Calle Arrieta nº 4, across from the old Felipe V workshop, where we continue to welcome both professionals and enthusiasts interested in our instruments.

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