Francisco Simplicio 1923
MADERA MUSEUM COLLECTION

We are privileged to present on MaderaGuitarras.com a museum piece, a guitar that belongs to the history of classical guitar and, more specifically, to what we often refer to as the golden era of classical guitar construction.

The period and place we are talking about is Madrid in the first half of the 20th century. There, Manuel Ramírez gathered in his workshop some of the names that would later become the most important in guitar history: Santos Hernández, Domingo Esteso, Enrique García, and Modesto Borreguero. These, in turn, trained other guitar makers who continued their legacy and are also considered part of this golden age, such as Francisco Simplicio, Hernandez y Aguado and Marcelo Barbero.

We focus here on Enrique García, the main creator and designer of the guitar we are now describing.

Born in Madrid in 1868, his apprenticeship in Manuel Ramírez’s workshop was crucial in shaping his craft and his concept of the traditional Spanish sound at the highest level. In 1893, Enrique García won the First Prize at the Chicago World’s Fair for the best musical instrument, awarded in recognition of the excellence of the guitar he presented. He proudly included this title on his labels.

Right after winning this prize, he moved to Barcelona, where he continued his career as a guitar maker and gained increasing fame.

Enrique García’s construction style is unique. He developed a guitar that maintained the characteristic sound also found in the works of Santos Hernández and Esteso but incorporated spectacular aesthetics, with headstocks carved with admirable precision and artistry, as well as some of the most beautifully designed purflings and rosettes ever made on a guitar. What is truly remarkable about his work is that, despite using extensive ornamentation, he achieved an extraordinary aesthetic balance. something always so difficult to get. His guitars not only project exceptional sound but also possess unparalleled beauty.

In 1910, a young Francisco Simplicio joined Enrique García’s workshop in Barcelona. Enrique taught him everything, and over time, Francisco became capable of reproducing his master’s guitar in great detail. For twelve years, he worked alongside García until his passing in 1922. The guitar we present here, built by Simplicio in 1923, was made just one year after Enrique García’s death. Simplicio’s admiration, gratitude, and recognition for his master were so profound that he decided to keep Enrique García’s label on his own guitars, adding a note in the margin indicating that he, Francisco Simplicio, was the maker and stating that he was the sole disciple and successor of his master.

Francisco Simplicio used Enrique García’s label until 1930. An example of this is the 1930 guitar that belonged to Daniel Friederich, very similar to the one we have here at MADERA, where this same label is still present. From 1930 onwards, Simplicio began using labels with his own printed name.

The Francisco Simplicio 1923 guitar has very interesting details. A curious feature is how Simplicio worked on the tuning machine of this guitar, curving its tip to integrate harmoniously with the head design (see photo).

The headstock style of this 1923 Simplicio guitar was used on other guitars of his, and among collectors and experts in the guitar world, it is known as the “Corona de España” (Spanish Crown) headstock.

The complexity and beauty of the ornaments on the purflings, bridge, and rosette are admirable, as seen in the photos. The carving on the headstock is exceptionally precise, made in ebony, a very hard wood. It is important to note that in 1923, all this work was done entirely by hand, which highlights Simplicio’s extraordinary craftsmanship.

The scale length of this guitar is 645 mm, something quite uncommon. In fact, it is the first guitar at MADERA with this scale length, making it particularly interesting, as its playability is one of its most outstanding features, with very comfortable action across the entire fingerboard.

This guitar is over 100 years old and, as expected, has undergone some restorations. It has several well-executed repairs on the soundboard and one at the corner of the headstock, which is barely noticeable. The Brazilian rosewood used by Simplicio is of extraordinary quality, a material that is now nearly impossible to find. Mother of pearl is also present in several details, such as the bridge and tuning pegs.

The sound of this guitar is stunning and truly represents the golden age of Spanish guitar construction. Its resonance frequency is E, a very low frequency, similar to what we find in guitars by Antonio de Torres. Its basses are rich in harmonics, warm, and deep, providing an exceptional listening experience. One of the most outstanding qualities of this guitar is its sixth string, which has a fantastic balance with the other strings, preventing it from overpowering the rest—something common in many modern guitars. This balance in the sixth string is a feature also found in historic guitars by Antonio de Torres, Manuel Ramírez, and Marcelo Barbero, making it a very rare and special trait.

The trebles project beautifully, with a pure, warm, and well-balanced sound, along with a great richness of colors. The right-hand feel is perfect, flexible, and very comfortable. This guitar is fully suitable for concert performance, allowing for the execution of works of varying technical difficulty with total ease.

At MADERA, we have classified this guitar as Museum Collection, as it represents one of the greatest milestones in the history of guitar construction. It is, without a doubt, a true museum-worthy guitar.

–We are very grateful here at MADERA to our very good friend, excellent and talented Chilean guitar maker Pablo Valle for providing us with the contact for the acquisition of this historic guitar. Without his help and time, it wouldn’t have been possible.–

Francisco Simplicio (1874-1932) was a Spanish guitar maker born in Barcelona, a disciple and successor of Enrique García, and considered one of the most outstanding figures in the history of the Spanish guitar making. His work is part of the tradition of the “golden age” of the Spanish guitar, a period marked by exceptional craftsmanship and the pursuit of perfect sound. This Madrid tradition began with Manuel Ramírez and his disciples, including Santos Hernández, Domingo Esteso, Enrique García, and Modesto Borreguero. From this lineage, Simplicio emerged as the continuation of Enrique García’s legacy, with a unique style that elevated guitar construction and ornamentation to unprecedented levels.

Training and Legacy of Enrique García

Simplicio began his career as a cabinetmaker and woodcarver, which later became evident in the sophisticated ornamentation of his guitars. After the death of Enrique García in 1922, he inherited his workshop and continued his legacy, not only maintaining his standards but also adding his personal touch. Simplicio’s guitars are distinguished by exceptional craftsmanship, meticulous attention to detail, and ornamentation that has been difficult to match.

Characteristics of His Guitars

Francisco Simplicio’s guitars are recognized for their remarkable aesthetics and warm, deep sound, with very good projection and tonal balance. Some of their most distinctive features include:

• Carved Headstocks: Simplicio brought the art of sculpture to the guitar, designing headstocks with exceptional mastery. His carvings, often inspired by floral or architectural motifs, are considered true works of art.
• Spectacular Rosettes: The rosettes of his guitars exhibit extraordinary complexity and beauty, with unique color combinations and patterns that reflect his heritage as a carver and decorator.
• Ornamented Purflings: He introduced bindings and decorations with symmetry and refined taste that harmonize perfectly with the overall design of the instrument.
• Finishing and Varnishing: His guitars display a flawless finish, with varnish application (French Polish) that enhances the natural beauty of the wood and protects it without compromising its vibration.

Sound and Prestige

Simplicio’s guitars are renowned for their robust and expressive sound, with a balanced response across all registers. He achieved a perfect fusion between harmonic richness and tone color, becoming a reference for musicians and collectors. His influence extends to this day, being highly valued in the world of classical guitar.

An Unrepeatable Legacy

Francisco Simplicio was not only a worthy heir to Enrique García but also took guitar construction to an unprecedented level of ornamentation and design. His ability to combine art and functionality distinguishes him as one of the greatest guitar makers in history. The aesthetic and sonic harmony of his instruments has been difficult to replicate, and his legacy lives on in the hands of musicians and collectors who appreciate the pinnacle of Spanish guitar craftsmanship.

His passing in 1932 marked the end of a unique classical guitar design, but his influence remains tangible in the history of the Spanish guitar. Each of his guitars is now a museum piece, a testament to a time when the guitar reached its highest expression in both sound and beauty.