Francisco Esteve Concert Model: Labelled "Francisco" 1971 / Another one built in 1973

 

At first I was able to buy the 1973 built guitar here 

beyond. Impressed by its' quality I was encouraged to 

buy another one from the same qualities, probably 

even better sounding and in a near mint condition. 

I've kept the 1973 in original condition but I've shaved 

the neck of the 1971example as it felt too chunky. 

Manuel  Adalid Sr. built these guitars for Esteve and 

here beyond you will find a part of the correspondence 

with someone in charge of contact with clients in 

which he states it to be comparable with the present 

Concert models, priced at 6.000 Euro's.

This one in pristine condition is for sale: € 1500,-

Case included.

 A closer look can be taken here by clicking on the 

picture. A beautiful and straight spruce soundboard.

Scale of this a guitar is 650 mm while the width 

of the topnut is 53 mm. Body frequency: Around

a low G which means 98 Herz.

Here the 12 hole bridge can be studied. Advantages are 

that putting on new strings is easier but the better angle

over the bridgebone is of course the goal for this move.

And the rather intriguing rosette though the 

light play in this picture isn't that great....

The "real color" is on the right side!

 

The soundboard as well as the back are in a near mint

condition. Unbelievable for such an old guitar. Probably

it was part of a big collection.

The double binding on the sides is an extra of course.

As the varnish is like it just came out of the window 

in a shop, reflections are almost inevitable, though 

the real photographer can die this much better. Alberto 

Martinez makes pictures of guitars for his magazine 

"Orfeo".  He was a photographer for BMW and that 

explains a lot.

In fact a bit difficult to attribute it to a luthier but

with some more effort we succeeded. Francisco

Adalid Sr. built this guitar. Later he worked 

together with his son for a while. The 1973 guitar

is an example of that. The smaller round label on

the  left is already pointing towards the Valencian

luthiers. This label probably has been printed on

the instructions of the Spanish Guitar Centre in

the UK. It was not uncommon to provide  bigger

shops and companies with guitars that had no 

label at all. Even between the different luthiers

this was common practice.

OK tuners but not that elaborate...

  

A simple headform as well but I can

appreciate that. No damages on both sides.

As can be expected, no fretwear as well. Recently

I discovered a label used by Manuel Adalid with 

the name "Casa Garrijo - Madrid" on it. I think

Adalid must have the Casa Garrido in mind (??)

He most likely made guitars for that shop as well.

Francisco labelled guitar 1973

Definately a Francisco Esteve Concert guitar that has

been built by Manuel Adalid Sr. and Jr. but with a 

rather disturbing label as this guitar was made for the 

Spanish Guitar Centre in Newcastle upon Tyne in 

Great Britain and thus bears their label. Superior 

craftsmanship as can be admired in the shaping of 

the rosette but also inner woodwork. SOLD

The round label looks a lot like the Tatay labels of that 

time. Probably no coincidence as Esteve worked for the 

Tatay company. Built in 1973 it is their 75th guitar

that year. Most likely numner 75 in this range.

At the bottom right the same rounded label can be seen

that is presented in this guitar. As was common these com-

panies often worked for Music shops and even other makers.

A beautiful back (and sides) this model is provided with.

It could even be Brasilian rosewood but we're not sure yet.

The upper picture has been taken after intensive French

polishing work that was needed to put it back in its'

old glory again. And thereby: It is a keeper.

A nice executed Rozette completes this furthermore

flawlessly built instrument. Inner woodwork is simply

of top quality. The golden Spanish Guitar Centre

label is sticked at the bottom. The soundboard is

strengthened with a traditional fan bracing and the

sound is as can be expected from a Valencian maker:

"Woody"  and with a kind of springyness and lots

of volume and tone colour.

The bridge has been provided with a 12 hole construction.

More easily to put on new strings but moreover, a better

angle over the bridge bone and as a result a better tone.

Hardly any traces of play wear though there is a slight

craquelé visible at close inspection. In fact normal 

regarding the age of this guitar.

Not any damges to the head that often occur when

placed against a wall.

The back and heel from another angle.

The tuners that work well.

The frets that are in a great condition and placed

in an ebony fingerboard.

The proof that this guitar was imported by the Spanish guitar 

center in England and for that reason got another label.

I did some investigations at first as I was blown away by its' 

sound qualities and already suspected it to be built by an

experienced luthier. I'll include the result of my E-mail

contact with the Francisco Esteve company here beyond.

You can click on it to enlarge this picture but the translation

has been placed here beyond for your convenience.

Good afternoon Noud,

 

I was quite certain but I wanted to verify with Manuel Adalid about this instrument.

“This guitar is how you can see a concert instrument, the best thing that I was doing 

in Esteve's workshop at the time. It's a concert guitar because of the constructive 

details that you correctly pointed out. These were made for the English house, the

Spanish Guitar Center”. We believe that all of it is finished in shellac, top and body.

 

It is possible that the overhead is from Palosanto de Río as well. It's a guitar on which

more than one luthier intervened and in which D. Manuel Adalid father (and the eldest)

did part of the work on it. It is artisan and entirely by hand. Today it would resemble a

60th Anniversary model, the most elaborate thing we do of concert models but with a

soundboard with a classic traditional system. 

 

The recommended retail price of the model new 60th Anniversary is about 6000 euros 

depending on the place due to taxes and rates of each country. You have a wonderful 

instrument and we hope you enjoy it. It seems to be in good condition.

 

Regarding the Elec model, it is a model that we continue to manufacture today and is 

the highest of range of electro-acoustic guitars with cut-away.

 

I hope it has helped you

 

Take good care of yourself and kind regards

 

Sergio Camargo

 

Onbekende gitaar / Chevy Stratocaster imitation

De vorm van de gitaar lijkt wat minder Spaans te zijn

en ook de schouders zijn wat rechter. Toch is deze gitaar

niet groter dan de anderen. Een mensuur van 650 mm

en een halsbreedte bij de topkam van 51 mm.

VERKOCHT.

Een bijzonder fraai uitgevoerde rozet en een

ebben toets, zoals bekend alleen op duurdere

gitaren. Maar dan weer geen typische Spaanse

hiel (of "tong") in de klankkast.

Nette kam met een nieuw kambeentje van voldoende hoogte.

Ook het snarenblok heeft door de inleg die "extra'  uitstraling.

De frets zijn nog in prima staat en daarvoor is de tweede

snaar een beetje opzij geschoven. Die conditie geldt ei-

genlijk voor het hele instrument.

Wel een gelakte hals en als er dan wat temperatuurs-

verschillen optreden kan de lak van het hout "klappen"

zoals dat in vaktermen aangeduid wordt.

Prima werkende mechanieken en dan toch weer met 

de hand gegraveerd. Het snijwerk is dan "scherper"

Een mooi verwerkte sierstrip die de twee helften

van het achterblad scheidt. Verrassend op een gitaar

waar zoveel zorg aan is besteed is dan wel het ge-

bruik van mahonie voor zij- en achterbladen. De

kwaliteit van dit mahonie is overigens zeer mooi:

Fijne structuur en qua zicht gaat dit richting

Honduras mahonie.

Geen kop die vaak tegen een muur is gekwakt zoals

veel gitaarspelers plachten te doen. Boetes zouden

dat misschien kunnen gaan voorkomen!

De luxe uitstraling heeft dit instrument absoluut.

Persoonlijk ben ik geen liefhebber van deze witte

en geribbelde hoogste 3 snaren. Admira rustte

er vaak zijn gitaren mee uit.

Chevy Stratocaster

Maybe a strange move on this Blog but I still dig 

the products from the far east, also the electric ones

coming from South Korea this time. As these guitars 

are coming from the CORT factories, I  doubt the 

wood deliverances for the earlier guitars came from

an American but more about the woods further...

Often the exact routings normally are not found 

on the cheaper copies from the far east but we can 

tell you this one surely is an exception. Take a 

close look at the surroundings but certainly the

contours made on this body. Strange thing is 

that the body on this one is made out of solid 

mahogany! A left-over piece of wood?

These guitars were made at a time that the Lace Sensor

pick ups on genuine Americain Fenders were introduced

for a few years. What is underneath the plastic caps 

however has nothing to do with the Lace Sensor design:

6 individual pole pieces with two ceramic magnet bars

at the bottom of the pick ups. They also differ from the

Fenix pick ups that have the same outer appearance.

The latter ones are potted in red wax.

Too heavy vibrato use bowed the screw on the right

side of the vibrato unit. I reinforced it but left it that 

way. Consider it as a part of this guitars' history. 

A new volume pot and a selector switch

was needed (and a lot of cleaning!)

Are there guitarists that leave their beloved ones

outside? It sometimes seems to be so! A new output 

mounted here as well. And the same thing counts

for the screws for the scratchplate.

The head with the Chevy name on it. When one 

could be able to compare the wood quality of these 

early Chevy guitars with the Squier Affinity series

guitars the quality difference is obvious! A decline 

seems to be there when the follow up guitars were

introduced under the "Chery" and "Cheri" brand.

I cant' confirm that however.

It looks a bit like Gotoh tuners but they are not 

marked in any way. They simply work to full 

satisfaction! These guitars were produced during 

the early nineties of the past age. Cort putted 

themselves on the map with high quality guitars 

nowadays. Let's not forge the now becoming

iconic Fender "Pro Tone" series. Simply high

quality and comparable to the Mexican made

stratocasters, the reason for Fender to stop

these series, I presume....

Antonio Lorca Model 23

Though this brand has very little to do with the famous Malaga 

based luthier who was active in the 19th century, I've included

it for other reasons: Mr. Joaquin Garcia Fernandez (born 1929)

was the advisor of Guitarras Mervi (Valencia) the firm that

produced this guitar. Ment for the semi professional player it

has an attractive tone and is easy to play due to the 65 cm scale.

Garcia can be found as well in the Romanillos dictionary.

VERKOCHT.

All woods are solid: Cedar topped with a rosewood bridge.

Of course a Spanish heel inside and good overall workmanship.

Sides and back are of indian rosewood while the fingerboard

is made of ebony as well as the reinforcement of the neck.

Probably difficult to read but this guitar is a model 23

though we think Antonio Lorca is a fake name and

probably has been used for commercial reasons. The
more expensive models have a hand signed label.

Joaquin Garcia Fernandez was  born in Santa Cruz
(Argentina) and active as a cabinetmaker in Asturias. He
returned to Buenos Aires when he was twenty years old.
In 1975 he returned to Spain and settled in Valencia where
he also was advisor to the firm Raimundo y Aparichio.
Eventually he established his workshop in Torremolinos

in 1982. He learnt his craft from the old Spanish guitarreros.

For people who a searchin for prices of these guitars I've 

included one picture out of the "Renner"  pricelist. The 

prices here beyond are also derived from that site. The

site gives a good description of the woods used in each

model. I do not know from which year these prices are

alass but it is a good guideline to my opninion.

 http://www.renner.com.sg/antonio.html

Model 8      :   USD  275

Model 8 ST :   USD  289

Model 8 DS :   USD  310

Model 10 :   USD  375

Model 14 :   USD  462

Model 16 :   USD  450

Model 18 :   USD  599

Model 20 :   USD  799

Model 22 :   USD 1399

Model 23 :   USD 1599

Model 24 :   USD 2299

Telesforo Julve model jaren 50

Een nog fraaie Telesforo Julve uit de jaren vijftig. 

Om de bespeelbaarheid te optimaliseren is er wel

het een en ander aan gedaan. Een wat luxer model.

VERKOCHT.

Dat blijkt natuurlijk al uit de randinleg en zeker

ook de rozet waarin paarlemoer verwerkt is.

Normaal gesproken is de toets zwart geverfd en zitten

er koperen frets in die weliswaar zijn afgevlakt maar 

nadien destijds nooit werden afgerond. Vijlsporen

zijn bij deze gitaren (en bij vele andere Valenciaanse

bouwers) niet ongewoon. Nieuwe frets dus en een eer-

lijke toets van overigens prima hardhout, Cocobolo

namelijk! Daar had TJ grote voorraden van.

Deze foto komt niet van deze gitaar maar laat duidelijk zien

op welk adres deze gitaar destijds gebouwd werd en een moge-

lijkheid voor TJ- bezitters die hun label kwijt zijn.

Telesforo Julve gaf ook de achter- en zijkanten een beits-

beurt om een soort van palissander te suggereren. Dat

deze gitaren zich in een hernieuwde belangstelling mogen

verheugen is niet zo verwonderlijk: Ze klinken gewoon

mooi en hebben een warme en persoonlijke klank.

Het label van deze gitaar gefotografeerd. Het Convento

S. Francisco 4 adres is eigenlijk nogal tijdsbepalend.

Dat geldt in mindere mate ook voor de hielvorm al werd

daar toch ook nogal wat door elkaar geproduceerd. Wat

wel opvallend is dat de hele hak hier uit hardhout bestaat.

De instapmodellen hebben een hak van een wat zachtere

makkelijker te bewerken houtsoort, meestal sparren.

De kop met de mechanieken met de ijzeren "rollers" het-

geen ook weer een beetje tijdsbepalend is. Vanaf begin

tot midden zestiger jaren kwamen de plastic rollers in

zwang. De verticale sierstrip is een extra op dit model.

Vergeleken met andere klassieke gitaren heeft deze gitaar

een wat smallere hals, voor sommigen prettiger.

Een nog ouder label.

Telesforo Julve 46bis / Torres model (?)

It doesn't happen that much: A higher end model that 

has been offered for sale. As a "real" collector you

are always curious to learn what the differences are

between these ones and the more economic models.

In both the Dutch catalogues as well as the Telesforo

Julve description they are stating the woods to be rose-

wood but I can't confirm that sadly. More details appear

to be quite mediocre executed. This back has been 

stained to give it a more luxury look but today 

luthiers choose for more honest options.

The head has been finely veneered with a rosewood cap. 

It could probably even be Brasilian as is the bridge. An-

other remarkable feature on TJ guitars is that the head 

and neck are made out of one piece of wood which most

of the time hasn't been done by Spanish luthiers.

I like the head design but the neck feels a little bit chunky. 

As most of the varnish has disappeared I can make corrections

on that aspect. And some new layers of varnish will do.

The tuners are also looking quite cheap and do not

distinguish themselves with the ones on the study

models. But they work real properly! Possibly 

Telesforo Julve never made tuners themselves.

I've seen older Telesforo Julves that were equipped

with a rosewood body and more deluxe tuners so

I did a search to a similar solution and I found them 

'Copied" from an early top of the line model.

And even on a more expensive model like this one the tuners 

are not in par with the quality in sound this guitar provides.

Some details made another guitar collector, to whom I

showed it to, state it could possibly was built by Ricardo

Sanchis Nacher. The 19th fret,  the rounded outer heel and

the bone / ivory cover on the string tie block. His guitars

were often equipped with the same kind of tuners. The

metal rollers, seen on most TJ guitars from before 1960

are present here. I've changed the tuners as this guitar

deserves it to be played, even in concert situations

Another feature that shouldn't be there on a "concert'

model is the sloppy way they coloured back and sides

Here and there simply on the bindings. Quite the opposite

is the refined inner woodwork and the shaping of

the parts used there e.g. the fan bracing.

A nice rosette that lost a bit of its' beauty as a result

from scratches on the lacquer of the soundboard.

As this kind of lacquer cristallizes it becomes real

vulnerable for nail scratches and the like. The sound-

board appears to be quite thin but the doomed top 

explains a lot: By having a slightly bowed top it 

becomes stronger to withstand stringtension and

a thinner top simply vibrates more. A lot of guitars

are executed with a doomed top and it explains why

the top between bridge and rosette hasn't collapsed.

A nicely executed bridge. Not the two TJ inlays in the

tieblock but all covered with a bone (ivory?)  layer.

The latter could be a clue directing into the also Valencia

based luthier Sanchis Nacher who also studied in Madrid 

and was a sideman for Jose Ramirez and even Domingo

Esteso among others. He also worked for TJ as has

been done by Vicente Tatay.

In the first half of the century it is known to me that 

for the compensation of the octave notes (and the rest of 

course) the bridges were placed in a slight angle on the 

soundboard with some more compensation for the lower 

strings. Later the bridgebone sleeve has been cut in a 

slight angle. On this guitar the old method can be seen, 

the bridge being glued somewhat lower on the left. 

So this is not a sloppy action of this builder but intended!

The fingerboard certainly is rosewood and as opposed to the

cheaper models it was not stained black. But to refresh it, it 

was necessary to have it shaved between each fret. The

frets on this guitar are not copper but a better quality wire.

Levelling of the frets is another thing on these guitars.

It has been done but rounding each fret afterwards simply

was too much time consuming but should be there on

a quality guitar

An extra crack in the soundboard came into the guitar after

an unlucky accident but as sides still close in a proper way

it will be possible to work in some glue and after that the

soundboard will be refinished having the rosette shining

again on this guitar!

The crack is all the way to the soundhole.... But after giving

a lot of comment on all kinds of details I must conclude that

after almost 70 years the neck is still perfectly straight as

is the soundboard. It is occupied with a 7 way fan bracing.

In spite of the chunky neck it plays nicely and as for

the sound: That is in another league as the student model 

ones. A friendly woody tone with excellent sustain and 

good volume came as a big surprise after taking a look at

first glance to this guitar. To be continued....

In a like new condition this guitar shines again but 

necessary upgrades have been done now. The 

relacquering took most of the time as you have to

polish between each layer of varnish. This guitar 

being bigger corresponds with the description in

the ad from Van Wouw, the Dutch importer that

says "a very big model".

The back and sides were another must as the bindings

weren't that clean after a staining process of the back

and sides. A little bit sloppy done. The neck also

received some new layers of varnish after having been

shaved a bit as it was way too "chunky". Remarkable

of course is the 660 mm scale on this guitar. Also

the length of the body is 492 mm as opposed to the

483 mm of the student model here above.

The rosette in all its' beauty. Not that elaborate but

simplicity isn't always a worse thing to add.

Careful examination learns the spectator that there still is some 

damage to be seen on the soundboard. Just below the left wing

of the bridge and some deep spots but making the soundboard

thinner by removing these small spots is something you must

not do. The gluing of the crack in the soundboard gave a 

significant improvement in sound regarding the higher notes.

I've noticed the same sound result on a Jose Ramirez

clase 1A concert guitar further in this Blog.

The frets have been levelled and rounded and they look

like new again! The extended form of the fingerboard

can be studied here as well. Well suited for the more

demanding pieces. This guitar "colours" nicely once 

striked at different spots along the strings.

The head with the rosewood cap on it is beautiful

in all its' simplicity and the new tuners are making

accurate tuning a piece of cake.

These tuners have much in common with the ones I found

on a first class Manuel Contreras so I thought them originally 

to be from a Spanish manufacturer as these builders often 

used the famous Fustero (Barcelona)  tuners. The tuners

on this picture are from the far east but with superior 

precision made. And a higher "gear": 1 : 18.    Further

investigations learned that Robert Bouchet often used

these tuners on his concert instruments and for that reason 

they are called "Robert Bouchet tuning machines".

A close up from the knobs that look a bit like ivory but in fact 

are not of course. The nut on the first picture is genuine ivory.

When I'm having some more time I will make an attempt

to make these knobs out of ivory.

The heel on this Telesforo Julve is made out of hardwood

as opposed to some cheaper models. By using simple spruce

blocks you can speed up the process but it is simply a rather 

poor solution.

The bindings of the soundboard are still beautiful and have

been done with care. Also the bindings are "sharp" again.

An odd thing for me to do is putting olive oil on the finger-

board but it colours almost like an ebony one!

Ironically the model of the newly added tuning knobs are 

similar to the old tuner knobs on a thirties top of the line 

Julve we recently discovered. That TJ was executed with

real rosewood and it had an ebony fingerboard. So these

tuners must be present on older Spanish guitars as well.

I've added this picture as you can "narrow" your research 

regarding the age of an old TJ guitar. The misprinted tele-

phone number can be seen here as it goes through the 

blue coloured leaves on the left and thus can be dated

from before 1959 / 1960. This misprinted label is 

sticked in the guitar 46Bis presented here.

These numbers only are counting for the guitars coming

from the Dutch importer van Wouw. With its' number

9386 and an average imported number of guitars of 

around 1300 instruments in those days this guitar can 

be placed around 1958. To date a TJ it is wise to look 

at the different details like label with its' address, a 

specific heel shape, tuners with metal rollers a.s.o.

I'd like to add some information regarding the scale length

of the different TJ guitars in combination with the body

dimensions. Always interesting and possibly we can 

discover  a certain way of using molds or not? The scale

length of most student TJ appears to be 655 mm

                                 46bis    Guitar 1   Guitar 2    Guitar 3    St. model 

                                                                                      here

Body Length    492       483          480           480          483

Width 1            282       270          268           266          270

Waist               238       230           230           230         232

Width 2            366       350          348            345         356

Presented here are some models from the Dutch importer

van Wouw. The 46bis is stated to be the "Segovia" model.

You can enlarge this picture by clicking on it. However the

text does not correspond with the picture! I think the guitar

in the middle to be the 46bis model! My TJ 46bis corresponds 

the most with the guitar presented in the middle. More-

over the text states the 46bis to be a larger guitar!

And prices in Dutch guilders in a long gone Era!

1 Euro has the same value as 2,2 Dutch guilders.

You can enlarge this picture by clicking on it.

Want to know more around this brand and in general

about the Valencia made guitars, just check this site:

www.guitarrasvalencia.wordpress.com