Flamenco guitar Paco de Lucia´s Hermanos Conde 1980

This flamenco guitar has belonged to the best guitarist in the history of flamenco guitar Francisco Sánchez Gómez “PACO DE LUCIA”. This guitar from the firm Hermanos Conde, year 1980, built in the landmark workshop at 7 Gravina street by the nephews of master guitar maker Domingo Esteso, then run by the brothers Faustino and Mariano Conde, has been part of the personal collection of the master, occasionally using it in his concerts since it was given to him in the year 1980, until 1992, when the maestro decided to give the guitar to his brother Antonio Sánchez Gómez. After the death of Paco de Lucia and later his brother Antonio, the guitar is inherited by the son of Antonio: Antonio Sánchez Palomo, direct nephew of the maestro and member of the Paco’s septet on tours at the last stage of his career.

All the above is perfectly certified in writing by Antonio Sánchez Palomo in a document and by Felipe Conde in a second document which confirms that the guitar was delivered by Faustino and Mariano Conde directly to Paco de Lucia in 1980, both documents are delivered next the instrument at the time of purchase.

The woods of this flamenco guitar are of the highest existing quality. The soundboard is of German spruce, with a very sharp, rectilinear and uniform veining over the whole surface, full with the valued “espejuelo”. The back and sides are made of Indian rosewood with a straight grain and beautiful colors. The finishes are simply perfect.

The sound of this flamenco guitar is unique. The basses have an amazing strength and depth, the trebles are sweet and crystalline, with sustain and projection unmatched, the harmonics it emits are really magical, in short, a perfect sound that makes us understand why masters like Paco de Lucia chose these guitars to play his compositions.

Guitar tension is medium, height of strings in the fingerboard and bridge is perfectly balanced, providing great comfort for either hand.

The conservation condition of the flamenco guitar is excellent and original in its entirety, without cracks or repairs of any kind except for a small crack on the back of the head, at the junction between the neck and head, which was perfectly repaired and stabilized at the time. The top saddle (nut) was moved a few millimeters to achieve absolute perfection in tuning the instrument.