According to Jos\u00e9 Luis Romanillos, the guitar-making tradition at Casa Gonz\u00e1lez dates back to the guitar maker Francisco Gonz\u00e1lez, from Galicia. Francisco Gonz\u00e1lez Est\u00e9vez (1820-1879) settled in Madrid in 1849 as a cabinetmaker, but he would become a guitar maker by the next year. In 1851 he married Mar\u00eda Cruz Carretero, who he would have three children with. The first of them, Mar\u00eda B\u00e1rbara Concepci\u00f3n, was born in 1855. The second, Josefa Matilde, in 1858, and the third one, Mar\u00eda del Rosario Agustina Catalina, in 1860.<\/p>\n
Francisco Gonz\u00e1lez died in 1879, and his first daughter, Concepci\u00f3n, became a guitar maker. The business would be moved to 33 Carretas Street, where it would continue until 1927, although during this period it would be called \u201cHIJOS DE GONZ\u00c1LEZ\u201d (Gonzalez\u00b4s sons). Shocking as it may sound, (he did not have any sons, but only daughters), it was the traditional way it was done back then. In 1927, Concepci\u00f3n passed away.<\/p>\n
However, what would provide this guitar with something special and priceless is the oil on the top, by Juan Mart\u00ednez Abades. He was a painter born in Gij\u00f3n, Asturias, in 1862, and he died in Madrid in 1920. Abades became specialized in seascape painting. In 1888 he obtained a sponsorship from Oviedo\u00b4s provincial government to continue his studies in Rome, where he would remain until 1890. When he returned he settled in Madrid, and he travelled to the coast from time to time, so as to paint there. In the same year he returned, he presented the National Fine Arts Exposition his painting \u201cEl Vi\u00e1tico a bordo\u201d, which is currently part of El Prado\u00b4s collection. He also took part in some expositions of The Fine Arts Circle, collaborating as an illustrator in Blanco y Negro, and composed cupl\u00e9s. In most of his biographies, Abades is ignored as a musician and poet. It looks as if the cupl\u00e9, considered a minor genre, was incompatible with his extraordinary career as a painter.<\/p>\n
The recipient of this dedicatory, and owner of the guitar was probably Francisco de Adriaensens Alcaraz, born in 1862, just like the painter. His wife\u00b4s name was Paulina Garc\u00eda-Vidal Rayneri, and his son, Francisco Adriaensens y Garc\u00eda-Vidal, Captain of artillery.<\/p>\n
Its sound is just magical, completely away from the current stereotypes. From the very first moment we make it sound, we know we are before something else. An inspiring sound which encourages us to dream of it, through the works of composers such as T\u00e1rrega, Falla o Llobet.<\/p>\n
The condition of this guitar is really good, if we consider the date of its making. It has undergone a general restoration, although its condition is optimal to be used.<\/p>\n","protected":false},"excerpt":{"rendered":"
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