Founding father of the Barcelona school. Moved from Madrid in 1895, setting the regional style. Developed a sophisticated internal bracing adding an 8th asymmetrical bar and established the trend for complex carvings.

Sole and master disciple of Enrique García, bringing Catalan Modernism aesthetics to their zenith. His works are museum-grade pieces, unmistakable for their signature arched carved headstocks and rich timbre.

Son of Francisco Simplicio, who inherited and faithfully preserved the technical and aesthetic secrets of his father and García in Barcelona.

Artisan heavily influenced by Enrique García. He originally trained at the workshop of Juan Estruch Rosell, crafting instruments under strict classical Catalan canons.

A global titan of 20th-century luthiery. Originally a violin and cello maker, he applied rigorous bowed-string standards to the guitar. Evolved the fan-bracing to a 9-bar system, creating stiff tops with dense, highly cantabile sound favored by Andrés Segovia and John Williams.

A prominent 19th-century pioneer in Catalonia. Initially trained under strict French violin- making standards, he later transferred that methodical discipline to classical guitar manufacturing.

A recognized artisan active during the mid-20th century in Barcelona, whose direct training was under the master tutelage of Francisco Simplicio.

Founded in 1880 by Juan Estruch Rosell on Calle Ancha (known as Hermanos Estruch between 1898–1922). The oldest workshop in Catalonia. In the 1960s, it became the epicenter of the La Nova Cançó cultural movement. A 1964 Estruch guitar was highly favored by Chet Atkins. Currently active in Rubí under Rafael Montes Ramírez.

Modern leaders of the Catalan school. They integrate advanced electronic amplification and concert innovations without losing the noble traditional timbre and trademark comfort of the region