French Violin Makers, German Violin Makers, English Violin Makers, Antonio Stradivari

Italian Violin Makers

larga di Milano al segno
della Corona 16—

GRANCINO, Giovanni, Milan, 1694-1720. Son of Paolo. The workmanship is smooth, and the form good. The material of his instruments is of a better nature than that used by his father. The model is slightly flatter. The tone is powerful. Varnish mostly yellow.

GRANCINO, Giovanni Battista, Milan, 1690. Son of Giovanni mentioned above. Similar characteristics.

GRANCINO, Francesco. Son of Giovanni Battista. Here we have the same falling off as in the case of the Gagliani, a family beginning with artists, and ending with common workmen.

GRULLI, Pietro, Cremona. Contemporary.
Laurentius Guadagnini
Cremonæ Alumnus Stradivari
fecit Anno Domini 17—

GUADAGNINI, Lorenzo, Cremona, 1695 to about 1740. No matter to which of the Guadagnini the instrument may owe its origin, if it bears the name, importance is attached to it, often without due regard to the merits of the particular specimen. The later members of the family have thus received attention measured by the excellence of the work of their forefathers. That this should be so, to a certain extent, can scarcely excite surprise, nor is it singular in the Italian branch of the art. The great makers of the Guadagnini family were Lorenzo and Giovanni Battista. The former has been considered the chief maker; but if the merits of each be duly weighed, they will be found to be nearly equal. It is probable that Lorenzo has been looked upon as the principal maker from the association of his name with that of Antonio Stradivari, a fact which, it must be granted, lends to it a certain degree of importance.

The instruments of Lorenzo are exceedingly bold in design, and differ in this respect from those of Giovanni Battista, which retain much of the delicate form of Stradivari. Lorenzo frequently changed the form of his sound-hole, giving it the pointed character of Giuseppe Guarneri in some instances, and in others retaining the type of sound-hole perfected by his master. The model is inclined to flatness, the declivity being of the gentlest kind: the breadth of the design commands admiration. The scroll is certainly not an imitation of that of Stradivari; it has considerable originality, and is more attractive on that account than for its beauty. The varnish is not so brilliant as that of Giovanni Battista, but possesses a mellowness foreign to the other members of the family. The tone is powerful, tempered with a rich quality.

Lorenzo Guadagnini was born at Piacenza, and upon leaving the workshop of his master returned to his native town, where he remained until about the year 1695, at which period he is said to have removed to Milan. In the last mentioned city he continued to work until about the year 1740.6

   6 This and other information relative to the Guadagnini family I have obtained from its descendants at Turin.

Joannes Baptista Guadagnini
Placentinus fecit Mediolani 17—

Joannes Baptista Guadagnini
Cremonensis fecit Taurini 1776.

GUADAGNINI, Giovanni Battista, Piacenza, 1711-86. Son of Lorenzo Guadagnini. He was born, according to Count Cozio di Salabue, at Cremona, and Lancetti states that he worked with his father in Milan. Later he worked at Piacenza, then at Parma, where he became instrument-maker to the Duke. Upon the pensions to the artists of the Duke's Court being discontinued in 1772, he went to Turin, where he died.7 Count Cozio di Salabue communicated to Lancetti the following particulars relative to Giovanni