Giovanni Battista Ceruti

Name: Giovanni Battista Ceruti auction price records, Amati Instrument Archive
Creator: Amati

Cremona, Sesto Cremonese, 1756–1817

Giovanni Battista Ceruti (1756–1817), born in Sesto Cremonese and active until his death in Cremona, was a significant figure in Cremonese violin making. He is widely cited as having succeeded Lorenzo Storioni's business in the Via dei Coltellai, though the exact year (1790 or 1802) remains a point of contention among historical accounts. Ceruti was a prolific maker, producing an estimated 500 violins and violoncellos, largely based on the large Amati model, and occasionally inspired by Guarneri or Stradivari. While his training is variously attributed to Count Luigi Maggi, the Bergonzi brothers, or Lorenzo Storioni, he maintained a close association with Storioni and was noted for continually refining his style. Despite some descriptions of his work as crude in execution, he played a crucial role in sustaining Cremonese violin-making traditions during a period of decline at the turn of the nineteenth century. His instruments were highly valued for their superior tone, which reportedly improved significantly with age. Discrepancies exist in descriptions of his varnish, which is noted as varying from dark and evenly applied to light amber yellow or deep red, and in the perceived quality of his finish, with some sources noting careful execution and others describing ragged surfaces and uneven purfling.

Worked Cremona, Sesto Cremonese

Made Cello, Viola, Violin

Auction price history

Highest auction price

£177,000

Type	Details	Sold	Price
Violin	Labelled Jo: Baptista Ceruti Cremonae Fecit Anno 1805	October 2024	£177,000
Violin	35.9 cm Cremona, 1803	April 2010	£76,717
Violin	35.2 cm Cremona, 1800 c.	April 2009	£107,355
Violin	35.6 cm [Ascribed to] with Literature	October 2008	£31,300
Cello	75.8 cm Cremona, 1800 c. [Attributed to]	March 2008	£34,580
Cello	74.5 cm Cremona, 1790	March 2008	£46,100
Viola	39.7 cm 1900 c. [Attributed to]	March 2008	£4,750
Violin	35.2 cm Cremona, 1815 c. [showing the collaboration of his son "Giuseppe"]	May 2007	£46,085
Violin	35.6 cm Italy, Early 19th C. [Attributed to]	February 2007	£26,400
Violin	36.1 cm 19th C. [Ascribed to]	February 2007	£5,040
Violin	35.6 cm Cremona, 1800	May 2006	£30,658
Violin	Cremona, 1810	November 2005	£45,600
Viola	39.9 cm [Ascribed to]	November 2005	£23,986
Violin	1809	November 2004	£45,410
Violin	Cremona, 1809	October 2004	£7,968
Cello	1801 (composite)	March 2003	£15,317
Violin	1790	November 2002	£65,725
Violin	1790	November 2001	£52,000
Violin	1805	May 2001	£50,709
Violin	1804	November 1993	£16,100
Violin	1820 c.	November 1991	£25,300
Violin	1803	November 1991	£17,600
Violin	1815	November 1989	£28,600
Viola	41.3 cm 1808	March 1989	£49,610
Violin	18--	June 1988	£20,900
Violin	1813	April 1985	£24,200
Violin	18--	April 1983	£10,260
Violin	1808	November 1981	£3,534

Maker Overview

Life

Giovanni Battista Ceruti (1756–1817) was born in Sesto Cremonese and died in Cremona, Italy., and Willibald Leo Lütgendorff, Ceruti succeeded Lorenzo Storioni's business in the Via dei Coltellai, near Piazza San Domenico, in 1790. However, John Dilworth states that he "probably took over the business in via de Caltellai when Storioni ceased work in 1802," presenting conflicting dates for the succession. Ceruti was a successful maker who continually refined his style and finish, and, he played a significant role in sustaining the otherwise declining school of violin making in Cremona at the turn of the nineteenth century. Due to illness, he had to hand over his workshop to his son even before his death. He made a large number of instruments, estimated at approximately 500 violins and violoncellos, and Stainer.

Characteristics

Innovation: Giovanni Battista Ceruti continually refined his style and finish, a hallmark of his successful career.
Materials: His choice of materials was variable, often comprising local wood of utilitarian rather than prime quality.
Methods: Ceruti's work shows influences from both the Bergonzi brothers and Lorenzo Storioni. His instruments frequently feature a scroll with a characteristically extended last turn behind the eye. Lütgendorff states that he modeled instruments after Guarneri, less often after Stradivari, but predominantly after the large Amati model, a preference also noted by Hart and Stainer. Cecie Stainer records that he adhered to his master's principles, producing very good instruments with carefully finished work. However, John Dilworth describes his execution as "often rather crude," noting "a little ragged" surfaces and "purfling unevenly inlaid," which presents a clear contradiction in historical assessments of his finish quality. His varnish is described variably: John Dilworth characterizes it as dark, slightly hard, but very evenly applied, while Cecie Stainer mentions yellow varnish, sometimes with a reddish tinge. Willibald Leo Lütgendorff provides a broader range, stating that his varnish varied from light amber yellow to the deepest red.

Recorded labels

Jo: Baptista Ceruti Cremonensis
fecit Cremonæ An. 1801 (Jal facs)John Dilworth

Influence and legacy

Training and Mentorship: Accounts regarding Ceruti's training vary. Count Cozio di Salabue, as cited by John Dilworth, suggests Ceruti was a pupil of Count Luigi Maggi in Cremona, although no trace of Maggi’s work has survived. Dilworth also posits that he "may have learned his craft from Nicola and Carlo (II) Bergonzi." Conversely, both Willibald Leo Lütgendorff and Cecie Stainer identify him as a pupil of Lorenzo Storioni. John Dilworth further notes Ceruti's close association with Lorenzo Storioni.
Schools/Tradition: Ceruti is recognized for his role in sustaining the otherwise declining school of violin making in Cremona at the turn of the nineteenth century. Lütgendorff adds that while he was 'only a weak imitator of his great predecessors,' the 'traditions of the school from which he emerged' are still recognizable in his works.
Modern Recognition: Ceruti's instruments were highly sought after for their superior tone. Willibald Leo Lütgendorff further adds that 'the tone is noble and has naturally gained much with age.'

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Biographies

The overview above is drawn from the following published accounts. Read them in the original:

John Dilworth+

CERUTI, Giovanni Battista Born 1756 Sesto Cremonese, died 1817 Cremona Italy. According to Count Cozio di Salabue, Ceruti was a pupil of one Count Luigi Maggi in Cremona, although no trace of this maker’s work has survived. May have learned his craft from Nicola and Carlo (II) Bergonzi. Closely associated with Lorenzo Storioni and probably took over the business in via de Caltellai when Storioni ceased work in 1802. Successful maker continually refining his style and finish. Work reflects both the Bergonzi brothers and Storioni, and most commonly has a dark slightly hard but very evenly applied varnish. Often rather crude in execution: surfaces are a little ragged and purfling unevenly inlaid. Scroll has characteristically extended last turn behind the eye. Materials variable, but usually of poorer sort, locally sourced. Achieved a great deal to support the otherwise declining school of violin making in Cremona at the turn of the eighteenth century. Instruments in great demand for superior tone. Jo: Baptista Ceruti Cremonensis / fecit Cremonæ An. 1801 (Jal facs)

George Hart+

Ceruti made a large number of Violins and Violoncellos of the pattern of Amati. He appears to have been a prolific workman, his instruments numbering, it is said, about five hundred. His favourite model was the large Amati. Giovanni Ceruti succeeded to the business of Lorenzo Storioni in 1790, in the Via dei Coltellai, near the Piazza. St. Domenico.

Cecie Stainer+

b. about 1755, Cremona; d 1817. Pupil of Lorenzo Storioni, to whose business in the Via de Coltellai, near Piazza San Domenico, he succeeded in 1790. Following the principles of his master he made very good instruments ; altogether, violins and violoncellos, they number about 500. He copied the model of Nicola Amati, using yellow varnish, sometimes with a reddish tinge; his work was carefully finished.

Willibald Leo Lütgendorff+

Er war Lorenzo Storioni’s Schüler und Nachfolger, dessen Geschäft in der
Via di Coltellai er 1790 übernahm. Krankeitshalber musste er seine Werkstatt
schon vor seinem Tode seinem Sohne übergeben. Er baute nach Guarneri,
seltener nach Stradivari, zumeist aber nach dem grossen Amatimodell, ungefähr
500 Instrumente. Sein Lack ist verschieden, von hellem Bernsteingelb bis zum
tiefsten Roth. Er war freilich auch nur ein schwacher Nachahmer seiner grossen
Vorgänger, aber man erkennt in seinen Arbeiten doch noch die Traditionen der
Schule, aus der er hervorgegangen ist. Der Ton ist edel und hat durch das
Alter naturgemäss sehr gewonnen.

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