Matteo Goffriller

Type	Details	Sold	Price
Violin	35.4 cm Venice, 1692	Mon 1st March 2010	£144,000
Violin	35.7 cm Venedig, 1710 c.	Sat 1st November 2008	£181,607
Violin	35.1 cm Venice, 1705	Tue 1st April 2008	£132,852
Violin	35.5 cm [Ascribed to]	Mon 1st October 2007	£9,833
Violin	35.1 cm 1700 c. [Probably by]	Mon 1st May 2006	£10,424
Cello	Venice, 1707 c. (later scroll), with Provenance	Fri 1st April 2005	£324,161
Violin	1700 c. [Attributed]	Mon 1st March 2004	£33,600
Violin	1710	Sat 1st November 1997	£45,500
Violin	1706 c.	Tue 1st March 1994	£65,300
Violin	1727	Tue 1st June 1993	£55,400
Violin		Mon 1st March 1993	£67,500
Violin	1703	Fri 1st November 1991	£90,200
Violin	1695 c.	Wed 1st November 1989	£38,500
Violin	1700 c.	Tue 1st November 1988	£44,000
Cello	1705	Wed 1st June 1988	£88,000
Cello	1700 c.	Sun 1st November 1987	£45,100
Violin	1735	Mon 1st November 1982	£13,200
Cello	1700 c.	Thu 1st May 1980	£30,800

John Dilworth

GOFFRILLER, Matteo Born circa. 1659 Bressanone, died 1742 Venice Italy. Gofriller arrived in Venice in 1685 to work for Martin Kaiser, whose son-in-law he subsequently became. He succeeded to the workshop in 1690, and became the premier violin maker in the city; the first specialist violin maker there, as far as can be presently determined, and the founder of the remarkable 18th century Venetian school. He is presumed to have been the teacher of Domenico Montagnana, Francesco Gobetti, and his son Francesco. His work covers a variety of styles and clearly shows the strong influence of Cremona in his rather impressionistic copies of Stradivari and Amati. His small quickly cut scroll with a slight upright ovality is one constant. Another is the deep red-brown varnish, sometimes applied thin but with great intensity; at other times built up to a thick, crackled texture. Several violas are known, of contralto size, and of a distinct and original narrow model with a long stop. Most celebrated are his cellos which established the particular reputation for Venetian cellos in general. A particularly fine example used by Pablo Casals was previously attributed to Bergonzi. Usually of large size, they are important in having a low and powerful arch and broad breast. Most have been subsequently been cut down for modern use, but there also exist several smaller size cellos with a back length around 70 cm (271/2”). Mattio Goffriller / Fece in Venezia. Anno 1709 Matteo Goffriller / fecit Venetijis. anno 1724

George Hart

The workmanship is usually of a good kind, and the wood of good quality. The style is, however, different to that we are accustomed to associate with Italy.

Cecie Stainer

A maker in Venice about 1690 to 1740. He had great ability, and his work is peculiarly beautiful and original ; his pattern is slightly arched, the sound-hole well cut, the golden-yellow varnish very transparent. It is the exception to find violins and violoncellos in which the wood was carefully chosen ; as a rule he was careless about his material, several violoncellos have the back made of poplar tree wood ; but the same accurate and skilful workmanship is always shown ; the tone was powerful and even in quality. His whole work, in arching, proportions, and varnish, is so unlike that of Stradivari that it is absurd to insert Stradivari labels into his instruments. His violoncellos are especially liked, two being known, most beautifully made.

Willibald Leo Lütgendorff

Wahrscheinlich ein Tyroler aus Lajen, der wohl auch in seiner Heimath gelernt
hat, wesshalb seine Geigen in der Wölbung auch mehr an die Tyroler als an
die italienische Schule erinnern. Seine Arbeit ist musterhaft, nur in der Wahl des
Holzes ist er nicht immer sorgfältig, neben schönen, feinjährigen Decken kommen
auch recht unschöne vor, der Boden ist meist nach der Schwarte geschnitten,
bei seinen Violoncelli oft nur aus Pappelholz. Die F-Löcher sind gut, die
Schnecke tief und schwungvoll gestochen. Besonders schön ist sein rother, rothbrauner oder gelbbrauner Lack. Der Ton ist sehr edel, so dass manche Händler,
die wenig Verständniss haben, Geigen von ihm für Werke von Stradivari ausgeben
wollen, was bei der auffälligen Verschiedenheit des Modells kaum zu
verstehen ist; begreiflicher ist es dagegen, dass seine Violoncelli für Arbeiten

£324,161

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Biographies

John Dilworth

George Hart

Cecie Stainer

Willibald Leo Lütgendorff

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