Giovanni Battista Guadagnini

History

Giovanni Battista Guadagnini (1711-1786) was born in 1711, with sources containing conflicting information regarding his birthplace; John Dilworth states Piacenza, while George Hart and Cecie Stainer, citing Count Cozio di Salabue, indicate Cremona. He died in Turin in 1786. Guadagnini is recognized as the founder of one of the most enduring Italian dynasties of luthiers and is considered by John Dilworth to be perhaps the last great maker of the classical period to develop his own distinctive style without merely copying predecessors. He was the son of Lorenzo Guadagnini, who was until recently considered his teacher. Despite Giovanni Battista's later claims on his labels that he was a pupil of Antonio Stradivari, evidence suggests he was largely self-taught, according to Dilworth. However, George Hart notes that Giovanni Battista's instruments more closely resemble those of Stradivari than even his father's, suggesting an early influence from the great master. Cecie Stainer also states he possibly worked under Antonio Stradivari in Cremona before accompanying his father to Milan around 1730, while Willibald Leo Lütgendorff suggests he was probably a pupil of Stradivari like his father. Guadagnini worked initially in Piacenza, then moved to Milan in late 1749, where his work entered its mature stage. A small number of violins dated 1758 indicate Cremona as the place of origin; while no evidence confirms his residence there, these instruments are stylistically consistent and appeared during his transit from Milan to Parma. Rosengard suggests he might have briefly assisted Paolo Stradivari in Cremona. Guadagnini established himself in Parma in the spring of 1758 under the patronage of Guillaume-Leon du Tillot and the Bourbon Duke of Parma, Don Felipe. The death of Don Felipe in 1768 ended Guadagnini's financial security, leading him to move to Turin in 1771. In Turin, he became acquainted with Count Cozio di Salabue, a celebrated collector and historian. Under contract to supply new instruments and information about old makers, their relationship eventually soured, but not before Guadagnini introduced Cozio to Paolo Stradivari, which led to Cozio's acquisition of the relics of the Stradivari workshop, including the "Messie" Stradivari violin of 1716. Count Cozio encouraged Guadagnini to adopt a more Stradivarian style in his final period. He was assisted by four of his sons: Gaetano, Giuseppe, Carlo, and Filippo.

Craft

• Distinctive Style: Giovanni Battista Guadagnini developed a distinctive style and form, with techniques and materials unique to him and his followers, not readily traceable to precedent, and much of his method appears to be his own initiative, though he likely used the interior form familiar in Cremona.
• Piacenza Period (Early Work): He developed a flat model with a broad recurve around the edges. The soundholes are basically Amatisé, tightly cut around the upper end but open in the lower half, featuring distinctive oval-shaped lower finials and no flute in the wings. The scroll is rather thrown back, with blackened edges, and invariably marked with a series of puncture points tracing the shape of the last turn of the volute. The carving is plastic and shows signs of careful smoothing with abrasive. The purfling is made from walnut, a unique choice among luthiers of the time. The broad edges diminish in thickness at the corners, contrary to the convention of leaving corners fuller. The varnish is a beautiful deep orange-red.
• Milan Period (Mature Stage): His work became bolder, with the arch growing fuller and less hollowed at the edges. The varnish developed into a particularly luscious rich red-brown laid over a golden ground, showing no sign of defect in texture.
• Parma Period: His work became somewhat extreme, with idiosyncrasies nearly overwhelming the integrity of the form. The form became narrower and more highly arched, and the soundholes increasingly exaggerated with the nicks set bizarrely low on the stem. The varnish lost some of its intense redness, typically appearing as a more modest amber color. During this period, his efforts with the cello reached a beneficial level of invention, creating an original model of compact size with full arching and particular breadth across the breast, which was very successful for players and produced a deep tone. He was one of the most prolific cello makers of the 17th and 18th centuries.
• Turin Period (Stradivarian Influence): Under Count Cozio's encouragement, he produced some erratically fine work in a more Stradivarian style, which involved lowering the arch, adding fluting to the lower wings of the soundholes, and making the lower holes perfectly circular. Some late works show a resurgence of his own style but are variable. The best work from this period is on a broad flat model with fine orange varnish, though some have a rather dowdy brown coating. Fine violas from this period are compact, entirely original models, with strength and volume focused on the broad breast, and other aspects reduced for player comfort.
• Materials: He was particularly happy in the selection of his wood, which was invariably of the handsomest kind. The backs of his instruments are generally divided with regular markings, and the bellies are of wood well chosen for tone.
• Varnish (General): George Hart describes his varnish as very transparent and of a brilliant color, though Cecie Stainer notes it shows unmistakable signs of inferiority to that of the great makers, often being a brilliant golden-red color.
• Scroll (General): George Hart describes the scroll as a rough imitation of Stradivari's, generally partaking of the character of the Stradivarian scroll from 1728.

Influence

• Self-Taught: Despite claims on his later labels that he was a pupil of Antonio Stradivari, John Dilworth indicates that Giovanni Battista Guadagnini was largely self-taught.
• Family Influence: His father, Lorenzo Guadagnini, was considered his teacher until recently. Cecie Stainer states he was a pupil of his father.
• Stradivari Connection: George Hart suggests that Giovanni Battista's works more closely resemble Stradivari's instruments than even his father Lorenzo's, implying he was brought early under the great master's influence. Willibald Leo Lütgendorff states he was probably a pupil of Stradivari like his father. Rosengard suggests he might have spent a short time assisting Paolo Stradivari in Cremona.
• Count Cozio di Salabue: Count Cozio encouraged Guadagnini to work in a more Stradivarian style during his last period in Turin.

Legacy

• Dynasty Founder: Giovanni Battista Guadagnini founded one of the most enduring Italian dynasties of luthiers.
• Family Continuity: He was assisted by four of his sons, Gaetano, Giuseppe, Carlo, and Filippo, who were also makers.
• Collector's Interest: Count Cozio di Salabue, a celebrated collector, ordered several instruments from Guadagnini for his collection and obtained his birth and death dates from parish registers.
• International Esteem: His instruments were highly esteemed by connoisseurs and professional musicians in Holland and Germany, and the English were among the first to recognize their sterling merits.
• Prolific Cello Maker: He was one of the most prolific cello makers of all the 17th and 18th-century Italians.

Further Information

• Workshop Locations and Dates:
  • Piacenza: Initial working location.
  • Milan: Moved in late 1749.
  • Cremona: A small number of violins dated 1758 give Cremona as the place of origin, appearing when he was in transit to Parma.
  • Parma: Established in the spring of 1758.
  • Turin: Moved in 1771.
• Labels:
  • "Joannes Baptista Guadagnini / filius Laurentji Guadagnini / fecit Placentiae 1744"
  • "Joannes Baptista Guadagnini Pla- / centinus fecit Mediolani 1757 GBGP"
  • "Joannes Baptista Guadagnini / fecit Cremonae 1758"
  • "Joannes Baptista Guadagnini / Cremonensis Fecit Parma / GBGP / C.S.R. 1765"
  • "Joannes Baptista Guadagnini / Fecit Parmae serviens / GBGP / C.S.R. 1765"
  • "Joannes Baptista Guadagnini / Cremonensis fecit Taurini 1772 GBGP"
  • "Joannes Baptista Guadagnini / Cremonensis fecit Taurini / GBG / alumnus Antoni Stradivari 1777"
  • "Questo corretto e fatto al Convento da me Gian Battista Guadagnini Piacentino in Milano"
  • "Joannes Baptista Guadagnini Cremonensis fecit Taurini, 1776"
  • "Joannes Baptista Guadagnini. Cremonensis fecit Taurini. Alumnus Antoni Stradivari. G.B.G. 1780."

Summary

Giovanni Battista Guadagnini (1711-1786) was a prominent Italian luthier and founder of an enduring dynasty of instrument makers. Born in either Piacenza or Cremona, he was largely self-taught despite later claims of being a pupil of Antonio Stradivari, though his work shows significant Stradivarian influence. He worked in Piacenza, Milan, Parma, and finally Turin, adapting his style in each location. His craftsmanship is noted for its distinctive features, including unique soundhole designs, walnut purfling, and a range of varnish colors from deep orange-red to luscious red-brown. He was a prolific maker, particularly of cellos, and his work was highly esteemed by collectors like Count Cozio di Salabue, who encouraged him to incorporate more Stradivarian elements into his later instruments. His sons also assisted him in his workshop.