Giuseppe Guarneri

History

Giuseppe Guarneri (1666-1740) was born on November 25, 1666, in Cremona, Italy, as the youngest son of Andrea Guarneri. Sources contain conflicting information regarding his death date, with John Dilworth stating 1740, while Cecie Stainer indicates he died soon after 1738. He was known as 'Filius Andreae' and assisted his father, later succeeding him in the family workshop located at the sign of St. Theresa in Piazza Domenico. On January 4, 1690, Giuseppe Guarneri married Barbara Franchi, who passed away in 1738. Together, they had six children, including three daughters and three sons, though only one son, Pietro, followed in his footsteps as a violin maker. During his career, Giuseppe Guarneri initially continued working in the Amatisé style established by his father, but he was subsequently influenced by his close neighbor, Antonio Stradivari. The ascendancy of Stradivari and the establishment of another workshop by Francesco Rugeri in Cremona presented challenges for Guarneri. His elder son, Pietro, departed for Venice in 1717, and his younger son, Bartolomeo Giuseppe, later known as 'del Gesù', left the family home in 1722. By 1730, Giuseppe Guarneri became seriously ill and was almost incapacitated. The last known label bearing his name is found in a cello dated 1731, which is now attributed entirely to del Gesù. Nevertheless, he continued to provide scrolls for his son's instruments almost until his death nine years later.

Craft

• Workmanship: Instruments produced by Giuseppe Guarneri exhibit a distinctive Cremonese quality, characterized by a well-proportioned outline and beautifully reflective varnish, despite a slight coarseness in some aspects of his work, according to John Dilworth. Willibald Leo Lütgendorff notes his work as extremely careful, while Cecie Stainer describes it as good work.
• Models: His violins display very different models, often characterized as representing the transition from Amati and Andrea Guarneri to Giuseppe Guarneri 'del Gesù'. Many of his instruments are built on a small pattern with a narrow waist that rapidly widens from the center, creating a curve of much elegance.
• Purfling & Arching: Giuseppe Guarneri made the purfling mitres in a more conventional form, and his arching features a consistent hollowing outside the upper part of the soundholes.
• Soundholes: The soundholes in his instruments are often placed lower than usual and are widely opened about the middle. George Hart describes their conception as a singular combination of Amati and Guarneri styles, representing a reappearance of the pointed form originated by the Brescian master Gasparo da Salò, which he improved upon. He also placed the soundhole a trifle nearer the edge of the instrument than was customary.
• Varnish: The varnish used by Giuseppe Guarneri is described as gold-yellow or light brown by Lütgendorff, and brilliant reddish and of excellent quality by Stainer. George Hart notes its richness, sometimes applied so plentifully as to clot in places, yet its rare qualities were never deadened.
• Wood: The wood chosen for his violins and violas varies but is generally handsome. For his violoncellos, the wood is chiefly plain.
• Tone: While some of his instruments are very similar to those of his cousin, Giuseppe 'del Gesù', their tone is not as powerful and round. However, the tone is generally described as very full and rich, and always excellent, particularly for his violoncellos.
• Labels: Typical labels include "Joseph Guarnerius filius Andreae fecit / Cremone sub titulo S. Teresiae 1704" or similar, such as one dated 1706.
• Misattribution: Many of his best violins have been given labels of Giuseppe 'del Gesù' due to the latter's renown, and some good imitations of Stradivari have been labeled with Stradivari's name.

Influence

• Mentorship: Giuseppe Guarneri was a pupil of his father, Andrea Guarneri, and succeeded him in the family workshop.
• Artistic Development: His early works demonstrated an originality that led him to construct instruments distinct from his father's. He was later influenced by his close neighbor, Antonio Stradivari.
• Successors: His work is considered a transitional phase from the styles of Amati and Andrea Guarneri to that of Giuseppe Guarneri 'del Gesù'. The elegant curve of his instrument's waist was admired and perfected by his famous kinsman, Giuseppe Guarneri 'del Gesù'. Carlo Bergonzi also followed his particular method of setting soundholes in a lower position.

Legacy

• Family Continuity: Of his three sons, only Pietro became a violin maker, departing for Venice in 1717. His younger son, Bartolomeo Giuseppe, later known as 'del Gesù', also left the family home in 1722.
• Reputation: Giuseppe Guarneri is considered, next to Giuseppe 'del Gesù', the best master from his family. His instruments are highly valued and were rapidly being acquired across Europe, leading to a significant enhancement of their worth.

Further Information

• Workshop Location: His workshop was located in Cremona, Italy, at the sign of St. Theresa in Piazza Domenico.
• Instrument Production: He made violins, violas, and violoncellos. His violoncellos are very rare.
• Instrument Characteristics: While his violins and violas are noted for careful handiwork, the workmanship on his violoncellos is sometimes described as rather careless, though their tone is consistently excellent. It appears he had no particular liking for working on larger instruments, dedicating his time to smaller specimens.
• Exhibited Works: Two beautiful instruments, dated 1684 and 1707, were exhibited at the South Kensington Museum in 1872. A very fine violoncello with a rich red varnish and good tone was dated 1713.