Giovanni Antonio Marchi

Name: Giovanni Antonio Marchi auction price records, Amati Instrument Archive
Creator: Amati

Bologna, 1727–1807

Moved to the city of Bologna c.1745 following the death of his father, a carpenter. Began violin making in 1755, presumably as a pupil of Alessandro Fiorini. Established his workshop at 1854 via Bertiera Scoperto (now 6 via dell’Orso), whilst living nearby at 1682 via Marsala. A well-respected maker\u{2026} — John Dilworth

Worked Bologna

Made Cello, Violin

Auction price history

Highest auction price

£32,200

Type	Details	Sold	Price
Violin	35.4 cm Bologna, 1800 c.	October 2009	£6,000
Violin	35.3 cm 18th C. [Attributed to]	May 2008	£4,191
Violin	35.3 cm 18th C. [Attributed to]	May 2007	£5,473
Violin	Italy, 1800 c.	February 2005	£6,000
Violin	1798 c.	November 2002	£23,900
Violin	1750 c.	November 1997	£32,200
Violin	1768	May 1994	£25,226
Cello	1764	June 1990	£15,950
Violin		November 1987	£7,150

Maker Overview

Life

Giovanni Antonio Marchi (1727-1807) was born in 1727 in San Nicolo di Villola, Bologna, and died in 1807 in Bologna, Italy., he moved to the city of Bologna around 1745 following the death of his father, who was a carpenter. Marchi began violin making in 1755, presumably as a pupil of Alessandro Fiorini. He established his workshop at 1854 via Bertiera Scoperto, an address now known as 6 via dell'Orso, while residing nearby at 1682 via Marsala. He was a well-respected maker during his lifetime and served as an informant to Count Cozio di Salabue. Few of his actual violins have survived. He is perhaps best known for his Manuscript on Violin Making, published in 1786, which stands as one of the earliest reliable treatises on the craft. Sources contain conflicting information regarding his working period; while John Dilworth provides specific life dates of 1727-1807, Cecie Stainer notes a working period of approximately 1740-1795. Willibald Leo Lütgendorff also suggests the possibility of another master of the same name existing in the 18th century, citing labels with dates up to 1774.

Characteristics

Workmanship: His work is precise and well-finished, utilizing a personal model characterized by full arching of medium height and rather stiff, slanting soundholes. Cecie Stainer describes his violins as being of high model, while Willibald Leo Lütgendorff notes an idiosyncratic arching.
Varnish: The varnish is described as durable golden-yellow or orange by John Dilworth, golden-yellow by Cecie Stainer, and dark golden-yellow or reddish-brown by Willibald Leo Lütgendorff.
Scroll: His scroll is very well cut and accurately concentric, and powerfully curved as per Willibald Leo Lütgendorff.
Materials: Instruments often feature beautiful maple-wood for the back and sides, and good quality wood in general.
Tone: His violins, particularly his violoncellos, are noted for their broad and full tone.
Style: Willibald Leo Lütgendorff observes that his work sometimes recalls that of A. Gagliani.
Labels: Examples of his labels include "Johannes Antonius Marchi / fecit Bononiae. Anno.." and "Joannes Antonius Marchi fecit Bononiae, anno 1774", with similar labels dated 1760 and 1792.

Recorded labels

Johannes Antonius Marchi
fecit Bononiae. Anno..John Dilworth

Influence and legacy

Mentorship: He is presumed to have been a pupil of Alessandro Fiorini.
Contributions: Giovanni Antonio Marchi was an informant to Count Cozio di Salabue.
Publications: He is best known for his Manuscript on Violin Making (1786), which is considered one of the earliest reliable treatises on the craft.

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Biographies

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

John Dilworth+

MARCHI, Giovanni Antonio Born 1727 San Nicolo di Villola, Bologna, died 1807 Bologna Italy. Moved to the city of Bologna c.1745 following the death of his father, a carpenter. Began violin making in 1755, presumably as a pupil of Alessandro Fiorini. Established his workshop at 1854 via Bertiera Scoperto (now 6 via dell’Orso), whilst living nearby at 1682 via Marsala. A well-respected maker in his own time and an informant of Count Cozio di Salabue, few actual violins of his have survived. He is probably best known for his Manuscript on Violin Making (1786); one of the earliest reliable treatises on the craft. His work is precise and well-finished using a personal model with full arching of medium height, rather stiff slanting soundholes, and a durable golden-yellow or orange varnish. The scroll is very well cut and accurately concentric. Johannes Antonius Marchi / fecit Bononiae. Anno..

Cecie Stainer+

A maker in Bologna about 1740-95. His violoncellos and violins are good instruments; the latter are of high model, with very beautiful maple-wood used for the back and sides, and varnish of a golden-yellow colour.
Label : ” Joannes Antonius Marchi fecit Bononiae, anno 1774″ ; similar labels are dated 1760 and 1792.

Willibald Leo Lütgendorff+

Seine Arbeit erinnert manchmal an die A. Gaglianis. Sein Modell ist eigenartig
gewölbt, das Holz recht gut und der Lack von dunkelgoldgelber oder
röthlichbrauner Farbe. Die Schnecke ist kräftig geschwungen, und der Ton
seiner Geigen, namentlich seiner Violoncelli, ist breit und voll. Es scheint
übrigens auch im 18. Jahrhundert ein gleichnamiger Meister gelebt zu haben, denn
es giebt gleichlautende Zettel, die Jahreszahlen bis 1774 aufweisen.

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