Vincenzo Trusiano Panormo

PANORMO, Vincenzo Trusiano Born circa. 1734 Monreale, Sicily Italy, died 1813 London UK. Thought to be the son of Gaspare Trusiano, who is known as a musical instrument maker with at least one double bass extant. Adopted the name Panormo after leaving Sicily, from the Latin name of Palermo, his original place of work. Originally a maker of woodwinds and stringed instruments in general; there are several woodwind instruments extant with his brand. An early double bass exists with his manuscript label ‘Vincenzo Trusiano’. Travelled widely: first son François born in Rome 1763; second son Joseph was born in Naples 1767. A business by the name Panormo e Figli existed in Naples up to the 19th century. Worked also in Marseilles before arriving in Paris before 1781. May also have worked briefly in London and Dublin in the 1770s. By 1789 established in Dublin, possibly employed by Thomas Perry, and by 1791 was in London where he remained as an assistant to John Betts. A hugely important figure in English violin making, his experience transformed the habits of London makers previously loyal to the Stainer model into a focus on Cremonese work in general and Stradivari in particular. Very refined work, with a particularly delicate head, low-arched model, finely detailed yet with subtleties of character. It is also very varied, with his Paris work reflecting influences there, being slightly heavier and a little Mirecourtian, with golden-yellow varnish, while in London he was probably encouraged by Betts to make closer copies of Stradivari and Amati work. Materials and varnish are likewise inconsistent: sometimes very plain wood used and various types of purfling but the varnish is always fine, though of different shades and textures. Cellos are much sought after but relatively rare. Basses are particularly prized and recognised as amongst the most desirable of any but the Brescians: very fine modelling and arched backs. His own labels are relatively rare, since a great deal would have been done for employers. Some branded beneath the saddle on the lower rib: ‘V.P.’ Vincenzo Panormo/ London 1797 Vincenzo Trusiano Panormo fecit Parisiis, anno 17.. Vincent Panormo, rue de l’Arbre-sec à Paris, 17.. Vincenzo Panormo me fece Marsiglia Vincenzo Panormo London 1791 Vincenzo Panormo di Palermo fecit anno 17.. Vincenzo Panormo dit Palermo Fecit Anno 17.. [BVMA]

Durch den Zufall, dass einige Jahreszahlen in seinen Geigen falsch gelesen
wurden, war seine Geschichte lange Zeit völlig unaufgeklärt, und da man sein
Geburtsjahr auf 1705 setzen zu müssen glaubte, so musste man aus dem einen
Manne zwei Geigenmacher machen. Dass er aus Palermo gewesen sei, nahm
man immer an, denn abgesehen davon, dass schon sein Name darauf hinweist
(der antike Name von Palermo war ????????), brachte er auf seinen Zetteln auch
gerne das Wappen von Palermo an. Er soll in Cremona gearbeitet haben —
vielleicht bei Bergonzi, dem er manchmal nahe kommt —, auch in Turin und
dürfte sich um 1750 in Paris niedergelassen haben, nachdem er vorher in Marseille
gewesen war. Im Jahre 1772 kam er zuerst nach London und ging dann
wieder nach Paris zurück, wo er von 1783—1789 in der Rue de Chartres No. 70
wohnte. Vorher und nachher war seine Werkstatt in der Rue de l’Arbre-Sec.
Von London aus unternahm er auch eine Kunstreise nach Dublin, die dadurch
bemerkenswerth wurde, dass er bei dieser Gelegenheit eine alte Billardtafel von
bestem Ahornholz fand, aus der er eine grosse Zahl trefflicher Geigen machte.
Es scheint, dass er abwechselnd in London und Paris lebte, vielleicht hatte er
sogar mit Hilfe seiner Sohne zwei Werkstätten im Gange. Er hielt sich an
seine italienischen Vorbilder, schnitzte sehr hübsche Schnecken und F-Löcher,
und wenn er auch ein eigenes Modell hatte, so ahmte er doch Stradivari und
Bergonzi etc. am liebsten nach. Er bevorzugte dabei die grösseren Modelle,
verwendete meist gutes Holz und einen hübschen gelben, manchmal röthlichen
Lack. Seine Arbeit ist gut, nur lässt er oft die Hohlkehle fehlen und rundet
einfach den Rand ab. Da der Ton fast immer gross und edel ist, erreichen seine
Violinen jetzt hohe Preise. Er hatte verschiedene Zettel und manchmal auch
einen Brandstempel im Gebrauch. Er hatte mehrere Söhne, die Geigenmacher
wurden. Eine Geige von ihm in der Sammlung Snoeck ist aus Paris 1810
datirt, mit der Adresse Rue de l’Abre sec.

This maker was one of the most successful followers of Antonio Stradivari. Panormo and Lupot share the palm as copyists of the great Cremonese master. Neither appears to have attempted to create a model of his own ; their sole aim was to imitate to the utmost the various patterns of Stradivari, Guarneri, and Amati, but they principally confined themselves to Stradivari. Vincenzo Panormo left Italy in early life, and settled for a short time in Paris, from which city a few of his instruments are dated. From Paris he removed to London, where he remained many years. He also visited Ireland, where he made, it is said, several beautiful instruments from an old maple billiard-table, with which he was fortunate enough to meet. He was of a restless temperament, which showed itself in continual self-imposed changes. He would not, or could not, permit his reputation to grow steadily, by residing long in one place, but as soon as fame was within his grasp, he sacrificed the work of years by removing to an entirely new field of labour. Panormo furnishes us with another example of the certain appreciation, sooner or later, of exceptional talents. No matter how trifling the circumstances under which gifted men have laboured, some time or other their genius is discovered, and acknowledged with its due award, if not of fortune, at least of fame. The peculiar circumstances under which Panormo lived would have been sufficient in the case of most men to dwarf all efforts. Unable to obtain readily that patronage to which his abilities justly entitled him, he removed from city to city, hoping to discover a resting-place, in which favour might attend his art. No doubt this was a mistaken course, and one which robbed his work of the attention which a mind undisturbed by the care of existence can bestow; nevertheless his natural gifts had a vitality that-could not entirely be suppressed. He worked and toiled for his art and for bare sustenance alternately. His life, like that of many others in the paths of literature and science, was n continued battle with adversity. Such persons are forced to satisfy daily wants by slaving at work which brings them but little credit in after time, and becomes a standard by which they are too often erroneously judged. Vincenzo Panormo was the slave of many, manufacturing Double Basses and other instruments from the material selected and purchased by his temporary employer, oft-times compelled to carry out some crotchet of the patron much against his own wishes. The wood thus forced upon him was often of the worst description ; and in addition, he was frequently obliged to complete his work within a given time. Instruments manufactured under such conditions can scarcely, it may be supposed, add to their makers’ reputation. We cannot but regret that he should have been obliged to waste himself on such poor materials. Fortunately, however, in some cases he found time to exercise his skilful powers to their full extent, and has thus bequeathed to us some of the finest specimens of the copyist’s art. His workmanship is of a lighter description than that of Lupot, and is, therefore more graceful. The sound-hole is admirably cut, and the scroll also well carved.

b. Nov. 30, 1734, Monreale, a village near Palermo, Sicily ; d. 1813, London. When only sixteen he began, without aid, to make various kinds of musical instruments. He went to Cremona for a short time and probably worked there under Bergonzi. About 1753 went to Paris; in 1772 made a short visit to England; 1783-89, was again living at 70, rue de Chartres, Paris, but soon after removed to London. He also worked in Ireland for a short time, and there converted a maple-wood billiard table into some very beautiful instruments.
He was a remarkably good workman, especially in his fine copies of the Stradivari pattern; his instruments were rather small, the sound-holes and scrolls well cut, the varnish a clear yellow colour, sometimes rose ; the tone is very fine. A few violoncellos made on the Stradivari pattern are generally of handsome maple-wood for the back and ribs, and have an extremely rich and powerful tone. His violins, violoncellos, and double-basses are all much liked for the pure and good quality of their tone; his guitars have a high reputation. Some of his work is poor, but he made a good many instruments for the trade, using the wood (often of bad quality) supplied by his employers, and generally had to finish these instruments within a given time.
Labels : “Vincent Panormo, rue de l’Arbre-sec a Paris, 1730 ” ; a similar label is dated 1780 ;