Giovanni Battista Rogeri

ROGERI, Giovanni Battista Born circa. 1642 Bologna, d.c.1705 Brescia Italy. Pupil of Nicolò Amati in Cremona 1661-1662. Established in Brescia 1664, initially in Contrada Rova Confettora, and from 1688 in Corte dei Polini. Very fine maker with a distinctive style based on his experience with Amati. Extremely well-finished and delicate work. Grand and small pattern Amati outline, with extended corners, quite wide but well-inlaid purfling, deep edge flute. Arching somewhat square in the Tyrolean manner, generally of medium height, but exceptional examples rather high and pinched. Rare violins seemingly built on a Maggini form with very full arch. Soundholes exquisitely cut, rather upright, and neatly fluted in lower wing. Scrolls have a distinctive flat undercut around the first turn, becoming progressively very deep towards the eye. Fluting at back of pegbox generally quite flat. Varnish golden-brown, of fine Cremonese quality. Cellos on unique short broad model. Flat arch, often with outstandingly fine materials throughout. Label in red ink: Jo. Bap. Rogerius Bon: Nicolai Amati de Cremona alumnus Brixiae fecit. Anno Domini, 1679. Jo. Baptista Rugerius Nicolai Amati Cremonae alumnus Brixiae fecit anno 1709 [Chiesa/Brescia]

b. in Bologna about 1650. He went to Cremona to work under Nicola Amati, Stradivari was a fellow pupil of his. He then settled in Brescia and worked there about 1670 to 1725. He made admirable instruments, generally following the Amati or the Stradivari pattern, the wood was chosen with the greatest care; the varnish is very beautiful, of a golden-red colour, the sound holes resemble those of Amati, the purfling is accurate, the corners elegant ; some of his violins are so excellently made and have such a fine tone, they have been sold as the work of Stradivari. Especially penetrating and robust is the tone of his violoncellos; he sometimes used poplar-wood for the backs— perhaps it was then thought that this rendered the instrument more sonorous, or possibly he received but low prices for his work, and was obliged to use the less expensive wood—but whether of poplar or maple the violoncellos are always beautifully made and are now much valued. Label: “Jo. Bap. Rogerius Bon. Nicolai Amati de Cremona alumnus Brixiae fecit, anno Domini 1671.” (The word Bon. simply means Bononiensis. of or from Bologna.) He always used the same label, it is sometimes in red, sometimes in black letters ; other labels seen were dated 1705 and 1725.

seine Violoncelli. Auf seinem Zettel giebt er nach seinem Namen auch in Abkürzung seine Heimath an. Dieses Bon(oniensis) wurde oft missverstanden und ihm der Beiname »il Bon« geseine Violoncelli. Auf seinem Zettel giebt er nach seinem Namen auch in Abkürzung seine Heimath an. Dieses Bon(oniensis) wurde oft missverstanden und ihm der Beiname »il Bon« gegeben! Seine Zettel sind schwarz oder rothgedruckt.

Pupil of N. Amati. Instruments by this maker are not to be mistaken for those of Francesco Ruggieri as it has been as certained that they did not belong to the same family. Confusion might arise from the fact that they were both pupils of Niccolo Amati and used labels of the same description with Rugerius, Rogerius, Ruggerius and Rogeri, minus the appellation ” Il Per ” wich belonged to Ruggieri of Cremona. His model resembles that of Stradivarius’ first efforts, consequently a little arched. The workmanship is good but on the whole there are no outstanding features. Light red varnish of good quality. His ‘cellos are valued for their powerful tone. The labels are sometimes printed in red.

Brescia, Bologna. Worked on the pattern of Gasparo da Salo, whose helpmate he had been for a long time. His creations of later years are in the style of Maggini. He applied an amber-yellow varnish. Historically valuable instruments if not too much damaged by age. Price about 20.000 Kc.