Paolo Vimercati
worked 1680–1710
Son of Pietro Vimercati, below. Said to have been a pupil of J. Tononi, but this seems highly unlikely and no documentary support has so far been discovered. Nevertheless most commentators describe good work in the Tononi style. Brescian and Amati models with fine golden-yellow varnish. No authentic\u{2026} — John Dilworth
Biographies
The overview above is drawn from the following published accounts. Read them in the original:
John Dilworth+
VIMERCATI, Paolo Worked circa. 1680-1710 Brescia & Venice Italy. Son of Pietro Vimercati, below. Said to have been a pupil of J. Tononi, but this seems highly unlikely and no documentary support has so far been discovered. Nevertheless most commentators describe good work in the Tononi style. Brescian and Amati models with fine golden-yellow varnish. No authenticated examples presently known. Paolo Vimercati / fece in Venezia A 17..
Cecie Stainer+
A maker in Brescia in the 17th century. Is thought to have been a pupil of Carlo Tononi in Venice. His instruments are much arched, he followed the Maggini pattern.
George Hart+
Similar to Tononi. Jacob Stainer is said to have worked in the shop of Vimercati.
Willibald Leo Lütgendorff+
Sohn des Pietro V. Lernte bei Carlo Tononi in Venedig, den er jedoch übertraf. Er arbeitete nach Ant. und Hier. Amati’s kleinem Modell und verwendete gelben Lack. Auch Brescianer Vorbilder ahmte er nach.
Henri Poidras+
Style of Tononi, whose pupil he was. Amati model. Finished workmanship. Yellow varnish.
Karel Jalovec+
Venice, ca 1660—1710. Son of Pietro Vimercati. His instruments are beautifully executed on different models, mostly in the manner of the brothers Ant. & Hier. Amati. He used a fine yellow, sometimes also red, varnish. Price 25.000 Kc.
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