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#14 Carlo Giuseppe Testore
   Labeled Nicolas Amati 1677
IU CATALOG NUMBER 14
Certificates:
Rudolph Wurlitzer (1945) as Andrea Guarnerius circa 1690
Jacques Francais (1976) as Carlo Giuseppe Testore
Born at Novara (Italy) in 1660, went to Milan in 1683, worked with Grancino died in 1738. Several models Grancino-Amati models have been re-labeled and sold as genuine Grancinos or Guarnerius. Varied modeling with Amati influence predominant. Tonal quality remarkably powerful and round.
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#36 Gennaro (Januarius) Gagliano
   Naples, Italy circa 1760
IU CATALOG NUMBER 36
Bearing a facsimile “Alessandro Gagliano” label 1779
Bein & Fushi certificate (1989)
Born in 1690, second son of Alessandro, worked in Naples, died in 1771. Supposed to have worked with Stradivari in early youth, modeling Stradivarian in conception. Not a very prolific maker with neat, completely artistic workmanship. Tone rather full and rich, highly responsive in all registers.
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#47 J.B. Guadagnini
   Parma, Italy circa 1760
IU CATALOG NUMBER 47
Certificates:
Bein & Fushi (1992) • Duane Rosengard (2001) • James Beard (2001)
Born at Cremona in 1711. Son and student of Lorenzo Guadagnini, worked with Stradivari, and established at Parma (1729) and moved to Turin (1772) where he died in 1786. Guadagnini delved deeply into the so-called secret of Cremonese varnish and his violins have a particular penetrating quality. His best instruments date from Turin.
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#49 Giuseppe Antonio Rocca
   Turin, Italy 1815
IU CATALOG NUMBER 49
Born at Barbaresco in 1807, died 1869. Models of Stadivari and Guarneri are copied to minutest degree of detail with faithfulness to original designs, with greatest success in the Messie Strad. Tonal quality very strong, brilliant, and powerful.
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#51 Anton Jais
   Mittenwald, Germany 1800
IU CATALOG NUMBER 51
Son of Franz. Born 1748. Died 1836. Worked at Mittenwald from 1769. Excellent instruments of their type and period. Had the habitual predilection for the rather high arched Stainer model-but also produced a few specimens suggesting Amati influences. Outline, sound-holes, and scroll quite splendid. General workmanship satisfactorily delicate and refined. Good acoustical material for top, and frequently prettily flamed for the back. Yellow, yellow-brown and (principally) dark reddish brown varnish of good quality. Rather powerful tone, with a fair mellowness.
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#53 François Louis Pique
   Paris, France 1810
IU CATALOG NUMBER 53
Born at Boret in 1758, studied with Saunier copying Cremona pieces in the workshop. Established in Paris 1778, died 1822. Regarded as second-finest French maker, using a much larger proportioned, heavier model than both Lupot and Stradivari, though with many similarities to both. Master workmanship in both body and scroll with a typical French tone quality, resonant and smooth.
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#67 Lorenzo Storioni
   Cremona, Italy 1789
IU CATALOG NUMBER 67
Erich Lachman certificate (1960)
Dario D’Attili certificate (1984)
Measurements
Length: 35 cm • Upper Bouts: 16 cm
Middle Bouts:10.7 cm • Lower Bouts: 19.6 cm
Born at Cremona in 1751, worked in Cremona and Turin, died 1802. Last of Cremonese makers to demonstrate powers of originality. Instruments show increasing demand for strength and robust tone, many modeled after a kind of Stradivarian design, others having strong Bergonzi or Guarnerius traits. Best instruments have full, sonorous sound and often sweet sound.
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#68A Giuseppe Antonio Rocca
   Turin, Italy 1848
IU CATALOG NUMBER 68A
Certificate: Lyon & Healy (1907)
Born at Barbaresco in 1807, died 1869. Models of Stadivari and Guarneri are copied to minutest degree of detail with faithfulness to original designs, with greatest success in the Messie Strad. Tonal quality very strong, brilliant, and powerful.
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#74 Giovanni Gaida
   Bollengo, Italy 1900
IU CATALOG NUMBER 74
Born at Bollengo (near Ivrea), 1862. Came to London in 1890 returning to Italy in 1895, and finally settling in London in 1904. Worked for the Stainer Manufacturing Co., also many years for F. W. Chanot. Established his own workshop in Castle Street, Long Acre in 1925. Produced splendid copies of Stradivarian principles, some not unlike the robustness of a Pressenda; also a few of Guarnerian modelling. Workmanship particularly attractive for 'its neatness. Scroll and F-holes very cautiously, but successfully executed. Also possessed a keen sense for choosing the finest woods. Imparted a fine intensity of shade in varnishing, either orange-red or dark amber brown, always plentifully applied. Tonal quality rather remarkable for its velvety softness and evenness.
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#28 Nicolas Lupot
   Paris, France circa 1820
IU CATALOG NUMBER 28
Born in Stuttgart in 1758 and learned the art of violin making in Orleans with his father Francois. In 1794 he moved to Paris were he was appointed violin maker to the king in 1815, and to the conservatoire in 1816. This post required him to make instruments on demand for the first prize winners at the conservatoire at the request of Gaviniés. King Louis XVIII ordered him to make an orchestra of stringed instruments embellished with arms of France. His death in 1824 prevented him from completing the replacement of all instruments in the Royal Orchestra with those of his own making. Known as “The French Stradivarius” he is recognized as the greatest of all French makers. His style was modeled after the patterns of Stradivarius whom he copied to the smallest detail. Very few of his instruments were modeled after Gaurnerius and Amati.
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France 19th Century