Antonio Vinaccia
Auction price history
Highest auction price
£63,797
| Type | Details | Sold | Price |
|---|---|---|---|
| Violin | Labelled Antonius Vinaccia Fecit Neapoli Anno 1781 | March 2025 | £63,797 |
| Violin | 35.6 cm Naples, 1800 c. [Possibly by] | November 2006 | £13,865 |
| Violin | 1764 | June 2001 | £10,350 |
| Violin | 17-- | June 1985 | £7,674 |
Maker Overview
History
Antonio Vinaccia worked in Naples during the 18th century. Sources contain conflicting information regarding his parentage and exact working dates. According to John Dilworth, he worked circa 1756-1784 and was the son, pupil, and assistant of Gennaro Vinaccia. Dilworth notes that Antonio established independently in via Constantii from 1756, but evidence from known labels suggests he returned to his father's workshop in rua Catalana around 1770. Willibald Leo Lütgendorff considers him the progenitor of the Vinaccia family, though he suggests Antonio might have been the son of Nicolas V. Karel Jalovec states he worked from 1734 to 1781 and was probably the son of Nic. Vinaccia. Cecie Stainer notes his working period as about 1766-1774.
Antonio Vinaccia is chiefly known for his mandolins, though some impressive violins are also known. According to Lütgendorff, he made few string instruments, focusing early on mandolin production, in which he achieved high perfection. His skill is evidenced by works he created for Carl III v. Bourbon, which are preserved in the Museo Spagnuolo in Naples (Palazzo degli Studi). Cecie Stainer further describes these mandolins as having beautifully inlaid backs with ivory, mother-o'-pearl, and tortoiseshell.
Craft
- Violin Characteristics: According to John Dilworth, Antonio Vinaccia's violins feature a distinctive model with slightly pointed upper and lower bouts. The soundholes are narrow and slightly outward leaning, and the purfling is described as typical skimpy Neapolitan. The scroll recalls Eberle, with a long Gagliano-like pegbox and a slightly Tyrolean-looking volute. The wood quality was variable. The varnish is typical Neapolitan, with a slightly hard texture, dark golden-brown color, and a greenish-yellow underlayer.
- Mandolin Craftsmanship: Willibald Leo Lütgendorff notes that Antonio Vinaccia achieved high perfection in mandolin making. Cecie Stainer adds that some of his mandolins in the Museo Spagnuolo feature backs beautifully inlaid with ivory, mother-o'-pearl, and tortoiseshell.
- General Workmanship: Karel Jalovec states that Antonio Vinaccia worked on the patterns of old masters, chiefly Nicole Gagliano, exhibiting good workmanship and using a brown varnish of good quality.
Influence
- Mentorship: According to John Dilworth, Antonio Vinaccia was the son, pupil, and assistant of Gennaro Vinaccia. However, sources contain conflicting information regarding his father, with Willibald Leo Lütgendorff suggesting he might be the son of Nicolas V., and Karel Jalovec stating he was probably the son of Nic. Vinaccia.
- Stylistic Influence: Antonio Vinaccia worked on the patterns of old masters, chiefly Nicole Gagliano, as noted by Karel Jalovec and Cecie Stainer.
Legacy
- Family Continuity: Antonio Vinaccia's sons, Gennaro and Gaetano, also became makers, continuing the family tradition.
- Preserved Works: Several of his works, including mandolins made for Carl III v. Bourbon, are preserved in the Museo Spagnuolo in Naples (Palazzo degli Studi).
Further Information
- Workshop Locations: Antonio Vinaccia worked independently in via Constantii and later returned to his father's workshop in rua Catalana.
- Known Labels: Examples of his labels include "Antonius Vinaccia fecit Neap / In via Constantii, 1756", "Antonius Vinaccia fecit / Napoli 1769", and "Antonius Vinaccia / filius Januarii fecit Neapoli / alla Strada, Rua Catalana, 1770". Cecie Stainer also notes a label reading "Antonius Vinaccia, Napoli in Via Constantinii, a. 1766", with a similar label dated 1774.
Summary
Antonio Vinaccia was an 18th-century Neapolitan instrument maker, primarily renowned for his mandolins, though he also produced notable violins. He was part of the prominent Vinaccia family of makers, with sources indicating he was either the son of Gennaro Vinaccia or Nicolas V., and himself the father of makers Gennaro and Gaetano. His craftsmanship was influenced by masters such as Nicole Gagliano, and his works, including elaborately inlaid mandolins, are preserved in the Museo Spagnuolo in Naples.
Biographies
John Dilworth
Antonio Worked circa. 1756-1784. Son, pupil, and assistant of Gennaro Vinaccia, below. Established independently in via Constantii from 1756, but, from the evidence of known labels, returned to his father’s workshop in rua Catalana c.1770. Chiefly known for mandolins, but some impressive violins known. Distinctive model with slightly pointed upper and lower bouts. Soundholes narrow and slightly outward leaning. Typical skimpy Neapolitan purfling. Scroll recalling Eberle, with long Gagliano-like pegbox and slightly Tyrolean looking volute. Wood of variable quality. Typical Neapolitan varnish; slightly hard texture, dark golden-brown, with greenish yellow underlayer. Antonius Vinaccia fecit Neap / In via Constantii, 1756 Antonius Vinaccia fecit / Napoli 1769 Antonius Vinaccia / filius Januarii fecit Neapoli / alla Strada, Rua Catalana, 1770
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