Lorenzo Guadagnini

History

Lorenzo Guadagnini (c. 1665-c. 1740) is a figure whose historical attribution as a violin maker is subject to conflicting scholarly views. Traditionally, he has been considered a significant maker, often listed in dictionaries and regarded as the father of Giovanni Battista Guadagnini. According to Willibald Leo Lütgendorff, he was a pupil of Stradivari, with whom he worked for a long time, returning to his native town after 1730. George Hart notes that Lorenzo was born at Piacenza and, after leaving his master's workshop, returned there, remaining until about 1695, at which point he is said to have moved to Milan, working there until about 1740. Cecie Stainer also states he was born at Piacenza around 1665, worked as a pupil of Antonio Stradivari at Cremona for many years, later went to Milan about 1730, and then to Piacenza, working until about 1740.

However, recent research by Rosengard, as cited by John Dilworth in The Brompton's Book of Violin & Bow Makers, suggests that Lorenzo Guadagnini was not a violin maker in his own right. Dilworth states that labels reproduced in various publications, such as "Laurentius Guadagnini Pater / & alumnus Antoni Stradivari / fecit Placentiae. Anno 1743" and "Laurentius Guadagnini Cremonae / Alumnus Stradivari fecit, anno Domini / 17.." are false. Sources contain conflicting information regarding his actual role as a maker.

Craft

• Design & Model: His instruments are described by George Hart as "exceedingly bold in design," with a model inclined to flatness and a broad design. Cecie Stainer notes they are generally made on a small pattern, slightly arched, and of good proportions. Willibald Leo Lütgendorff mentions a "ziemlich kleines Patron von schöner mittlerer Wölbung" (a rather small pattern with beautiful medium arching).
• Wood & Workmanship: The wood used is consistently described as very beautiful or of good quality. Lütgendorff states the execution is "musterhaft" (exemplary) and the outlines are "schwungvoll" (sweeping).
• F-holes: George Hart observes that Lorenzo frequently changed the form of his sound-hole, sometimes giving it the pointed character of Giuseppe Guarneri and at other times retaining the type perfected by his master. Lütgendorff similarly notes that the F-holes are cut sometimes after Guarneri and sometimes after Stradivari.
• Scroll: George Hart states the scroll is "certainly not an imitation of that of Stradivari;" it possesses considerable originality, being more attractive for its uniqueness than for its beauty. Cecie Stainer, however, notes the scroll is "not so well cut as that of Stradivari." Lütgendorff finds the scroll characteristic for him, though not as beautiful as Stradivari's.
• Varnish: His varnish is described by Lütgendorff as a "goldrother Lack ist wundervoll" (wonderful golden-red varnish), unsurpassed in fire by any Guadagnini except Giambattista. George Hart notes his varnish is "not so brilliant as that of Giovanni Battista, but possesses a mellowness foreign to the other members of the family." Cecie Stainer describes it as "very beautiful golden-red varnish."
• Purfling & Corners: Cecie Stainer mentions the purfling and corners are "rather heavy."
• Tone: The tone is consistently praised as rich and powerful. George Hart describes it as "powerful, tempered with a rich quality." Cecie Stainer notes the tone is "rich and powerful."
• Unique Features: Lütgendorff mentions that there are violins by him that, similar to those of Maggini, have double purfling.

Influence

• Teacher: Lorenzo Guadagnini is widely considered to have been a pupil of Antonio Stradivari. Willibald Leo Lütgendorff states he was a "Schüler von Stradivari, bei dem er lange arbeitete" (pupil of Stradivari, with whom he worked for a long time). George Hart notes the "association of his name with that of Antonio Stradivari." Cecie Stainer identifies him as a "well-known pupil of Antonio Stradivari at Cremona," where he worked for many years.

Legacy

• Family Continuity: He is recognized as the father of the renowned maker Giovanni Battista Guadagnini.
• Market Value: George Hart notes that the instruments made by the Guadagnini family are "rapidly increasing in value." He also states that the works of Lorenzo are "rare, and eagerly sought for in England." Willibald Leo Lütgendorff observes that prices for his violins are "jetzt fortwährend" (constantly increasing) due to their captivating tone. Cecie Stainer adds that his instruments, when in good condition, are of "a high commercial value."
• Historical Standing: He was long considered equal in merit to the Amati family, according to Lütgendorff. George Hart suggests that Lorenzo was likely seen as the principal maker due to his association with Antonio Stradivari.

Further Information

• Workshop Locations: Lorenzo Guadagnini is associated with several locations. He was born at Piacenza. After working with Stradivari in Cremona, he is said to have returned to Piacenza. George Hart suggests he moved to Milan around 1695 and worked there until about 1740. Cecie Stainer also mentions he worked in Cremona, then Milan (about 1730), and later Piacenza. Willibald Leo Lütgendorff notes claims of him working in Milan, but suggests this might be based on a confusion.
• Labels: Labels attributed to him include "Laurentius Guadagnini Pater / & alumnus Antoni Stradivari / fecit Placentiae. Anno 1743" and "Laurentius Guadagnini Cremonae / Alumnus Stradivari fecit, anno Domini / 17.." Cecie Stainer also mentions "Laurentius Guadagnini pater. Alumnus Antoni Stradivari fecit Placentiae, anno 1743" and similar labels dated 1742 and 1743. However, John Dilworth, citing Rosengard, states these labels are false.

Summary

Lorenzo Guadagnini is a historically significant figure in violin making, traditionally recognized as a pupil of Antonio Stradivari and the father of Giovanni Battista Guadagnini. He is often associated with working in Cremona, Piacenza, and Milan, producing instruments noted for their bold design, beautiful golden-red varnish, and powerful, rich tone. His craftsmanship is characterized by a small, slightly arched pattern, good quality wood, and F-holes influenced by both Stradivari and Guarneri. While his scrolls are considered original, their aesthetic appeal is debated among historians. Instruments attributed to him are rare and highly valued. However, recent research by Rosengard, as noted by John Dilworth, challenges his status as an independent maker, suggesting that labels bearing his name are false, indicating conflicting scholarly opinions on his direct involvement in instrument production.