Nicola Bergonzi

History

Nicola Bergonzi (1754-1832) was born in Cremona, Italy. Sources contain conflicting information regarding his parentage; John Dilworth identifies him as the eldest son of Zosimo Bergonzi, while Cecie Stainer and George Hart state he was the eldest son of Michel Angelo Bergonzi. His earliest known work is dated 1777, though he was likely active earlier. Cecie Stainer notes his period of activity in Cremona as approximately 1755-1782. It is not clear from whom he learned violin making, as his father, Zosimo, was barely active as a luthier, according to John Dilworth. Nicola Bergonzi was more motivated than his father and, from fairly crude beginnings, developed a clean style of work. He was highly influential in the work of Storioni, who was his close neighbor, and the two may have been partners and collaborators in the last decades of the 18th century. He appears to have retired from violin making in 1796 and was registered in Cremona as a cloth merchant by 1804. His labelled work is rare.

Craft

• Workmanship: Nicola Bergonzi's work is described by John Dilworth as a clean style, well-proportioned and neatly finished, though sometimes a little stiff in outline and heavy. Cecie Stainer notes that his instruments show a great falling off, but his work is often highly finished, yet wanting in character. George Hart similarly states that his workmanship was very good, often highly finished, but lacking character. Willibald Leo Lütgendorff observed that his instruments were inferior in tone and workmanship compared to his father's.
• Model and Form: His instruments were made on a similar model to that of his father, according to Cecie Stainer and George Hart.
• Wood Selection: George Hart notes that he selected wood of a close nature and hard appearance. Cecie Stainer describes the wood as often too close-grained. Willibald Leo Lütgendorff also commented that the wood was not well chosen.
• Varnish: The varnish is frequently criticized; John Dilworth notes it lacked the fine varnish of earlier Cremonese makers. Cecie Stainer describes it as poor and thin. George Hart states it was thin and cold-looking, not equal to that of Carlo Bergonzi. Willibald Leo Lütgendorff described the varnish as thin and having little fire.
• Scroll: The scroll is often described as cramped by Cecie Stainer and George Hart, with Hart adding it was scarcely of the Cremonese type. Willibald Leo Lütgendorff also found the scroll to be unbeautiful (unschön).
• Production: He made a great number of violins, as noted by Cecie Stainer and George Hart.
• Moulds: According to George Hart, some of the moulds of Antonio Stradivari were lent to Michel Angelo Bergonzi and were subsequently used by Nicola, which accounts for the varied form of their instruments.

Influence

• Mentorship: It is not clear from whom Nicola Bergonzi learned violin making, as his father, Zosimo, was barely active as a luthier, according to John Dilworth.
• Influence on Contemporaries: He was highly influential in the work of Storioni, who was his close neighbor, and they may have been partners and collaborators in the late 18th century, as noted by John Dilworth.

Further Information

• Instrument Types: His rare labelled work includes small-sized children's violins, some violas, and double basses, but, as far as is known, no cellos, according to John Dilworth. Lancetti mentions a Tenor by this maker, dated 1781, as cited by George Hart.
• Label Inscription: An example of his label reads: "Nicolaus Bergonzi / Cremonensis faciebat / Anno 17.. [Gindin]", as provided by John Dilworth.
• Location: He worked in Cremona, Italy.

Summary

Nicola Bergonzi (1754-1832) was a Cremonese luthier whose parentage is disputed among historical sources, with some citing Zosimo Bergonzi and others Michel Angelo Bergonzi as his father. Active from at least 1777, he developed a clean, well-proportioned style, though his instruments are often noted for their heavy outline, cramped scrolls, and thin, cold-looking varnish. He made a significant number of violins and was influential on his contemporary, Storioni. Bergonzi retired from violin making around 1796, later becoming a cloth merchant. His labelled instruments, which include violins, violas, and double basses, are rare.