Amati > Makers Archive > Gioffredo Cappa

Gioffredo Cappa

Auction price history

Highest auction price

£111,845

Type	Details	Sold	Price
Violin	Many table restorations including the sound post crack, back blemish, head restoration	Sun 1st December 2024	£45,562
Violin	Labelled Jofredus Cappa Fecit Salutus Anno 1690, head probably by a member of the Kloz family	Tue 1st October 2024	£57,600
Violin	Featured on pp. 126-127 in The Strad in October 1943 as Giovanni Tononi; head probably by S. Serafino	Fri 1st March 2024	£96,000
Violin	36 cm 18th C. [Attributed to]	Tue 1st March 2011	£5,625
Violin	Saluces, 1695-1700 c. (many restorations, head replaced)	Tue 1st June 2010	£111,845
Violin	35.6 cm Saluzzo, 1700 c. (the head later)	Thu 1st October 2009	£37,250
Violin	35.6 cm Saluzzo, 1690 c.	Sun 1st October 2006	£71,155
Violin	35.3 cm 1700 c. [Attributed to]	Wed 1st February 2006	£9,840
Violin	35.5 cm Saluzzo, 1695 c.	Wed 1st February 2006	£108,000
Cello	Saluzzo, 1690 c.	Sat 1st October 2005	£88,250
Violin	Saluzzo, 1680 c.	Tue 1st February 2005	£26,400
Violin	Saluzzo,1680c. 7/8 size (the head later)	Fri 1st October 2004	£17,495
Violin	1690	Sat 1st December 2001	£49,172
Violin	1680	Fri 1st November 1996	£29,900
Violin	1700 c.	Thu 1st December 1994	£21,378
Violin	1680	Wed 1st June 1994	£41,100
Violin	1670	Fri 1st November 1991	£39,600
Violin	1700 c.	Mon 1st April 1991	£24,200
Cello	16--	Thu 1st November 1990	£19,250
Violin	1690 c.	Wed 1st June 1988	£20,900
Cello	1700 c.	Sun 1st November 1987	£15,400
Violin	1690	Wed 1st April 1987	£35,200
Violin	1681 c.	Sat 1st June 1985	£20,465
Violin	1691	Sun 1st April 1984	£14,300
Violin	1680	Fri 1st April 1983	£20,900
Violin	1703	Sun 1st November 1981	£4,620
Violin	169-	Sat 1st March 1980	£14,046

Biographies

John Dilworth George Hart Cecie Stainer Willibald Leo Lütgendorff

John Dilworth

CAPPA, Goffreddo Born 1644, died 1717 Saluzzo, Turin Italy. An early maker of the Turin school working in an Amati influenced style. His teachers were almost certainly of Tyrolean origin, notably Enricus Catenar and Andrea Gatto, who utilised the technique peculiar to northern European makers of setting the ribs into a channel cut into the inner edge of the back. Cappa soon revised this, and made instruments in a more conventional way, but with distinctive sloping soundholes and a deeply coloured but softly textured varnish. His style was perpetuated in Turin by Spiritus Sorsana and Joannes Franciscus Celoniatus, but the Turin school subsequently fell into decline until its revival in the early nineteenth century by Joannes Franciscus Pressenda. A fake Cappa label was extensively used in the past, leading to the idea that he was far more prolific than he actually was. Many of Count Cozio di Salabue’s early acquisitions are credited to Cappa in his accounts, but this was probably an optimistic assessment. Cozio convinced himself that Cappa was a very significant maker with connections to Amati, but his workmanship is quite alien to all known Cremonese techniques. With more accurate appraisal his instruments can be ranked amongst the best provincial work of the late 17th century in Italy, and are fine and highly desirable concert instruments. Both Pugnani and Viotti were said to have been familiar with his violins. Cellos are somewhat rare. He was not greatly consistent in choice of materials, and backs can be of various cuts and species, while tops are not always of the finest straight Alpine growth. Jofredvs Cappa / fecit Salutiisanno 1680 Joffridus Cappa / fecit Salutiis anno 1692 Jofredus Cappa / in Saluzzo, fecit anno 1698

George Hart

According to Lancetti—who received his information from Count Cozio di Salabue – Gioffredo Cappa was always regarded in Piedmont as a pupil of Antonio and Girolamo Amati, and therefore worked in Cremona during his early years. He removed to Piedmont, possibly, that he might have greater scope for the exercise of his talents, it being, no doubt, difficult for him to obtain any important patronage, surrounded as he was at Cremona by so many famous men engaged in the same occupation as himself. Count Cozio failed to discover any information relative to the name of Cappa in connexion with the records of the town of Saluzzo, and he concluded that Cappa was a Cremonese, there having existed in Cremona families of the name. The instruments of Cappa are, even now, little known in England, and twenty years since were recognized only by the most intelligent connoisseurs. The greater number of them consist of works of high merit, and, although not prized at present, must ultimately command prices proportionate to their real value. Their likeness to the instruments of the Amatis is in some instances peculiarly striking, but in others there is a marked dissimilarity. Particularly this is the case in the form of the sound-hole and scroll. The sound-hole is sometimes large, and quite out of keeping with the elegant outline of Amati. The points of difference may be summed up as follows :—the sound-hole is larger, and more obliquely set in the instrument; the upper portion of the body has a more contracted appearance; the head, as is the case with most makers, differs most, and, in this instance, in no way resembles Amati. There are few specimens of Cappa that bear their original labels; most of them are counterfeit ” Amatis,” and hence the great confusion which has arisen concerning their parentage. Lancetti says, ” Foreign professors and amateurs, and particularly the English—though connoisseurs of the good and the beautiful—in buying the instruments of Cappa thought they had acquired those of Amati, the out- line and character of the varnish and the quality of the tone resembling in some measure the instruments of the Brothers Amati. It is, however, reserved to a few Italian connoisseurs to distinguish them. Those of large pattern, and even of medium size, that have not been injured by unskilful restorers, are scarce, and realize high prices.” These remarks, suggested sixty years since, by so able a connoisseur as Count Cozio, possess a peculiar interest, and cannot fail to interest the reader. As Lancetti remarks, they are of two patterns, one larger than the other. The large one is, of course, the more valuable; it is flatter, and altogether better finished. The Violoncellos of Cappa are among the best of the secondclass Italian instruments, and are well worthy the attention of the professor and amateur. The varnish is frequently of very rich quality, its colour resembling that of Amati in many instances. Lancetti remarks upon the difference between those instruments of this make, as regards wood, made in Cremona, and those made in Piedmont, the firstnamed being made of wood of foreign growth, and the last with that of home growth, which is coarse and plain. The backs are whole, or in two parts, seldom cut on the cross. Cappa —. Confusion has arisen from the dates on the Cappa labels extending, it is said, from 1590 to 1712, some dating from Saluzzo, others from Turin. To credit one maker with this long line of manufacture would—associating mighty names with a subordinate one—dwarf the artistic achievements of Stradivari at the age of ninety-three, and of Titian at ninety-six. Upon turning to the information given by Count Cozio to Lancetti relative to Cappa, we have the following words : ” I cannot ascertain the real Christian name of the first nor of the other Cappa, because two at least worked in succession in Piedmont, judging from the difference of style and make.”