Michele Deconet

History

Michele Deconet (1713-1799) was born in 1713 in Kehl, Strasbourg, France, and died in 1799 in Venice, Italy, according to John Dilworth. He is recorded in historical documents as a violinist and singer, despite being unable to read music. It has been suggested that he lacked the qualifications for membership in the luthier's guild in Venice, which would imply he could not practice the craft legally. Nevertheless, a considerable body of his distinctive and stylistically consistent work exists, which cannot be readily attributed to any other known maker. Deconet began his working life as a soldier, stationed for two years in Paris. After leaving the army, he traveled to Venice in 1732, supporting himself as a musician. He subsequently made several excursions from Venice, either working as a musician or selling his instruments. Some published labels from the end of his life indicate Padua as the place of origin, though he ultimately died in Venice. Willibald Leo Lütgendorff notes that Deconet may have been the son of Gio B. D. and that he was still working in Padua in 1790.

Craft

• Workmanship: His work is generally considered a little coarse, but features an admirable flat model, although the arch consistently has a slightly pinched center.
• Early Period: Early work, dating from around 1745, exhibits a more Amati-like arch, following both the narrow and 'Grand' Amati models. These instruments bear a particularly fine and typically Venetian thick red varnish, which was prone to clotting and crazing.
• Later Period: Over the years, the quality of his varnish declined somewhat, with many later instruments featuring a paler, less richly textured yellow or golden-brown coating.
• Scrolls: A distinctive feature of his scrolls is that the throat is not sawn right across at the end of the pegbox mortice; instead, it was worked from either side with a knife. This idiosyncrasy has often been 'corrected' by later restorations.
• Proportions: In other respects, Deconet admirably followed classical precepts of proportion and geometry.
• Instrument Types: Violas and cellos of compact size are known, often on a recognizably Montagnana form, but are relatively rare.
• Stylistic Influences: According to Willibald Leo Lütgendorff, in outline, he imitated Joseph Guarneri and sometimes Stradivari, though without particular flair. Cecie Stainer notes he was a follower of the Cremona school.
• Varnish Characteristics: Lütgendorff states that his red-brown varnish is uncommonly similar to that of Montagnana.

Influence

• Mentorship: Specific technical features in Deconet's work are shared with Peter Guarneri of Venice, who may have been his informant in the craft, as noted by John Dilworth.
• School Affiliation: Sources contain conflicting information about his direct training; while Cecie Stainer states he was a follower of the Cremona school, Willibald Leo Lütgendorff suggests he was considered a pupil of Montagnana due to the similarity of his varnish.

Legacy

• Known Instruments: A violin by Michele Deconet dated 1786 is owned by Herr Wrede in Lüneburg, according to Willibald Leo Lütgendorff. Cecie Stainer mentions two violins and a violoncello known to be well-made with yellow varnish, with a similar label dated 1771.
• Labels: Examples of his labels include: Micael Deconet / fecit Venetiis, 1752; Michele deconet / fecit Venetiis. anno 1754; Michael Deconet / Fecit Venetiis, Anno 1759 (Manuscript); fatto da me / Michele Deconet 1764; Michael Deconer / fecit Venetiae 1786; and Michele Deconet / Fecit, Venetijs Anno / 1764, Settembre.

Summary

Michele Deconet (1713-1799) was a prolific and distinctive instrument maker born in Kehl, France, who primarily worked in Venice, Italy, and also in Padua. Initially a soldier and musician, he developed a unique style despite questions regarding his formal guild membership. His instruments are characterized by an admirable flat model, a slightly pinched arch, and a distinctive scroll carving technique. Early works featured a thick red Venetian varnish, which later evolved into paler yellow or golden-brown hues. He is noted for sharing technical features with Peter Guarneri of Venice and is sometimes considered a follower of the Cremona school or a pupil of Montagnana, whose varnish his own resembled.