Giovanni Battista Gabrielli

History

Giovanni Battista Gabrielli (1716-1771) was a pre-eminent maker of the Florentine school, born in 1716 and dying in 1771 in Florence, Italy. According to John Dilworth, Gabrielli may have received some instruction from Bartolomeo Cristofori, who had previously worked for Nicolò Amati before arriving in Florence in 1709, where he received a royal appointment. While Cristofori's work was decidedly Cremonese in style, Gabrielli consistently worked in the manner of Stainer, which remained the dominant influence in Florence throughout the 18th century. He was active in Florence from about 1740 to 1770, as noted by Cecie Stainer. Gabrielli's work is generally well-controlled and craftsmanlike, and he seldom exaggerated the model in the destructive manner seen in many Stainer followers. John Dilworth also notes that many dictionaries list several other makers in the Gabrielli family, such as Antonio, Bartolomeo, and Cristoforo, but their existence is not yet supported by historical research, and these names may be fictitious, used in less convincing imitations of his work. Willibald Leo Lütgendorff identifies him as the most significant violin maker of his name, considering him one of the best Florentine makers of his time, though not reaching the level of the Cremonese masters.

Craft

• Workmanship: Gabrielli's work is generally well-controlled and craftsmanlike, seldom exaggerating the model in the destructive manner of many Stainer followers.
• Scrolls: His scrolls are nicely contrived, though sometimes a little broad through the second turn.
• 'f' holes: The 'f' holes are very elegant, often successfully combining elements from both Stainer and Stradivari.
• Varnish: The varnish is described as rich golden-yellow or orange with good, even consistency by John Dilworth. Cecie Stainer notes he used a transparent yellow or pale red varnish, while Willibald Leo Lütgendorff describes it as mostly light yellow, transparent but somewhat hard.
• Materials: He used good materials, including excellent wood, though the best cuts of maple are seldom encountered. Much use was made of beech wood in the purfling and interior.
• Model Variation: His work does vary to some extent, an aspect exacerbated by many speculative attributions. He sought a new model, creating a number of violins that appear too roundly arched.
• Best Works: His violoncellos and altos are considered his best work and are known for their good tone.

Influence

• Mentorship: Giovanni Battista Gabrielli may have had some instruction from Bartolomeo Cristofori, who had a Cremonese style.
• Stylistic Influence: Gabrielli consistently worked in the manner of Stainer, which remained the dominant influence in Florence throughout the 18th century.

Legacy

• Branding: Instruments are often branded on the back button with 'G.B.G.' Sources contain conflicting information regarding other branding, with Willibald Leo Lütgendorff mentioning 'T. B. G.' as a brand mark.
• Labels: Examples of his manuscript labels include "Joannes Baptistae de / Gabriellis Florentinus / fecit 1767" and "Gio. Batista de Gabrielli / fece in Firenze 1757". Cecie Stainer also notes "Gio. Battista Gabrielli, fece in Firenze, 1757" and a similar one dated 1763.
• Museum Holdings: A violin made by Gabrielli in 1745 is held in the Museum Kraus in Florence.
• Reputation: His name was often misused by dealers, leading to incredible distortions such as "Gabbicellis" or "Garbicelli" in imitations.

Further Information

• Branding: Gabrielli's instruments are typically branded on the back button with the initials 'G.B.G.' Willibald Leo Lütgendorff also mentions a brand mark 'T. B. G.'
• Labels: Known manuscript labels include "Joannes Baptistae de / Gabriellis Florentinus / fecit 1767" and "Gio. Batista de Gabrielli / fece in Firenze 1757".
• Museum Collection: The Museum Kraus in Florence possesses a violin crafted by Gabrielli in 1745.

Summary

Giovanni Battista Gabrielli (1716-1771) was a pre-eminent Florentine violin maker, active from approximately 1740 to 1770. He is recognized for his craftsmanlike work, which consistently followed the Stainer model, a dominant influence in 18th-century Florence. Gabrielli's instruments feature elegant 'f' holes, often combining Stainer and Stradivari elements, and are finished with a rich golden-yellow or orange varnish. While he used good materials, the finest maple cuts are less common, with beech wood frequently appearing in purfling and interiors. His violoncellos and altos are particularly esteemed for their quality and tone. Gabrielli's instruments are often branded with 'G.B.G.', and his name was frequently misused by dealers for imitations.