Gennaro Gagliano

History

Gennaro Gagliano, the second son of Alessandro Gagliano and brother of Nicola Gagliano, was a prominent Neapolitan violin maker. According to John Dilworth in The Brompton’s Book of Violin & Bow Makers, he worked approximately between 1730 and 1780 in Naples, Italy. However, Cecie Stainer in A Dictionary of Violin Makers states he was born about 1680 in Naples and died in 1750. Willibald Leo Lütgendorff notes that his best period was between 1730 and 1750. Lütgendorff also describes him as a pupil of his father, Alessandro Gagliano, whose influence on his work is unmistakable. John Dilworth considers him possibly the best and certainly the most versatile craftsman of the Gagliano family, a sentiment echoed by Cecie Stainer, who also describes him as the family's finest maker.

Craft

• Innovation: Gennaro Gagliano employed specific personal techniques, such as using maple for the purfling rather than beech, a departure from most of his family's practice, as noted by John Dilworth. He also made distinct modifications to the Stradivari model, sometimes making the arching higher and the sound-holes wider and steeper than the original Stradivari model, according to Willibald Leo Lütgendorff. Cecie Stainer further describes his sound-holes as shorter and wider compared to his father's or Stradivari's.
• Materials: He meticulously selected wood, which Willibald Leo Lütgendorff described as beautiful and Cecie Stainer noted as carefully chosen.
• Methods: His craftsmanship involved utilizing numerous patterns, primarily based on Amati and Stradivari precedents, and his instruments are characterized by accurate finishing and perfectly realised archings, as detailed by John Dilworth. Cecie Stainer explains that he adapted the Stradivari pattern, drawing on his father's general outline and thicknesses. His varnish was described by John Dilworth as being of excellent quality and sometimes deeply coloured. Cecie Stainer noted its beautiful yellow, while Willibald Leo Lütgendorff characterized it as magnificent orange-yellow/reddish. Cecie Stainer adds that a varnish recipe in his handwriting remained in the family, though its secrets were not successfully passed on to successors.

Influence

• Training and Mentorship: Gennaro Gagliano was the pupil of his father, Alessandro Gagliano, whose influence on his work is unmistakable, as stated by Willibald Leo Lütgendorff.
• Schools/Tradition: His work demonstrates adherence to the Gagliano family tradition and a strong influence from the Stradivari model.

Legacy

• Famous Owners: A magnificent violoncello, often attributed to Gennaro Gagliano despite bearing an Antonio Stradivari, 1732 label, has a documented history. It was purchased directly from Gennaro Gagliano around 1740 by an Italian, and later sold in 1765 to M. Champsor, a prominent violoncellist in Marseilles, before passing to M. Bonnet in 1826, according to Cecie Stainer.
• Modern Recognition: Cecie Stainer notes that if the attribution of the 1732 "Stradivari" violoncello to Gennaro Gagliano could be proven, it would place him immediately in the front rank of great Italian makers. Willibald Leo Lütgendorff suggests that Gennaro Gagliano's quality equals or even surpasses that of his brother Nicola Gagliano.

Further Information

• Technical Characteristics: Gennaro Gagliano frequently used an additional label fixed to the upper rib containing a dedication: "In conceptione tua Virgo Maria Immaculata fuisti / Ora pro nobis Patrem, cujus Filium Jesu de Sp. s peperisti" [In thy conception, Virgin Mary, thou wast immaculate / Pray for us to the Father, whose Son Jesus thou didst bear by the Holy Spirit]. Cecie Stainer notes that he sometimes pencilled his name on the inside of the belly.
• Historical Uncertainties: There are conflicting dates regarding his life and career; for instance, John Dilworth states he worked circa 1730-1780, contrasting with Cecie Stainer's dates of birth around 1680 and death in 1750. Cecie Stainer suggests he made few instruments, but Willibald Leo Lütgendorff implies that due to the rare occurrence of his labels, it has been wrongly assumed he worked very little. Much of his work is unlabelled today, leading John Dilworth to imply he may have habitually used imitation labels, including an Amati facsimile. Some of his labels, such as one from 1770, include "Januarius Gaglianus alumnus / Antonii Stradiuarii" [Januarius Gaglianus, pupil / of Antonius Stradivarius]. Other printed labels mentioned in sources include "Januarius Gagliano fecit / Neapoli anno Domini 1736," "Gennaro Gagliano fecit Neap. 17..," and "Januarius Gagliano filius / Alexandri. Fecit Neap. 17..," with a similar one dated 1732 and another 1741 mentioned by George Hart and Cecie Stainer.

Summary

Gennaro Gagliano, a highly regarded violin maker from Naples and the second son of Alessandro Gagliano, was known for his versatile craftsmanship. He primarily followed Amati and Stradivari models, with distinctive features such as the use of maple for purfling and specific arching and sound-hole designs. His instruments are noted for their beautiful wood and excellent orange-yellow or reddish varnish. Despite some uncertainties regarding his working years and the rarity of his labels, his work is considered of high quality, and he is often ranked among the best of the Gagliano family. The attribution of a significant violoncello to him highlights his potential to be counted among the front rank of great Italian makers.