Antonio Gragnani

History

Antonio Gragnani worked in Livorno, Italy. According to John Dilworth, he worked circa 1765-1794, while Cecie Stainer indicates his activity was about 1741-1780. Sources contain conflicting information regarding his working dates. Dilworth describes him as a very stylish and idiosyncratic maker who likely learned his craft in Florence.

Craft

• Workmanship: John Dilworth notes his craftsmanship and finish were of the highest order. He employed an Amati-like model with a finely sculpted arch of medium height, or sometimes a slightly pinched higher form. His soundholes were slightly elongated but elegant.
• Materials: Uniquely among Italian makers, Gragnani sometimes used whalebone for the purfling. Cecie Stainer, however, describes his work as a little rough, stating he used inferior wood and poor varnish, though she notes the tone was sympathetic, sweet, and clear. George Hart also mentions he used ordinary wood, but that the tone was often of good quality.
• Head Design: The head of his instruments is described by Dilworth as very striking, featuring a long swan-necked pegbox that was wider at the back than at the top edge, often with quite concave sides. The volute itself was horizontally oval, but very finely worked with a delicate chamfer.
• Varnish: Dilworth states his varnish was golden amber-yellow over a slightly grey ground, reminiscent of the best Carcassi work. In contrast, Stainer describes his varnish as poor, and Hart notes it was somewhat hard.
• Branding: He usually branded his instruments with his initials, "A.G.", on the back button and above the endpin, according to Dilworth. Stainer also confirms he generally branded his instruments with "A. G", and Hart notes he usually branded his initials below the tail-prin.

Influence

• Training: John Dilworth suggests that Antonio Gragnani probably learned his craft in Florence.

Legacy

• Exhibitions: A five-stringed viol by Gragnani, bearing the label " Antonius Gragnani, fecit anno 1741.", was exhibited at the South Kensington Museum, London, in 1872.
• Copyists: John Dilworth notes that many copyists have attempted to duplicate Gragnani's work, possibly due to its distinctive and recognisable nature, leading to some inferior or anachronistic work being attributed to him with his label and brand.

Further Information

• Labels: Known labels include "Antonius Gragnani fecit / Liburni Anno 1783" as cited by John Dilworth. Cecie Stainer mentions labels such as " Antonius Gragnani, fecit anno 1741." and " Antonius Gragnani fecit Liburni. anno 1780", with a similar one dated 1752.

Summary

Antonio Gragnani was an Italian luthier active in Livorno, with conflicting dates of operation ranging from 1741 to 1794. Described as a stylish and idiosyncratic maker, he likely trained in Florence. His craftsmanship was noted for its high order, often employing an Amati-like model, distinctive swan-necked pegboxes, and sometimes unique materials like whalebone for purfling. While some sources praise his golden amber-yellow varnish and excellent tone, others describe his materials and varnish as inferior. He typically branded his instruments with his initials "A.G." and his work has been subject to many copies due to its recognizable nature. An example of his five-stringed viol was exhibited in London in 1872.