Giovanni Battista (I) Grancino

History

Giovanni Battista (I) Grancino (1637-1709) was a prominent Milanese violin maker. Sources contain conflicting information regarding his parentage; while John Dilworth states he was the eldest son of Andrea Grancino, Willibald Leo Lütgendorff indicates he was the son of Paolo. He lived and worked in the Contrada Larga in Milan, a common area for Milanese violin makers, and his shop was identified by the sign 'della Corona' according to his labels. Willibald Leo Lütgendorff suggests he initially settled in Ferrara before returning to Milan. After early work with his brother, Giovanni Battista (I) Grancino developed a distinctive and original style, establishing himself as the foremost maker of the Milan school, as noted by John Dilworth. He taught his son, Giovanni Battista (II), but disinherited him in 1709 due to his involvement in the murder of Antonio Maria Lavazza, as noted by John Dilworth. However, Cecie Stainer mentions he had two sons, Francesco and Giam Battista, both makers, without detailing the disinheritance.

Craft

• Stylistic Development: His earlier work, described by John Dilworth, was broad and similar to that of Andrea Guarneri, which later evolved into a very personal and elegant model.
• Edges and Corners: John Dilworth notes his distinctive style included a narrow edge with delicate, slightly drooping upper corners.
• Archings: His instruments featured a low but pinched arching, according to John Dilworth, and were not as arched as his father's work, as stated by Cecie Stainer.
• Soundholes: John Dilworth highlights beautifully rendered soundholes with a strong Stradivarian influence, characterized by broad wings.
• Scroll: The scroll is very distinctive, with deeply dished and narrow volutes and a small eye of almost conical shape, as described by John Dilworth.
• Varnish: The varnish is typically of a rich yellow-gold colour, according to John Dilworth, or deep yellow to orange-red, as mentioned by Willibald Leo Lütgendorff and Cecie Stainer.
• Wood Selection: Willibald Leo Lütgendorff states he surpassed his father in wood choice, a point echoed by Cecie Stainer, who noted his wood was more carefully chosen.
• Tone: His instruments are known for a large and powerful tone, according to Willibald Leo Lütgendorff and Cecie Stainer.
• Workmanship: Cecie Stainer notes that the details of his instruments were not always very carefully finished.
• Violas: A very fine double-purfled contralto viola is in the collection of the Royal Academy of Music, London, though John Dilworth suggests he rarely made violas without his brother's assistance.
• Cellos: Cellos are more common but were made on a very large pattern, with most in use today having been cut down, as observed by John Dilworth.
• General Pattern: Many of his violins, violas, and violoncellos were made on a large flat pattern, according to Cecie Stainer.

Influence

• Teacher: Cecie Stainer identifies him as a pupil of his father.
• Pupils: He was the teacher of Carlo Antonio Testore and his son, Giovanni Battista (II) Grancino, as stated by John Dilworth.
• Employer: He employed Bartolomeo Pasta, who was previously a pupil of Nicolò Amati in Cremona, according to John Dilworth.
• Stylistic Influences: His early work showed characteristics similar to Andrea Guarneri, and his soundholes exhibited a strong Stradivarian influence, as noted by John Dilworth.

Legacy

• Notable Instruments: A double-purfled contralto viola by Giovanni Battista (I) Grancino is held in the collection of the Royal Academy of Music, London.
• Market Value: Willibald Leo Lütgendorff noted that at the time of his writing, Grancino's best works were commanding prices of 2500 Marks.

Further Information

• Shop Sign: His shop was identified by the sign 'della Corona' ('at the sign of the Crown'), which appeared on his labels, as mentioned by John Dilworth and Cecie Stainer.
• Address: He worked in the Contrada Larga in Milan, as indicated on his labels and noted by John Dilworth and Cecie Stainer.
• Labels: Examples of his labels include "Gio. Bapt. Grancino in Contrada / Largha di Milano, anno 16.." and "Gio. Grancino al Segno della Corona / in Contrada larga di Milano, fece 16.." (John Dilworth), and "Giovanni Grancino in Contrada Largha di Milano, al segno della Corona, 1721." (Cecie Stainer).

Summary

Giovanni Battista (I) Grancino (1637-1709) was a leading Milanese violin maker, known for developing a distinctive and original style that positioned him as the foremost craftsman of the Milan school. He worked in the Contrada Larga, Milan, under the sign 'della Corona'. His instruments are characterized by a narrow edge, delicate drooping upper corners, low arching, Stradivarian-influenced soundholes, and a unique scroll. He used a rich yellow-gold varnish and was noted for his careful wood selection, producing instruments with a powerful tone. He taught Carlo Antonio Testore and his son, Giovanni Battista (II) Grancino, and employed Bartolomeo Pasta.