John Dilworth
GUADAGNINI, Lorenzo Father of Giovanni Battista Guadagnini, above. Previously considered to be a violin maker in his own right and listed in most dictionaries, but recent research by Rosengard has shown this not to be the case. Labels reproduced in various publications are false. Laurentius Guadagnini Pater / & alumnus Antoni Stradivari / fecit Placentiae. Anno 1743 Laurentius Guadagnini Cremonae / Alumnus Stradivari fecit, anno Domini / 17.. [Rosengard]
George Hart
The instruments made by the Guadagnini family are rapidly increasing in value. No matter to which of the Guadagnini the instrument may owe its origin ; if it bears the name, importance is attached to it, often without due regard to the merits of the particular specimen. The later members of the family have thus received attention measured by the excellence of the works of their forefathers. That this should be so to a certain extent can scarcely excite surprise, nor is it singular in the Italian branch of the art. The great makers of the Guadagnini family were Lorenzo and Giovanni Battista. The former has been considered the chief maker; but if the merits of each be duly weighed, they will be found to be nearly equal. It is probable that Lorenzo has been looked upon as the principal maker from the association of his name with that of Antonio Stradivari, a fact which, it must be granted, lends to it a certain degree of importance. The instruments of Lorenzo are exceedingly bold in design, and differ in this respect from those of Giovanni Battista, which retain much of the delicate form of Stradivari. Lorenzo frequently changed the form of his sound-hole, giving it the pointed character of Giuseppe Guarneri in some instances, and in others retaining the type of soundhole perfected by his master. The model is inclined to flatness, the declivity being of the gentlest kind: the breadth of the design commands admiration. The scroll is certainly not an imitation of that of Stradivari; it has considerable originality, and is more attractive on that account than for its beauty. The varnish is not so brilliant as that of Giovanni Battista, but possesses a mellowness foreign to the other members of the family. The tone is powerful, tempered with a rich quality. The works of this maker are rare, and eagerly sought for in England. Lorenzo Guadagnini was born at Piacenza, and upon leaving the workshop of his master, returned to his native town, where he remained until about the year 1695, at which period he is said to have removed to Milan. In the last-named city he continued to work until about the year 1740.
Cecie Stainer
b. at Piacenza (?) about 1665; worked till about 1740. A well-known pupil of Antonio Stradivari at Cremona, he worked there for many years; later went to Milan (about 1730) and then to Piacenza. His instruments are much liked, especially the violins; generally made on a small pattern, slightly arched, of good proportions, the wood of good quality, with very beautiful golden-red varnish; the purfling and corners rather heavy, the scroll not so well cut as that of Stradivari, the tone rich and powerful. His instruments, when in good condition, are of a high commercial value.
and Laurentius Guadagnini pater. Alumnus Antoni Stradivari fecit Placentiae, anno 1743 ” ; similar labels are dated 1742 and 1743-
His son, Giambattista, was also a maker.
Willibald Leo Lütgendorff
Schüler von Stradivari, bei dem er lange arbeitete. Er kehrte nach 1730
in seine Vaterstadt zurück. In seiner Arbeit strebt er mit Glück seinem Lehrer
nach und gebrauchte ein ziemlich kleines Patron von schöner mittlerer Wölbung.
Das Holz ist sehr schön, die Ausführung musterhaft, die Umrisslinien schwungvoll.
Die F-Löcher sind bald nach Guarneri, bald nach Stradivari geschnitten.
Characteristisch für ihn ist die Schnecke, die allerdings nicht so schön ist, als
die von seinem Lehrer Stradivari. Sein goldrother Lack ist wundervoll und
wird von keinem Guadagnini ausser von Giambattista an Feuer übertroffen. Es
soll auch Geigen von ihm geben, die ähnlich wie die von Maggini, doppelte
Einlagen haben. Er wurde lange den Amati’s als gleichwerthig geachtet, doch
steigen die Preise für seine Violinen wegen ihres bestrickenden Tons jetzt fortwährend.
Dass er auch in Mailand gearbeitet haben soll, wird zwar behauptet,
scheint aber auf einer Verwechslung zu beruhen.
