Giuseppe Guarneri

History

Giuseppe Guarneri (1666-1740), born on November 25, 1666, in Cremona, Italy, was the youngest son of the distinguished luthier Andrea Guarneri. Known as 'Filius Andreae', he assisted his father and subsequently inherited the family workshop, located at the sign of St. Theresa in Piazza Domenico, upon his father's death. According to John Dilworth, he continued working in the Amatisé style of his father but was later influenced by his close neighbor, Antonio Stradivari. On January 4, 1690, he married Barbara Franchi, who passed away in 1738. Their marriage produced six children, including three daughters and three sons. Of his sons, only Pietro became a violin maker, as noted by Willibald Leo Lütgendorff and Cecie Stainer. In 1717, his elder son Pietro departed for Venice, and his younger son, Bartolomeo Giuseppe (later known as 'del Gesù'), left the family home in 1722, as detailed by John Dilworth. Giuseppe Guarneri became seriously ill and almost incapacitated around 1730. His last known label, dated 1731, is found in a cello now attributed entirely to del Gesù. Despite his illness, he continued to provide scrolls for his son's instruments almost until his death in 1740, according to John Dilworth.

Craft

• Models and Outline: Giuseppe Guarneri's instruments exhibit a variety of models, representing a transition from the styles of Amati and Andrea Guarneri to that of G. del Gesù, as described by Willibald Leo Lütgendorff. George Hart notes his early works demonstrated significant originality, leading to instruments distinct from his father's. The outline is particularly striking, with the waist of the instrument narrowed but rapidly widening from the center, creating an elegant curve that Giuseppe Guarneri del Gesù later adopted and perfected.
• Workmanship: His work, while having a slight coarseness according to John Dilworth, is characterized by a well-proportioned outline and beautifully reflective varnish, maintaining distinctive Cremonese qualities. Cecie Stainer highlights his good and carefully finished work, though she notes that his violoncellos sometimes show rather careless workmanship.
• Archings and Purfling: John Dilworth mentions that he made the purfling mitres in a more conventional form, and the arching has a consistent hollowing outside the upper part of the soundholes.
• Soundholes: The sound-holes are often placed lower than usual and are widely opened about the middle, as observed by Cecie Stainer. George Hart describes the sound-hole as a singular combination of Amati and Guarneri forms, reviving the pointed shape originated by Gasparo da Salo. He also notes that Guarneri placed the sound-hole a trifle nearer the edge of the instrument than was customary.
• Varnish: The varnish is described as gold-yellow or light brown by Willibald Leo Lütgendorff, and brilliant reddish and of excellent quality by Cecie Stainer. George Hart characterizes it as of the richest description, sometimes applied so plentifully as to clot in places, yet its rare qualities are never deadened.
• Wood: The wood used for his violins and violas varies but is generally handsome, while that for his violoncellos is chiefly plain, according to George Hart. Cecie Stainer notes the wood was well chosen for his violins.
• Tone: His violins are known for a very full and rich tone, as stated by Cecie Stainer. His violoncellos, despite sometimes careless workmanship, consistently possess an excellent tone.
• Instruments Made: He made violins, violas, and violoncellos. His violoncellos are considered very rare, and he seemed to prefer working on smaller instruments, which are patterns of careful handiwork, according to George Hart.

Influence

• Training: Giuseppe Guarneri was a pupil of his father, Andrea Guarneri, and succeeded him in the workshop, as stated by Willibald Leo Lütgendorff and Cecie Stainer.
• Stylistic Influences: Initially, he continued in the Amatisé style of his father but was later influenced by his close neighbor, Antonio Stradivari, according to John Dilworth. His instruments show a transition from Amati and Andrea Guarneri's styles, as noted by Willibald Leo Lütgendorff. George Hart highlights his adoption of the pointed sound-hole form, which originated with the Brescian master Gasparo da Salo.
• Originality and Impact: George Hart emphasizes Giuseppe's greater originality compared to Andrea, noting his ability to think for himself and create distinct instruments. His elegant waist curve was admired, adopted, and perfected by his cousin, Giuseppe Guarneri del Gesù. Carlo Bergonzi also followed Giuseppe Guarneri in the lower placement of sound-holes and their proximity to the instrument's edge.

Legacy

• Family Continuity: Of his three sons, Pietro was the only one who became a violin maker, continuing the family tradition, as mentioned by Willibald Leo Lütgendorff and Cecie Stainer.
• Exhibitions: Two beautiful instruments by Giuseppe Guarneri, dated 1684 and 1707, were exhibited at the South Kensington Museum in 1872, according to Cecie Stainer.
• Market Value: George Hart noted that his instruments were being rapidly acquired across Europe, significantly enhancing their value.
• Misattribution: Many of his best violins have been given labels of Giuseppe del Gesù due to the latter's renown, and some of his good imitations of Stradivari have been mislabeled with Stradivari's name, as reported by Cecie Stainer.

Further Information

• Workshop Location: His workshop was located at the sign of St. Theresa in Piazza Domenico, Cremona, Italy, as detailed by John Dilworth.
• Labels: Examples of his labels include "Joseph Guarnerius filius Andreae fecit / Cremone sub titulo S. Teresiae 1704" (John Dilworth) and "Joseph Guarnerius, filius Andreae fecit Cremonse, sub titulo S. Teresiae, 16 — ", with a similar one dated 1706 (Cecie Stainer).

Summary

Giuseppe Guarneri (1666-1740), known as 'Filius Andreae', was the youngest son and successor to Andrea Guarneri's workshop in Cremona. He initially worked in the Amatisé style but developed a distinct originality, influenced by Antonio Stradivari and earlier masters like Gasparo da Salo. His instruments are characterized by a well-proportioned outline, unique soundhole placement, and rich varnish, representing a crucial transitional period in Cremonese violin making. Despite facing challenges from contemporaries and later illness, he continued to contribute to his son del Gesù's work. His instruments, including violins, violas, and rare violoncellos, are highly valued for their excellent tone and craftsmanship, with some having been exhibited in museums.