Pietro (II) Guarneri

History

Pietro (II) Guarneri (1695-1762) was born on April 14, 1695, in Cremona, Italy, the eldest son and pupil of Giuseppe Guarneri, ‘filius Andreae’. According to John Dilworth, he left Cremona around 1717 to work in Venice, where he remained for the rest of his life, dying in 1762. However, Cecie Stainer states that he worked first in Mantua and then in Venice until about 1760. Willibald Leo Lütgendorff notes that a third Pietro Guarneri is believed to have lived in Mantua from 1720 to 1750, which may contribute to the differing accounts regarding Pietro (II)'s early career location. His own labels date from approximately 1730, and he was most prolific between 1740 and 1750. He died in Venice.

Craft

• Instruments: Pietro (II) Guarneri is rightly famed for his cellos, which combine the virtues of the Venetian instrument with those of his own tradition. He also made numerous violins and at least one viola.
• Violin Characteristics: His violins exhibit variety, with some showing a preponderance of Amati characteristics and others a broader, flatter Stradivari style, but with more rounded 'c' bouts and prominent upper corners. George Hart notes that his work and model differ entirely from his brother's and his father Andrea's, featuring increased breadth between the sound-holes, a rounder and more perpendicular sound-hole, more contracted middle bouts, and a more raised model.
• Edgework and Scroll: The edge is usually broad and deeply worked. The scroll is deeply cut, beautifully concentric, and abounds in individuality of design, with the ear brought out with much effect.
• Soundholes: The soundholes are notable, often set widely apart and of a fluid shape, with the upper eye and wing contrastingly small compared with the open treatment of the lower wing and finial.
• Purfling: The purfling is splendidly executed, with corners worked up to an extreme point of delicacy characteristic of Niccolo Amati's works. It is embedded after the manner of Amati's 'grand' instruments, but to a greater extent.
• Materials: Materials are often outstandingly fine. Pietro Guarneri used some of the finest wood, with bellies invariably wide in grain and very even.
• Varnish: The varnish is superb, of the richest description, and its transparency is unsurpassed. Its quality is limpid golden orange, sometimes of a golden tint, sometimes of a pale red, on which the light plays with delightful variety. A most beautiful violoncello is known with a golden amber colour tinted with rose, rather similar to that of Montagnana.
• Arching and Tone: His instruments are rather arched, possess splendid varnish, and a fine rich tone.

Influence

• Training: Pietro (II) Guarneri was the pupil of his father, Giuseppe Guarneri, ‘filius Andreae’.
• Venetian Workshops: Upon arriving in Venice, there were several busy workshops, including those of Gofriller, Montagnana, Tononi, Serafin, and the important guitar-maker Matteo Sellas, any of whom could have provided employment to the young Cremonese maker.
• Conflicting Influences: Sources contain conflicting information regarding his primary influences. Willibald Leo Lütgendorff states that he later leaned more towards his uncle Pietro's models, leading to potential confusion between their works. Cecie Stainer also suggests he followed the patterns of his uncle Pietro and may have been his pupil while in Mantua.

Further Information

• Labels: His labels include "Petrus Guarnerius Filius Joseph / Cremonensis fecit Venetijs / Anno 1750", and "Petrus Guarnerius filius Joseph Cremonensis fecit Venetiis, anno 1739". Another similar label is dated 1755.
• Notable Instruments: A most beautiful violoncello is known, with sides and back made of beautifully marked maple, and an admirable golden amber varnish tinted with rose.

Summary

Pietro (II) Guarneri (1695-1762) was a distinguished Cremonese luthier, the eldest son and pupil of Giuseppe Guarneri, ‘filius Andreae’. He established his career in Venice, where he worked from around 1717 until his death, though some sources suggest an earlier period in Mantua. Renowned for his cellos, violins, and a viola, his instruments are celebrated for their outstanding materials, superb and transparent golden-orange varnish, and distinctive craftsmanship that blended Cremonese tradition with Venetian influences. His work exhibits unique characteristics in model, soundholes, and purfling, setting him apart from his family's immediate lineage.