Carlo Ferdinando Landolfi

History

Carlo Ferdinando Landolphi (circa 1740-1775) was a German-born violin maker who established his workshop in Milan, Italy, around the middle of the 18th century. According to John Dilworth, he worked approximately from 1750 to 1775 in Milan. Cecie Stainer notes his activity from about 1740 to 1775. His instruments are known for their significant variation in character and finish. George Hart states that while he belonged to the latest of the Italian makers, his merits were of no ordinary kind, and the variation in his instruments likely led to confusion about there being two makers of this name, which Hart clarifies is not the case. Some of his instruments are carefully finished, while others are quite raw or unfinished, sometimes lacking purfling or having only a single coat of varnish, as noted by Stainer and Hart. Lütgendorff also observes that some instruments were executed with the greatest care, while others were rather roughly finished. An inscription found on one of his instruments reads, 'Revisto da Carlo Ferdinando Landolfi, l'anno 1771.'

Craft

• Subheading: Varnish: His instruments exhibit a range of varnish types. Cecie Stainer describes some as having a brilliant red, very transparent varnish, while others feature a yellow varnish that is thin and hard and not of good quality. John Dilworth notes that early work often had a plain golden-brown varnish, while later work featured a thicker, sometimes brittle, golden-yellow or red varnish. George Hart specifically praises the bright red varnish, describing it as very transparent and pleasing when combined with handsome wood. According to Charles Reade, as cited by Lütgendorff, Landolphi is considered the last maker to have possessed the genuine Cremonese varnish.
• Subheading: Wood: He used fine wood, which George Hart describes as strikingly handsome.
• Subheading: Outer Edge: Both Cecie Stainer and George Hart note that the outer edge of his instruments is generally grooved.
• Subheading: Sound-holes: Sources offer varied descriptions of his sound-holes. Cecie Stainer states they are 'badly cut,' and George Hart considers them 'not an effective one' and 'not in keeping with the work.' John Dilworth, however, describes later work as having 'flamboyant soundholes.' Lütgendorff mentions that the F-holes are rarely cleanly worked out, though the incisions are strong.
• Subheading: Scroll: Both Cecie Stainer and George Hart characterize the scroll as weak.
• Subheading: Archings: John Dilworth notes that early work featured bulbous arching, while later work showed a flat arch. Lütgendorff adds that the top is usually more arched than the back.
• Subheading: Pattern and Copies: Sources contain conflicting information regarding his patterns. Cecie Stainer states he 'occasionally copied Giuseppe Guarneri very closely.' Lütgendorff also mentions that many of his violins, especially early ones, were made after Josef Guarneri, leading some to consider him a pupil of that master. Conversely, George Hart asserts that his pattern is 'not a copy of Guarneri, as often stated, but thoroughly original.'
• Subheading: Violoncellos: His violoncellos are highly regarded. Cecie Stainer notes they are generally of small size, extremely good, and rank higher than his violins. She describes them as rather similar to those of Pietro Guarneri but less arched and with more accurate proportions. John Dilworth also praises his 'fine violas and cellos of useful size.'

Influence

• Subheading: Influences: According to John Dilworth, Carlo Ferdinando Landolphi plainly came under the influence of Paolo Antonio Testore upon his arrival in Milan. Dilworth also suggests that Landolphi's later work shows his Germanic style merging with more advanced Italian ideas, possibly gleaned from J. B. Guadagnini, who was active in Milan from 1750 to 1758. Lütgendorff notes that because many of his violins, particularly early ones, were made after Josef Guarneri, he was sometimes considered a pupil of that master. However, Lütgendorff also suggests that judging by his violoncellos, one might consider him a pupil of Pietro Guarneri.
• Subheading: Mentorship: John Dilworth states that Carlo Ferdinando Landolphi taught Pietro Mantegazza.

Legacy

• Subheading: Succession: John Dilworth notes that Carlo Ferdinando Landolphi was succeeded by his son, Pietro Antonio Landolphi, who continued to work until 1785.
• Subheading: Valuation: Cecie Stainer indicates that his violoncellos were valued from '£30 to £50,' and a remarkably fine violin was priced at '£50.'

Further Information

• Subheading: Workshop Locations and Labels: John Dilworth provides several examples of his labels and workshop addresses, including 'Carolus Ferdinandus Landolphus / Fecit Mediolani in Via S.Mar / garitæ anno 1755' and 'Carlo Ferdinando Landolphi / nella Contrada di Santa Margarita / al segno della Sirena. Milano, 1758.'
• Subheading: Dated Instruments: Instruments by Landolphi have been found with various dates. Cecie Stainer mentions two violins dated 1752 and 1753, and a 'Revisto' label from 1771. John Dilworth also cites a 'Revisto' label from 1744, in addition to the 1755 and 1758 labels.

Summary

Carlo Ferdinando Landolphi was a German-born violin maker active in Milan, Italy, from approximately 1740/1750 to 1775. His work is notable for its significant variation in character and finish, with some instruments meticulously crafted and others appearing raw or unfinished. He is recognized for his use of fine wood and for producing highly regarded violoncellos. Landolphi's style shows influences from Paolo Antonio Testore and potentially J. B. Guadagnini, though there is conflicting information regarding whether he copied Giuseppe Guarneri.