Domenico Montagnana

Auction price history

Highest auction price

£612,000

Type	Details	Sold	Price
Violin		Wed 7th March 2012	£193,250
Violin	34.9 cm Venice, 1740 c.	Fri 1st October 2010	£133,250
Violin	35.5 cm ex "Josef Roisman" [Provenance]	Tue 1st June 2010	£612,000
Violin	36.0 cm Italy [Ascribed to]	Mon 1st October 2007	£8,125
Violin	Venice, 1740 c.	Tue 1st November 2005	£108,000
Violin	Venice, 1729	Wed 1st June 2005	£40,249
Violin	1733	Wed 1st October 2003	£138,900
Bass	1747 c.	Mon 1st March 1999	£155,500
Violin	1741	Mon 1st March 1993	£177,500
Violin	1728 c.	Thu 1st November 1990	£88,000
Violin	1731	Wed 1st November 1989	£77,000
Violin	1727	Thu 1st June 1989	£154,000
Violin	1730 c.	Tue 1st November 1988	£225,500
Violin	1728	Wed 1st April 1987	£40,700
Violin	1735 c.	Sat 1st March 1986	£48,400
Violin	1737	Mon 1st April 1985	£86,400

Maker Overview

History

Domenico Montagnana (1687-1750) was born in Lendinara, Rovigo, and died in Venice, Italy. He moved to Venice around 1701, where he worked with Matteo Sellas and, according to John Dilworth, almost certainly Matteo Gofriller. By about 1711, he established his own workshop at ‘the Sign of Cremona’ in the Calle dei Stagneri. According to Cecie Stainer, he was a celebrated maker in Venice from about 1720-1750. John Dilworth notes he was known as ‘the mighty Venetian,’ a designation George Hart attributes to Mr. Reade. His workshop and business at the ‘Sign of Cremona’ were taken over by Giorgio Serafin after his death in 1750.

Craft

Innovation: Domenico Montagnana developed his own principles of construction, giving his instruments a distinctive character while still showing the influence of the Cremonese school. George Hart notes that he was in every way original and demonstrated fertility of resource, rather than being a mere copyist. He created a broad but not excessively long pattern for his cellos, which some consider superior to the Stradivari ‘B’ form. His violins varied in model, drawing from Stainer or Amati to Stradivari-derived patterns.
Materials: Montagnana consistently used materials of extremely fine quality. John Dilworth specifies beautifully flamed maple used extensively for backs and sides, and fine-grained mountain spruce, often with some hazel figure, for the fronts. According to Cecie Stainer and Willibald Leo Lütgendorff, he exhibited great knowledge of wood qualities, carefully choosing beautifully figured wood.
Methods: His work is characterized by freely curving outlines and expressive, relaxed craftsmanship, as noted by John Dilworth. His violins featured archings that ranged from very high and full to lower and more tonally effective. His cellos, however, were remarkably consistent, generally having rounded and full, but not too high, archings. Cecie Stainer describes his construction as being on a large pattern, with rather arched tops, prominent corners, and carefully finished purfling and corners. His soundholes were gracefully cut; Cecie Stainer compared them to Guarneri's, while John Dilworth noted that some featured an exaggerated Stainer form with large, paddle-like lower wings, and others on cellos were more Amatisé. His scrolls are described as very individual by John Dilworth, featuring a slightly extended last turn to a slightly off-centre eye and an abrupt change in the smooth flow of the bottom curve of the pegbox at the chin. George Hart further notes that his scroll was larger and its turns bolder than the Stradivari form. The varnish he used was a rich, clotted red (Dilworth), described as transparent and a rich golden-red colour, recalling Carlo Bergonzi's (Stainer, Lütgendorff). Hart praises his varnish for its extreme richness and velvet-like softness.

Influence

Training and Mentorship: Sources present conflicting information regarding Montagnana's training. Cecie Stainer and George Hart state he was a pupil of Antonio Stradivari in Cremona. Cecie Stainer further claims he worked with Stradivari for twenty years. Willibald Leo Lütgendorff notes that some call him a pupil of Nicolaus Amati and a fellow student of A. Stradivari, while others consider him Stradivari's direct pupil. Lütgendorff suggests he "probably began with Amati and then worked for years with Stradivari." John Dilworth, however, notes his arrival in Venice around 1701 and subsequent work with Matteo Sellas and Matteo Gofriller, without directly mentioning Stradivari as a teacher. Despite these differing accounts, his work unequivocally shows the influence of Stradivari and the Cremonese school (Lütgendorff, Hart).
Schools/Tradition: Montagnana had a great influence on the Venetian school, according to Willibald Leo Lütgendorff. He carried with him the "superior form of the Cremonese school" to Venice, then a flourishing center for instrument making, enabling him to surpass others there (Hart).

Legacy

Museum Collections: Willibald Leo Lütgendorff states that the Paris Conservatorium owns a bass made by Domenico Montagnana.
Modern Recognition: Montagnana is considered a master of the first rank (Lütgendorff). His instruments are highly esteemed, with his tone described as wonderful, earning him a place alongside Stradivari, Guarneri, and Bergonzi (Lütgendorff). George Hart notes that Montagnana's merits are increasingly appreciated, and his increasing popularity proves the value of his design. Hart asserts that the "mighty Venetian" and Carlo Bergonzi will occupy positions only slightly less considerable than those of the two great masters, partly due to the scarcity of their genuine works.

Further Information

Technical Characteristics: Domenico Montagnana’s violins are known to vary in model from Stainer or Amati to Stradivari-derived patterns, some with very high full archings, others lower and tonally more effective. His cellos, however, are remarkably consistent, made on a distinctive broad but not excessively long pattern. The outline of Montagnana's instruments, compared to Stradivari's, has flattened upper and lower curves with extended centre curves (Hart). His soundholes often partake more of the character of Guarneri (Stainer, Hart). His scrolls are larger and have bolder turns than Stradivari's form, and are very individual with a slightly extended last turn to a slightly off-centre eye and an odd break in the smooth flow of the bottom curve of the pegbox which changes abruptly at the chin (Dilworth, Hart). He made violins (in two sizes), violas (noted for a peculiarly solemn and penetrating tone), violoncellos (especially liked for solo playing), and basses.
Historical Uncertainties: There are conflicting accounts regarding Montagnana's early training. While some sources claim he was a pupil of Antonio Stradivari for many years, others suggest he may have started with Nicolaus Amati or worked with other Venetian makers like Matteo Sellas and Matteo Gofriller upon his arrival in Venice. Willibald Leo Lütgendorff also mentions that due to his preference for a large pattern and arching corresponding to the first Stradivari model, many of his works are circulated with Stradivari's labels, making it difficult to verify the total number of his extant works. George Hart and Cecie Stainer also note that spurious labels of "Guarnerius filius Andreae," "Carlo Bergonzi," and "Pietro Guarneri" were often placed in his instruments, which historically prevented his proper recognition.

Summary

Domenico Montagnana, born in 1687 and active in Venice until his death in 1750, is recognized as a master violin maker, affectionately known as ‘the mighty Venetian.’ Though details of his early training are debated, with some attributing him to Antonio Stradivari and others suggesting ties to Nicolaus Amati and Venetian makers like Matteo Gofriller, his work undeniably carries the influence of the Cremonese school. Establishing his workshop under the sign ‘Cremona’ in Venice around 1711, Montagnana's craftsmanship is distinguished by magnificent cellos, considered among the finest concert instruments. He utilized extremely fine-quality, beautifully figured maple and mountain spruce, applying a rich, golden-red varnish lauded for its velvet-like softness. His instruments feature freely curving outlines, distinctive scrolls, and varied soundhole designs, demonstrating an original approach that departed from Stradivari's specific details while maintaining a profound overall influence. Montagnana made violins, violas, violoncellos, and basses, with his cellos being particularly celebrated for solo playing. Despite historical misattributions of his instruments to other renowned makers, his legacy has been increasingly recognized, positioning him alongside Stradivari, Guarneri, and Bergonzi in historical significance.

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Biographies

John Dilworth George Hart Cecie Stainer Willibald Leo Lütgendorff

John Dilworth

MONTAGNANA, Domenico Born 1687 Lendinara, Rovigo, died 1750 Venice Italy. Moved to Venice in about 1701, working with Matteo Sellas and almost certainly Matteo Gofriller. Established in workshops at ‘the Sign of Cremona’ in the Calle dei Stagneri from about 1711. Known as ‘the mighty Venetian’ for his magnificent cellos, which are amongst the finest concert instruments available to any soloist. His work is characterised by freely curving outlines, a particularly rich and clotted red varnish, and expressive and relaxed craftsmanship. Violins vary in model from Stainer or Amati to Stradivari-derived patterns, some with very high full archings, others lower and tonally more effective. Soundholes can vary greatly, some having an exaggerated Stainer form with large paddle-like lower wings. His cellos however are remarkably consistent, made on a distinctive broad but not excessively long pattern which for some is superior to the comparatively narrow but only slightly longer Stradivari ‘B’ form. The archings are generally rounded and full, but not too high. The soundholes are Amatisé, and the scrolls very individual, with a slightly extended last turn to the slightly off-centre eye and an odd break in the smooth flow of the bottom curve of the pegbox which changes abruptly at the chin. As with much Venetian work, materials are generally of extremely fine quality, with beautifully flamed maple used extensively, and fine grained mountain spruce, often with some hazel figure, used for the fronts. His workshop and business at the ‘Sign of Cremona’ were taken over by Giorgio Serafin after his death. Dominicus Montagnana Sub Si- / gnum Cremonæ Venetiis, 17..

George Hart

Pupil of Antonio Stradivari After leaving the workshop of his famous master he followed his art in Cremona. He afterwards removed to Venice, where Violin manufacture was in the most flourishing condition, and adopted the name of ” Cremona” as the sign of his house. In days when houses were unnumbered, tradesmen were found by their sign, and they were often puzzled to select one both distinctive and effective. The Violin-makers of Italy, having exhausted the calendar of its Saints emblematic of Harmony, left it to the Venetian to honour the name of himself and the city which was the seat of the greatest Violin manufacture the world had witnessed. In Venice he soon attained great popularity, and made the splendid specimens of his art with which we are familiar. The instructions which he had received at Cremona enabled him to surpass all in Venice. He gained great knowledge of the qualities of material, and of the thicknesses to be observed ; and, moreover, he carried with him the superior form of the Cremonese school, and the glorious varnish. Mr. Reade names him “the mighty Venetian,” an appellation not a whit too high-sounding, though it may appear so to those not acquainted with his finest works. The truth is, that Montagnana is less known than any of the great makers. For years his works have been roaming about bearing the magic labels of ” Guarnerius filius Andreae,” ” Carlo Bergonzi,” and sometimes of ” Pietro Guarneri,” although there is barely a particle of resemblance between the works of our author and the makers named, whose labels have been used as floats. Montagnana was in every way original, but the fraud that has foisted his works upon makers who were better known has prevented his name from being associated with many of his choicest instruments, and deprived him of the place which he would long since have held in the estimation of the true connoisseur. This injustice, however, is fast passing away; as ever, genius comes forth triumphant. The time is near when the ” mighty Venetian ” and Carlo Bergonzi will occupy positions little less considerable than that of the two great masters. Already the merits of these makers are daily more appreciated, and when the scarcity of their genuine works is considered, it becomes a matter of certainty that their rank must be raised to the point indicated. It is much to be regretted that both Montagnana and Bergonzi did not leave more numerous specimens behind them. Would that each had been as prolific as their common master! We should then have inherited a store from which our coming Violinists and Violoncellists could have possessed themselves of splendid instruments, when those of Guarneri and Stradivari were placed far beyond reach. In these times, when the love of music is rapidly developing itself among all classes, the question of supply must attract notice. The prime question with respect to Violins of the highest character is not now as to price, but as to the supply of limited and daily decreasing material; and the doubtful point is, not whether purchasers are to be found who may not be unwilling to pay the increased cost consequent upon scarcity, but whether the instruments required will be available in sufficient numbers to satisfy the demand of those quite prepared to gratify their wishes for the possession of an instrument of the first rank. A single glance is sufficient to remind us that the list of makers of the highest class, and particularly of original artists, is scanty indeed. There are a few copyists, it is true, notably Lupot and Panormo, whose instruments must take a considerable position, but on the whole the demand will far exceed the supply. The difficulty here noticed is intensified from the fact of the Violin being, unlike any other musical instrument, sought after as it is for the cabinets of the collector as well as for actual use—a state of things perfectly natural when its artistic beauties are considered. Violinists possibly consider they smart under a sense of wrong at the hands of collectors in thus indulging their taste; but, on the other hand, we have reason to be grateful to the lovers of art for having stayed the hand of Time in demolishing these treasures. To return to the subject of this present notice: it is evident that when Montagnana left the workshop of Stradivari, he gave full scope to his creative powers. He at once began to construct upon principles of his own, and thus followed the example of his fellow-worker, Carlo Bergonzi. If comparison be made between the work of Stradivari and that of Domenico Montagnana, with regard to detail, the two makers will not be found to have much in common. It is when Montagnana’s instrument is viewed as a whole that the teaching of Stradivari is evidenced. A similar assertion may, in a lesser degree, be made in the case of Carlo Bergonzi. To dissect the several points of difference is a simple matter. If we begin with the outline, that of Montagnana has not the smoothness and grace of the Stradivarian type ; the upper and lower curves are flattened, while those of the centre are extended. The sound-hole partakes more of the character of Guarneri; the scroll is larger, and the turns bolder than in the Stradivari form. These, then, may be considered to be the chief points wherein, if viewed as separate items, Montagnana seems to have varied from his master: and hence we may obtain some idea of the amount of originality belonging to this maker—an amount, indeed, not inferior to that of any Cremonese artist that can be cited. The increasing popularity of Montagnana’s instruments is sufficient proof that his design was fraught with much that is valuable. In departing from the form of Antonio Stradivari, Carlo Bergonzi and Montagnana doubtless intended to bring out in a stronger degree certain particular qualities of tone: at the same time we may be sure that they had no idea of attempting to improve upon Stradivari in his own field of work, for they must have well known the Herculean character of such a task. On the other hand, had these remarkable makers been mere copyists, they would certainly have handed down to us more instruments moulded in exact accord with the style of their great teacher ; while, at the same time, we should have lost many variations, which are at present not only an evidence of their fertility of resource, but also in themselves most pleasing objects. If, in the sister art, Tintoretto had made it his sole business to copy Titian, the world would have been rich in copies of Titian, but poor in Tintorettos. The varnish of Montagnana has long excited the admiration of connoisseurs throughout Europe. The extreme richness and velvet-like softness which are its characteristics constitute it a fitting countersign of the workmanship of this great maker, an artist of the first magnitude. He made Violins, Violas, and Violoncellos. His Violins are of two sizes.