Paolo Antonio Testore

History

Paolo Antonio Testore (circa 1690-1767) was born around 1690 and died in 1767 in Milan, Italy, according to John Dilworth. He was the son, pupil, and successor of Carlo Giuseppe Testore. Karel Jalovec notes that he produced cheaper instruments in company with his brother, Carlo Antonio Testore, with whom he worked until 1710. After this period, he continued working alone, as stated by Cecie Stainer and Willibald Leo Lütgendorff. Lütgendorff also indicates that he was very diligent but focused more on making lutes and guitars, which is corroborated by Stainer, who mentions that his guitars, in particular, are considered among the most beautiful known. While he was a prolific craftsman, only a few of his specimens achieved a fine finish, as observed by Jalovec.

Craft

• Workmanship: John Dilworth describes Paolo Antonio Testore as the least adept maker of his family, often producing quite coarse and sometimes very high-arched instruments. He frequently took shortcuts, including scratched and inked purfling, unfluted pegboxes, and the use of poor wood. Dilworth also notes that his scrolls are remarkable for their carelessness and almost plastic quality. However, Karel Jalovec states that the arching of his instruments is beautiful. Cecie Stainer, George Hart, and Willibald Leo Lütgendorff all mention that many of his instruments were unpurfled or lacked purfling. Henri Poidras adds that his work was not as finished as that of his brother.
• Varnish: The varnish on his instruments is described by John Dilworth as often being of a "quite poor lifeless brown colour," though occasionally it was lighter in tone with some glow. George Hart notes it was mostly yellow. Willibald Leo Lütgendorff refers to it as a "pale yellow, defective varnish," while Karel Jalovec describes it as light yellow, golden-yellow, or brown-yellow. Cecie Stainer characterizes it as lighter, yellow in color, and of inferior quality, a sentiment echoed by Henri Poidras, who mentions a light yellow-brown varnish.
• Models: Paolo Antonio Testore copied the Guarneri model, as noted by George Hart, Willibald Leo Lütgendorff, Karel Jalovec, and Cecie Stainer.
• Tone: Despite some of the criticisms of his craftsmanship, Karel Jalovec states that some of his instruments possess an excellent tone, a point reinforced by Henri Poidras, who describes the tone as powerful.

Influence

• Training: Paolo Antonio Testore was the son and pupil of Carlo Giuseppe Testore.
• Assistance: According to John Dilworth, he was assisted at some point by C. F. Landolphi.

Legacy

• Family Continuity: Cecie Stainer and Willibald Leo Lütgendorff identify Paolo Antonio Testore as the last violin maker of the Testore family name.
• Notable Instruments: Willibald Leo Lütgendorff mentions that Valdrighi once owned a "pretty pocket violin with golden yellow varnish from the year 1738" made by Testore.
• Market Value: Karel Jalovec indicates that his instruments commanded a price of at least 25,000 Kc.

Further Information

• Labels: His labels include "Paolo Antonio Testore / Milano 17.." and "Paolo Antonio Testore figlio / di Carlo Giuseppe Testore / in Contrada Larga di Mila- / no al Segno dell’ Aquila 1759," as cited by John Dilworth and Cecie Stainer.
• Workshop Location: His workshop was located "in Contrada Larga di Milano al Segno dell’ Aquila."

Summary

Paolo Antonio Testore (circa 1690-1767) was a Milanese luthier, the son and pupil of Carlo Giuseppe Testore, and the last violin maker of his family. He worked with his brother, Carlo Antonio, until 1710 before continuing independently. While known for prolific output and a focus on lutes and guitars, his violins often exhibited a less refined craftsmanship, characterized by shortcuts like scratched purfling and poor wood, though some possess an excellent and powerful tone. He frequently copied the Guarneri model and used a range of yellow to brown varnishes. His workshop was located in Contrada Larga di Milano.