Carlo Tononi

Type	Details	Sold	Price
Violin	35.6 cm Venice, 1733 ex "Eduard Colonne"	Fri 1st October 2010	£228,000
Violin	35.6 cm [Attributed to]	Fri 1st May 2009	£10,093
Violin	35.3 cm Venice, 1726	Wed 1st October 2008	£22,500
Violin	35.3 cm Bologna or Venice, 1715-20 c. with Literature	Sat 1st March 2008	£180,500
Violin	35.5 cm Venice, 1725	Sat 1st March 2008	£78,500
Violin	Venice, 1716	Sun 1st May 2005	£34,309
Cello	Italy, 18th C. [Attributed to]	Tue 1st February 2005	£20,400
Violin	18th C. [Attributed to]	Tue 1st February 2005	£14,400
Violin	[Attributed to]	Tue 1st February 2005	£7,800
Violin	[Attributed to]	Thu 1st July 2004	£35,850
Violin	Venice [Attributed to]	Thu 1st July 2004	£20,315
Cello	Bologna, 1705 c.	Mon 1st March 2004	£23,900
Violin	1725	Sun 1st October 2000	£116,275
Violin	1720	Mon 1st May 2000	£38,149
Violin	1703	Thu 1st June 1995	£58,700
Cello	1730	Mon 1st April 1991	£143,000
Violin	1750 c.	Thu 1st November 1990	£19,800
Violin	1715	Sat 1st November 1986	£33,000
Violin	1725	Fri 1st June 1984	£34,560

John Dilworth

TONONI, Carlo Born 1675 Bologna, died 1730 Venice Italy. Son and pupil of Giovanni Tononi, below. Worked in Bologna, much in the style of his father, until 1717 when he moved to Venice. Worked there for Matteo Sellas and started to label his own instruments from 1720. Large model, often with very full arching, but generally very refined style with slender purfling. Amatisé and Stainer patterns. Yellow-gold or deep red varnish of inferior quality to that of his father in Bologna. Cellos rare, but of typically grand Venetian character. Workmanship is quite inconsistent, with some examples made with the plainest materials, and ill-shaped heads. Pochettes decorated with inlay. Bows survive with his brand, some of the most important surviving examples of the early Italian school: pike-headed and elegantly fluted. Carolo Tonocus fecit Bononiae / in Platea Castaelionis, anno Domini / 1698 Carolus Tononi fecit Bononiae in via / Sancti Mamantis sub signo Sancte / Caecilie, Anno Domini 1716 Fornito da me Carlo Tononi in Bologna / in S. Mamolo al Insegno di S. Cecilia. / Anno 1715 Carolus Tononi Bonon. restaursuit Venetijs 1721 Carlo Tononi Bolognese/ Fece in Venezia l’A: 17.. Carolus de Tononi / fecit Venetiis 17.. Carolus Tononi Bonon. fecit / Venetiis sub Titulo S. Ceciliae / anno 1739

Cecie Stainer

Son of Felice. First worked in Bologna, then settled in Venice. His instruments vary a good deal; they are generally of a large pattern, not so highly arched as those of his brother Giovanni, and show beautiful workmanship; his varnish, somewhat similar to that of Santo Serafino, is a yellow-brown colour. A pocket violin, with beautiful inlaid work, was exhibited at Milan, 1881, its label was; ” Carolo Tononus fecit Bononia; in Platea Castaetionis, anno Domini 1698.” In a violin in the Collection of the Liceo filarmonico, Bologna, is the label : ” Carolus Tononi fecit Bononiae, anno 1717.” Another label is: “Carolus Tononi Bonon fecit Venetiis sub titulo S. Cecilicae, anno 1739.” He often branded his monogram near the button of the tailpiece.

George Hart

Probably a son of [Carlo Tononi], Venice. The model varies very much; those of the flat Pattern are excellent instruments. They are large, and beautifully made. The varnish, though inferior to that of Santo Serafino, is similar. These Violins are branded above the tail-pin. His Violins date from about 1716.

Willibald Leo Lütgendorff

Wahrscheinlich ein Sohn von Carlo T. Man hat die Behauptung aufgestellt, dass der Bologneser und der Venezianer Carlo T. ein und dieselbe Person seien, da Beide das gleiche Ladenschild »zur heil. Cäcilie« führten. Abgesehen davon, dass man ihm dann ein Lebensalter von mindestens 100 Jahren zubilligen müsste, unterscheidet sich auch die Arbeit des Venezianers sehr von der des in Bologna arbeitenden Meisters. Carlo Antonio T. ist wesentlich schwächer; er arbeitet nach Nic. Amati; sein Orange-Lack ist dem von Serafino Santo ähnlich, das Holz sehr verschieden, manchmal prachtvoll und oft recht gewöhnlich. Er brannte seinen Namen auch am Knopf des Saitenhalters ein. Gallay theilt einen Zettel von der zweiten Art aus dem Jahre 1768 mit, der den Zusatz enthält: »e dal 1728 defini di far prove e gl’istrumenti principio.«

Henri Poidras

Beautiful make after N. Amati. His flat model is best; it greatly resembles that of Montagnana who in all probability was his master. The body of the instrument is ample, but, the scroll although graceful is not treated in the same manner, as might be expected. The lower part of the sound holes is much open. Fine Venetian orange varnish. Branded above the tail pin. This master was not always over-careful in his choice of woods.

Karel Jalovec

Bologna. About 1689—1717. Son of Felice, brother of Giovanni and Guido. Built instruments on a most beautiful large pattern in the style of Nicolo Amati. The upper part of the very carefully worked belly is broader, but flatter. He applied a good yellow, brown, often also red varnish. His instruments have a full arching and wonderful tone. Price 80.000 Kc and more. When in Venice Tononi worked on the large pattern of Amati. The arching and the gracefully cut small, round sound-holes are executed, however, in the style of Stainer. The edges and the purfling are admirably finished. He used a yellow or yellow-red varnish with high lustre. His works are very good concert instruments. Price 65-80.000 Kc.

£228,000

Auction price history

Biographies

John Dilworth

Cecie Stainer

George Hart

Willibald Leo Lütgendorff

Henri Poidras

Karel Jalovec

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