Carlo Tononi

History

Carlo Tononi (1675-1730) was, according to John Dilworth, the son and pupil of Giovanni Tononi. He initially worked in Bologna, much in the style of his father, until 1717 when he relocated to Venice. In Venice, he worked for Matteo Sellas and began to label his own instruments from 1720. Sources contain conflicting information regarding his parentage; Karel Jalovec and Cecie Stainer identify him as the son of Felice and brother of Giovanni and Guido. Furthermore, there are discrepancies regarding his working dates and lifespan. While John Dilworth states his death in 1730, labels cited by Dilworth and Stainer indicate instruments made in Venice as late as 1739. Willibald Leo Lütgendorff discusses the possibility that the Bolognese and Venetian Carlo Tononi might be the same person, noting their shared shop sign 'zur heil. Cäcilie' (to Saint Cecilia), but also points out that this would imply a lifespan of at least 100 years and that the work of the Venetian master differs significantly from that of the Bolognese master. George Hart notes that his violins date from about 1716.

Craft

• Model: Carlo Tononi's instruments are generally of a large model, often featuring very full arching, though Cecie Stainer notes they are not as highly arched as those of his brother Giovanni. He worked in Amatisé and Stainer patterns, with Henri Poidras stating his flat model is best and greatly resembles that of Montagnana. Karel Jalovec describes his instruments as having a most beautiful large pattern in the style of Nicolo Amati, with the upper part of the belly being broader but flatter, and in Venice, he worked on the large pattern of Amati, with arching and gracefully cut small, round sound-holes executed in the style of Stainer.
• Workmanship: John Dilworth describes his style as generally very refined with slender purfling, though he also notes that workmanship is quite inconsistent, with some examples made with the plainest materials and ill-shaped heads. George Hart states his instruments are beautifully made. Karel Jalovec highlights the very carefully worked belly and admirably finished edges and purfling.
• Varnish: The varnish used by Tononi is described by John Dilworth as yellow-gold or deep red, of inferior quality to that of his father in Bologna. Henri Poidras mentions a fine Venetian orange varnish. Karel Jalovec notes he applied a good yellow, brown, often also red varnish, and in Venice, a yellow or yellow-red varnish with high lustre. George Hart and Cecie Stainer both describe his varnish as somewhat similar to Santo Serafino's, with Stainer specifying a yellow-brown colour. Willibald Leo Lütgendorff also notes his orange varnish is similar to Serafino Santo.
• Materials: Henri Poidras states that Tononi was not always over-careful in his choice of woods. John Dilworth mentions some examples made with the plainest materials. Willibald Leo Lütgendorff observes that the wood used was very different, sometimes magnificent and often quite ordinary.
• Soundholes: Henri Poidras notes that the lower part of the sound holes is much open. Karel Jalovec describes them as gracefully cut small, round sound-holes.
• Cellos: John Dilworth states that his cellos are rare but of a typically grand Venetian character.
• Pochettes: John Dilworth mentions pochettes decorated with inlay. Cecie Stainer notes a pocket violin with beautiful inlaid work was exhibited at Milan in 1881.
• Bows: John Dilworth reports that bows survive with Carlo Tononi's brand, some of the most important surviving examples of the early Italian school, characterized by being pike-headed and elegantly fluted.
• Branding: Henri Poidras and George Hart state that his instruments were branded above the tail pin. Cecie Stainer and Willibald Leo Lütgendorff add that he often branded his monogram or name near the button of the tailpiece.

Influence

• Mentorship: According to John Dilworth, Carlo Tononi was the pupil of Giovanni Tononi. Henri Poidras suggests that Montagnana was, in all probability, his master.
• Stylistic Influence: He worked much in the style of his father, according to John Dilworth. His instruments are described as being made after Nicolo Amati by Henri Poidras, Karel Jalovec, and Willibald Leo Lütgendorff, and also incorporating Stainer patterns by John Dilworth and Karel Jalovec.
• Collaborations: In Venice, he worked for Matteo Sellas, as noted by John Dilworth.

Legacy

• Family Connections: Sources contain conflicting information regarding his family. John Dilworth identifies him as the son of Giovanni Tononi. However, Karel Jalovec and Cecie Stainer state he was the son of Felice and brother of Giovanni and Guido.
• Exhibitions & Collections: A pocket violin with beautiful inlaid work by Carlo Tononi was exhibited at Milan in 1881. A violin by him is part of the Collection of the Liceo filarmonico in Bologna.
• Market Value: Karel Jalovec indicates that his Bologna instruments commanded prices of 80,000 Kc and more, while his Venice instruments were valued between 65,000 and 80,000 Kc.

Further Information

• Working Locations: Carlo Tononi worked in Bologna and later in Venice.
• Shop Addresses & Signs: His labels indicate various addresses, including 'in Platea Castaelionis' in Bologna, 'in via Sancti Mamantis sub signo Sancte Caecilie' in Bologna, and 'in S. Mamolo al Insegno di S. Cecilia' also in Bologna. In Venice, he worked 'sub Titulo S. Ceciliae'. Willibald Leo Lütgendorff notes the consistent use of the 'zur heil. Cäcilie' (to Saint Cecilia) shop sign in both Bologna and Venice.
• Labels: Examples of his labels include: '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..', and 'Carolus Tononi Bonon. fecit / Venetijs sub Titulo S. Ceciliae / anno 1739'.