Giacomo Zanoli

History

Giacomo Zanoli (circa 1725-1765) was the son of Giovanni Battista Zanoli. Evidence suggests his presence in Venice, as noted by Willibald Leo Lütgendorff and Henri Poidras. An internal inscription of 'Padua 1737' on one of his cellos, as documented by John Dilworth, indicates his activity there. Karel Jalovec states that he worked in Venice and came to Padua in the 1740s, remaining there until his father's death. Lütgendorff suggests he returned to Verona after his father's death to take over the inherited workshop. Jalovec specifies his move from Padua to Verona occurred between 1755 and 1758. Inscriptions such as 'Giacomo Zanoli fece in Verona, 1741' and 'Fato in Verona di Giacomo Zanoli 1752' further confirm his work in Verona.

Craft

• Workmanship: John Dilworth describes his work as very fine, often based on a Stainer-derived model, featuring medium-height arching of a somewhat square cross-section, small corners, upright soundholes, and a distinctive scroll with a large, nicely symmetrical concentric volute. His pegbox is noted as fairly long and slender with a very parallel back face and a narrow chin. Dilworth also highlights his excellent cellos, which possess a powerful, Montagnana-like appearance.
• Materials & Varnish: Dilworth notes the use of walnut for linings and large pins in the upper and lower back. His varnish is described as a fine, rich, and transparent golden-yellow brown by Dilworth, and a wonderful brown-yellow or brown-red by Karel Jalovec.
• Models & Patterns: Sources contain conflicting information regarding the primary models used by Zanoli. John Dilworth indicates a Stainer-derived model, while Karel Jalovec states that the arching of his instruments was almost always designed on the model of Guarneri del Gesu, and that he worked on various patterns. Henri Poidras notes that his violins recall those by Landolphus.
• Instrument Types: Willibald Leo Lütgendorff mentions that his violas and cellos are the most common. Henri Poidras states that he made 'cellos that are much sought after.
• Artistic Merit: Sources also present conflicting views on the artistic merit of his work. John Dilworth praises his 'very fine work' and 'excellent cellos'. Henri Poidras notes his 'cellos that are much sought after'. Conversely, Willibald Leo Lütgendorff states that his work is 'ohne Kunstwerth' (without artistic merit).

Influence

• Family Tradition: Giacomo Zanoli was the son of Giovanni Battista Zanoli, indicating a likely training and influence within a family workshop tradition.

Legacy

• Market Value: Karel Jalovec reports that his instruments were valued at 40,000 Kc, with some works exceeding 100,000 Kc. Henri Poidras notes that his 'cellos are much sought after.

Further Information

• Locations of Work: He worked in Venice, Padua, and Verona.
• Inscriptions: Known inscriptions include an internal 'Padua 1737' on a cello, 'Giacomo Zanoli fece in Verona, 1741', and 'Fato in Verona di Giacomo Zanoli 1752'. Willibald Leo Lütgendorff suggests he may have set and printed his own Venetian labels.

Summary

Giacomo Zanoli, active circa 1725-1765, was an Italian luthier and the son of Giovanni Battista Zanoli. He worked in Venice, Padua, and Verona, eventually taking over his father's workshop in Verona. His craftsmanship is characterized by a distinctive scroll, specific arching, and a fine golden-yellow brown varnish. While some sources praise his 'very fine work' and 'excellent cellos' that are 'much sought after', others describe his work as 'without artistic merit'. His instruments, particularly cellos, are noted for their powerful appearance and have commanded significant market value.