Violin 2nd page
Except otherwise stated, all results include the premium.
In addition to Stradivarius.
See also : Musical instrument
In addition to Stradivarius.
See also : Musical instrument
Stradivarius
see dedicated page :
1690 Guarnerius Viola by Andrea Guarneri
2019 SOLD for $ 1.27M by Tarisio
The Casa Guarneri, workshop of luthiers in Cremona, begins with Andrea who had been until 1654 a pupil and collaborator to Amati. His eldest son Pietro settles in Mantua in 1683. His other son Giuseppe 'filius Andreae' stays with him in Cremona.
From the mid-1680s Giuseppe demonstrated an exceptional skill. Andrea continues to validate the instruments made in their workshop until his death in 1698. Giuseppe 'filius Andreae' is recognized as the best competitor to Stradivari.
The violas made by Guarneri are very rare. They are divided into two periods : four instruments known from 1660 to 1676 plus three from 1690 to 1697. The last three meet the tradition of bearing the name of performers who owned them : Josefowitz, Nobuko Imai, Primrose. They undoubtedly benefit from Giuseppe's know-how and are extremely similar to each other with dimensions considered as ideal.
The Primrose Guarneri viola was sold on July 5, 2012 by Tarisio in a private auction whose result was not disclosed. The Tarisio Auctions page in Wikipedia nevertheless announces a price above $ 4M for this transaction. It is famous for the power of its tone and William Primrose often used it in his recordings.
On May 16, 2019, Tarisio sold for $ 1.27M the Josefowitz Guarneri viola, lot 45. This instrument has the label of Andrea Guarneri in Cremona with the date of 1690 which is highly credible.
From the mid-1680s Giuseppe demonstrated an exceptional skill. Andrea continues to validate the instruments made in their workshop until his death in 1698. Giuseppe 'filius Andreae' is recognized as the best competitor to Stradivari.
The violas made by Guarneri are very rare. They are divided into two periods : four instruments known from 1660 to 1676 plus three from 1690 to 1697. The last three meet the tradition of bearing the name of performers who owned them : Josefowitz, Nobuko Imai, Primrose. They undoubtedly benefit from Giuseppe's know-how and are extremely similar to each other with dimensions considered as ideal.
The Primrose Guarneri viola was sold on July 5, 2012 by Tarisio in a private auction whose result was not disclosed. The Tarisio Auctions page in Wikipedia nevertheless announces a price above $ 4M for this transaction. It is famous for the power of its tone and William Primrose often used it in his recordings.
On May 16, 2019, Tarisio sold for $ 1.27M the Josefowitz Guarneri viola, lot 45. This instrument has the label of Andrea Guarneri in Cremona with the date of 1690 which is highly credible.
A rare Guarneri viola is up to $900,000 and in the first extension as bidding starts to close #AuctionUpdate https://t.co/vM6MPWFyBN pic.twitter.com/Wmb8ooKBjx
— Tarisio (@TarisioAuctions) May 16, 2019
GUARNERIUS DEL GESU Violin
1
1725 the Folinari
2012 SOLD for £ 1.5M by Tarisio
The followers of Amati maintained Cremona as the undisputed capital of violin making. Facing Stradivari who worked until over 90 years old, the Guarneri family has also created wonderful instruments. Maybe they used the same sources for the woods.
The popular image for Stradivari is that of a perfectionist craftsman taking care of every detail of the wood and shape. In contrast, the last of the Guarneri from Cremona, Giovanni son of Giovanni filius Andreae, is viewed as a more romantic figure. His violins reach the same power and the same quality of tone as the best Stradivarius instruments.
On June 25, 2012, Tarisio sold a Guarnerius violin for £ 1.5 M, lot 138. Made around 1725 by the younger Giovanni, it is one of the earliest instruments of the master at a time when he left the workshop of his father to make his own instruments. It is in very good condition.
The popular image for Stradivari is that of a perfectionist craftsman taking care of every detail of the wood and shape. In contrast, the last of the Guarneri from Cremona, Giovanni son of Giovanni filius Andreae, is viewed as a more romantic figure. His violins reach the same power and the same quality of tone as the best Stradivarius instruments.
On June 25, 2012, Tarisio sold a Guarnerius violin for £ 1.5 M, lot 138. Made around 1725 by the younger Giovanni, it is one of the earliest instruments of the master at a time when he left the workshop of his father to make his own instruments. It is in very good condition.
2
1727-1730
2025 SOLD for € 2.3M by Artcurial
A violin executed by the younger Giuseppe Guarneri ca 1727-1730 was sold for € 2.3M by Artcurial on December 16, 2025, lot 1.
Asking Grok : Significance of violins executed by Giuseppe Guarneri before he used the IHS 'del Gesu' trademark. Compare a violin for sale by Artcurial on December 16, 2025, lot 1, with another Guarnerius violin sold by Tarisio on June 25, 2012, lot 138.
Significance of Violins by Giuseppe Guarneri Before the "del Gesù" Trademark
Giuseppe Guarneri, commonly known as Giuseppe Guarneri "del Gesù" (1698–1744), was a pivotal figure in the Guarneri family of violin makers from Cremona, Italy, and is widely regarded as one of the two greatest luthiers in history, alongside Antonio Stradivari. His instruments are celebrated for their bold outlines, powerful projection, and complex tonal depth—qualities that often surpass Stradivari's in intensity, making them favorites among virtuosos like Niccolò Paganini, Jascha Heifetz, and Itzhak Perlman. However, the violins he crafted before adopting his distinctive "del Gesù" trademark in 1731 hold particular historical and artistic importance.
The trademark refers to the inclusion of the Christogram "IHS" (Iesus Hominum Salvator, or Jesus, Savior of Mankind) beneath a cross on the instrument's internal label, symbolizing veneration for the Holy Name. This signature element first appeared in 1731, marking a shift toward Guarneri's mature, independent style. Instruments made prior to this—primarily from the 1720s—are rarer and represent an transitional phase in his oeuvre. These early works, often produced while he assisted in his father's workshop (Giuseppe Giovanni Battista Guarneri), show influences from the Amati and Brescian schools, with narrower waists, more delicate arching, and refined edges compared to his later, bolder designs. They exhibit a "delicacy" not always associated with "del Gesù," blending sweetness with emerging power, and some feature scroll heads carved by his father, identifiable by their symmetrical volutes.
Their significance lies in several key aspects:
Comparison of the Two Guarneri Violins
The two instruments in question are both rare early works by Giuseppe Guarneri "del Gesù," predating his 1731 IHS trademark and thus exemplifying the transitional delicacy and emerging boldness of his 1720s output. The Artcurial violin (Lot 1, auctioned December 16, 2025) is a pristine example from 1727–1730, estimated at €2–2.5 million ($2.1–2.6 million USD at current rates). The Tarisio violin (Lot 138, sold June 25, 2012) is the renowned "Folinari" from c. 1725, which realized £1.5 million ($2.33 million USD at the time)—a then-world auction record for the maker. Both hail from private collections and have been authenticated by leading experts, underscoring their status as "violinist's dreams" for their balance of refinement and projection.
Below is a structured comparison across key dimensions, drawing on auction records, provenance, and stylistic analysis:
AspectArtcurial Violin (Lot 1, Dec 16, 2025)Tarisio "Folinari" Violin (Lot 138, Jun 25, 2012)
Date of Construction
Artcurial : 1727–1733 (pre-trademark transitional period)
Folinari : c. 1725 (one of the earliest independent "del Gesù" works)
Physical Characteristics
Artcurial : Medium-sized body with delicate arching, refined edges/corners, and higher-set sound holes; one-piece back of slab-cut maple; varnish described as "golden-brown" with subtle craquelure; length ~35.5 cm. Exhibits early Guarneri sweetness with hints of later power.
Folinari : Broader outline with bold Brescian influences (e.g., Maggini-like f-holes); fuller arching than very early pieces; two-piece back of flame maple; reddish-brown varnish; length ~35.6 cm. Known for its "robust yet elegant" form, blending Amati grace with emerging depth.
Provenance/History
Artcurial : From the collection of Philippe Dennery (scientist, entrepreneur, and patron); exhibited at Artcurial Paris (Dec 11–15, 2025); no major virtuoso ownership noted, but certified by experts like Beurret Baillet Widmer for authenticity.
Folinari : Named after early owner Ernesto Folinari (Italian collector); passed through W.E. Hill & Sons (London dealers) and private European hands; exhibited at 2012 Tarisio preview in New York; anonymous buyer post-sale.
Auction Details
Artcurial, Paris (Sale N°6427: "Guarneri del Gesù: Un rêve de violoniste"); Lot 1 (lead lot); hammer estimate €2–2.5 million (high due to pristine condition and rarity); live/online bidding; unsold as of Dec 9, 2025.
Folinari : Tarisio, online (New York-based); Lot 138; sold for £1.35 million hammer + premium = £1.5 million ($2.33 million); set 2012 world record for a "del Gesù" (surpassed later by pieces like the 2023 "Baltic" at $9.44 million).
Condition & Tonal Qualities
Artcurial : Excellent preservation; minimal repairs; praised for "exceptional resonance and distinctive character"—warm, projecting tone ideal for soloists, with the subtlety of pre-1731 works.
Folinari : Very good, with historical adjustments (e.g., neck graft); lauded for "unsurpassed depth and darkness" even in youth, offering complex overtones that foreshadow mature "del Gesù" power; favored for its balance in recordings.
Market Significance
Artcurial : Represents rising demand for untouched early "del Gesù" pieces; estimate reflects 2025 inflation and post-pandemic collector surge (up ~20% from 2012 equivalents); could challenge records if it exceeds €2.5 million.
Folinari : Marked a milestone in violin auctions, highlighting scarcity (only ~2 "del Gesù" sold publicly in prior decade); its record held for years, influencing values—adjusted for inflation, equivalent to ~$3 million today.
Similarities
Both pre-1731, emphasizing Guarneri's workshop evolution; rare survivors (~10% of output); valued for tonal versatility over Stradivari's "nobility"; authenticated via dendrochronology /varnish analysis.
Key Differences
Artcurial : Slightly later date yields more refined delicacy; higher 2025 estimate due to European market strength and condition; tied to modern patronage (Dennery collection).
Folinari : Earlier date makes it a "benchmark" for 1720s style; U.S./UK auction context drove 2012 buzz; broader historical trail but more interventions.
In summary, both violins exemplify the pre-trademark significance of "del Gesù"—transitional gems that capture his genius in nascent form, with the Artcurial piece offering fresher preservation and the "Folinari" providing deeper historical pedigree. Their combined auction trajectories illustrate the escalating value of these instruments, from $2.33 million in 2012 to potential €2.5 million highs in 2025, driven by global demand among performers and investors. For collectors, the Artcurial lot's upcoming sale (watch for results post-Dec 16) could redefine benchmarks for early Guarneri rarities.
Asking Grok : Significance of violins executed by Giuseppe Guarneri before he used the IHS 'del Gesu' trademark. Compare a violin for sale by Artcurial on December 16, 2025, lot 1, with another Guarnerius violin sold by Tarisio on June 25, 2012, lot 138.
Significance of Violins by Giuseppe Guarneri Before the "del Gesù" Trademark
Giuseppe Guarneri, commonly known as Giuseppe Guarneri "del Gesù" (1698–1744), was a pivotal figure in the Guarneri family of violin makers from Cremona, Italy, and is widely regarded as one of the two greatest luthiers in history, alongside Antonio Stradivari. His instruments are celebrated for their bold outlines, powerful projection, and complex tonal depth—qualities that often surpass Stradivari's in intensity, making them favorites among virtuosos like Niccolò Paganini, Jascha Heifetz, and Itzhak Perlman. However, the violins he crafted before adopting his distinctive "del Gesù" trademark in 1731 hold particular historical and artistic importance.
The trademark refers to the inclusion of the Christogram "IHS" (Iesus Hominum Salvator, or Jesus, Savior of Mankind) beneath a cross on the instrument's internal label, symbolizing veneration for the Holy Name. This signature element first appeared in 1731, marking a shift toward Guarneri's mature, independent style. Instruments made prior to this—primarily from the 1720s—are rarer and represent an transitional phase in his oeuvre. These early works, often produced while he assisted in his father's workshop (Giuseppe Giovanni Battista Guarneri), show influences from the Amati and Brescian schools, with narrower waists, more delicate arching, and refined edges compared to his later, bolder designs. They exhibit a "delicacy" not always associated with "del Gesù," blending sweetness with emerging power, and some feature scroll heads carved by his father, identifiable by their symmetrical volutes.
Their significance lies in several key aspects:
- Rarity and Evolutionary Insight: Only about 150–250 authentic "del Gesù" violins survive today, with early examples (pre-1731) comprising a small fraction—fewer than 20 well-documented. They provide a window into Guarneri's development, showing how he refined Stradivari-inspired forms into his unique model around 1730–1731, introducing fuller arching, higher-set sound holes, and a darker, more resonant tone.
- Historical Context: These violins predate the romantic myths of Guarneri's "mercurial" later years (e.g., unsubstantiated tales of imprisonment), reflecting a period of apprenticeship and experimentation amid family workshop pressures. They were commercially overshadowed in his lifetime but gained posthumous acclaim, with soloists like Gaetano Pugnani preferring them by the 1750s—decades before Stradivari's similar rise.
- Market and Cultural Value: Pre-1731 instruments command premium prices due to their scarcity, often fetching millions at auction and embodying the "Cremonese golden age." They symbolize the Guarneri legacy's innovation, competing with Stradivari for tonal versatility in modern performance.
Comparison of the Two Guarneri Violins
The two instruments in question are both rare early works by Giuseppe Guarneri "del Gesù," predating his 1731 IHS trademark and thus exemplifying the transitional delicacy and emerging boldness of his 1720s output. The Artcurial violin (Lot 1, auctioned December 16, 2025) is a pristine example from 1727–1730, estimated at €2–2.5 million ($2.1–2.6 million USD at current rates). The Tarisio violin (Lot 138, sold June 25, 2012) is the renowned "Folinari" from c. 1725, which realized £1.5 million ($2.33 million USD at the time)—a then-world auction record for the maker. Both hail from private collections and have been authenticated by leading experts, underscoring their status as "violinist's dreams" for their balance of refinement and projection.
Below is a structured comparison across key dimensions, drawing on auction records, provenance, and stylistic analysis:
AspectArtcurial Violin (Lot 1, Dec 16, 2025)Tarisio "Folinari" Violin (Lot 138, Jun 25, 2012)
Date of Construction
Artcurial : 1727–1733 (pre-trademark transitional period)
Folinari : c. 1725 (one of the earliest independent "del Gesù" works)
Physical Characteristics
Artcurial : Medium-sized body with delicate arching, refined edges/corners, and higher-set sound holes; one-piece back of slab-cut maple; varnish described as "golden-brown" with subtle craquelure; length ~35.5 cm. Exhibits early Guarneri sweetness with hints of later power.
Folinari : Broader outline with bold Brescian influences (e.g., Maggini-like f-holes); fuller arching than very early pieces; two-piece back of flame maple; reddish-brown varnish; length ~35.6 cm. Known for its "robust yet elegant" form, blending Amati grace with emerging depth.
Provenance/History
Artcurial : From the collection of Philippe Dennery (scientist, entrepreneur, and patron); exhibited at Artcurial Paris (Dec 11–15, 2025); no major virtuoso ownership noted, but certified by experts like Beurret Baillet Widmer for authenticity.
Folinari : Named after early owner Ernesto Folinari (Italian collector); passed through W.E. Hill & Sons (London dealers) and private European hands; exhibited at 2012 Tarisio preview in New York; anonymous buyer post-sale.
Auction Details
Artcurial, Paris (Sale N°6427: "Guarneri del Gesù: Un rêve de violoniste"); Lot 1 (lead lot); hammer estimate €2–2.5 million (high due to pristine condition and rarity); live/online bidding; unsold as of Dec 9, 2025.
Folinari : Tarisio, online (New York-based); Lot 138; sold for £1.35 million hammer + premium = £1.5 million ($2.33 million); set 2012 world record for a "del Gesù" (surpassed later by pieces like the 2023 "Baltic" at $9.44 million).
Condition & Tonal Qualities
Artcurial : Excellent preservation; minimal repairs; praised for "exceptional resonance and distinctive character"—warm, projecting tone ideal for soloists, with the subtlety of pre-1731 works.
Folinari : Very good, with historical adjustments (e.g., neck graft); lauded for "unsurpassed depth and darkness" even in youth, offering complex overtones that foreshadow mature "del Gesù" power; favored for its balance in recordings.
Market Significance
Artcurial : Represents rising demand for untouched early "del Gesù" pieces; estimate reflects 2025 inflation and post-pandemic collector surge (up ~20% from 2012 equivalents); could challenge records if it exceeds €2.5 million.
Folinari : Marked a milestone in violin auctions, highlighting scarcity (only ~2 "del Gesù" sold publicly in prior decade); its record held for years, influencing values—adjusted for inflation, equivalent to ~$3 million today.
Similarities
Both pre-1731, emphasizing Guarneri's workshop evolution; rare survivors (~10% of output); valued for tonal versatility over Stradivari's "nobility"; authenticated via dendrochronology /varnish analysis.
Key Differences
Artcurial : Slightly later date yields more refined delicacy; higher 2025 estimate due to European market strength and condition; tied to modern patronage (Dennery collection).
Folinari : Earlier date makes it a "benchmark" for 1720s style; U.S./UK auction context drove 2012 buzz; broader historical trail but more interventions.
In summary, both violins exemplify the pre-trademark significance of "del Gesù"—transitional gems that capture his genius in nascent form, with the Artcurial piece offering fresher preservation and the "Folinari" providing deeper historical pedigree. Their combined auction trajectories illustrate the escalating value of these instruments, from $2.33 million in 2012 to potential €2.5 million highs in 2025, driven by global demand among performers and investors. For collectors, the Artcurial lot's upcoming sale (watch for results post-Dec 16) could redefine benchmarks for early Guarneri rarities.
3
1731 The Baltic
2023 SOLD for $ 9.4M by Tarisio
The elder Giovanni Guarneri was disabled by an illness in 1731. From that date the younger Giovanni inscribed his labels with an acronym of Christ and a cross, possibly referencing a sign of his workshop. For this reason, he will posthumously be known as Guarneri Del Gesu, also applied to his instruments.
From then, typical features of the del Gesu violins include a shorter body, broader wings and special sound holes.
An early Del Gesu in excellent condition made in beautifully flamed, high-quality maple wood was named The Baltic by a violin dealer. Its label with the plausible date of 1731 is a facsimile from the 1930s. The dendrochronology analysis is consistent with that date.
Coming from the family of a Chinese American music patron who had acquired it in 1979, the Baltic was sold for $ 9.4M by Tarisio on March 16, 2023, lot 118. It is complete in all parts and covered in a deep red brown varnish. Please watch the video shared by the auction house.
From then, typical features of the del Gesu violins include a shorter body, broader wings and special sound holes.
An early Del Gesu in excellent condition made in beautifully flamed, high-quality maple wood was named The Baltic by a violin dealer. Its label with the plausible date of 1731 is a facsimile from the 1930s. The dendrochronology analysis is consistent with that date.
Coming from the family of a Chinese American music patron who had acquired it in 1979, the Baltic was sold for $ 9.4M by Tarisio on March 16, 2023, lot 118. It is complete in all parts and covered in a deep red brown varnish. Please watch the video shared by the auction house.
Rare violin crafted in 1731 expected to fetch over $10 million at auction https://t.co/EFew9UbTwA
— UPI.com (@UPI) March 9, 2023
4
1736
2022 SOLD for € 3.4M by Aguttes
In his short career, Giuseppe Guarneri only made violins. A collaborator to his father Giuseppe filius Andrea in the 1720s, he succeeded him in 1730 in Cremona. He began in 1731 to use the Christogram IHS and a cross fleury for which he will be known as Guarneri del Gesu.
Guarneri del Gesu reached his top maturity in the mid 1730s. His flamboyant style created instruments which were in their strong sonority the closest competitors of the Stradivarius.
On June 3, 2022, Aguttes sold as lot 1 for € 3.4M the Guarnerius del Gesu made in Cremona in 1736 that was played by Régis Pasquier in a great musical repertory for twenty years with a mean 70 concerts per year.
Its far away resonance and its superb sonority make it suitable for large concert rooms. Its small length of only 35.1 cm is typical for that master. The back is a monoxyl maple and the coating is a beautiful brown orange on gold background.
Guarneri del Gesu reached his top maturity in the mid 1730s. His flamboyant style created instruments which were in their strong sonority the closest competitors of the Stradivarius.
On June 3, 2022, Aguttes sold as lot 1 for € 3.4M the Guarnerius del Gesu made in Cremona in 1736 that was played by Régis Pasquier in a great musical repertory for twenty years with a mean 70 concerts per year.
Its far away resonance and its superb sonority make it suitable for large concert rooms. Its small length of only 35.1 cm is typical for that master. The back is a monoxyl maple and the coating is a beautiful brown orange on gold background.
□Si le #violoniste est en quête de l’instrument parfait, c'est parce qu'il "vit, jours et nuits, avec son violon". Pendant 20 ans, Régis Pasquier ne s’est pas séparé de ce #Guarnerius, « Del Gesù ».
— Aguttes (@Aguttes_) May 23, 2022
VIOLONS & ARCHETS
Vente: 3 juin, 14h
Catalogue: https://t.co/BnFs5NHtXM pic.twitter.com/TuWPQ0BW5z
5
masterpiece
1743 il Cannone, ex Paganini
Palazzo Doria-Torsi, Genoa
From 1737 Guarneri Del Gesu took a lesser care to the quality of the finish.
His most desirable instruments nevertheless belong to that last period. They include Paganini's preferred violin, made in 1743 and an ex Menuhin made in 1742. Private sales have included the ex Vieuxtemps made ca 1741, sold for nearly $ 18M in 2013, and the Kochanski made in the same year and sold for $ 10M in 2009.
The ex Paganini was nicknamed il Cannone by the maestro for referring to the explosive sound that he was able to produce with it.
Del Gesu died in 1744.
The image is shared by Wikimedia with attribution Sailko, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons
His most desirable instruments nevertheless belong to that last period. They include Paganini's preferred violin, made in 1743 and an ex Menuhin made in 1742. Private sales have included the ex Vieuxtemps made ca 1741, sold for nearly $ 18M in 2013, and the Kochanski made in the same year and sold for $ 10M in 2009.
The ex Paganini was nicknamed il Cannone by the maestro for referring to the explosive sound that he was able to produce with it.
Del Gesu died in 1744.
The image is shared by Wikimedia with attribution Sailko, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons
GUADAGNINI
Intro
Giovanni Battista Guadagnini is the best luthier during the four decades following the death of Stradivari and of Guarneri del Gesu. His apprenticeship is undocumented and he was still recently considered as self-taught. He was born in a village near Cremona where his father Lorenzo was not a peasant but a subcontractor craftsman to Stradivari.
He opened his own workshop in Piacenza circa 1742. He may have met the last great masters of Cremona. Stradivari's two sons and Guarneri Del Gesu die around that period. An apprenticeship in Cremona should justify the otherwise surprising statement three decades later by his young patron Cozio designating Guadagnini as the ultimate successor to Stradivari.
This new hypothesis is consistent with the fact that the structure of the instruments made by Giovanni Battista is very close to the Stradivarius. Probably advised by keen users, Guadagnini practices a continuous improvement as Stradivari had done. Slight changes in shape bring an intense sound that pleases music lovers of his time and of today and his reddish-brown varnish is one of the very best of all time.
He opened his own workshop in Piacenza circa 1742. He may have met the last great masters of Cremona. Stradivari's two sons and Guarneri Del Gesu die around that period. An apprenticeship in Cremona should justify the otherwise surprising statement three decades later by his young patron Cozio designating Guadagnini as the ultimate successor to Stradivari.
This new hypothesis is consistent with the fact that the structure of the instruments made by Giovanni Battista is very close to the Stradivarius. Probably advised by keen users, Guadagnini practices a continuous improvement as Stradivari had done. Slight changes in shape bring an intense sound that pleases music lovers of his time and of today and his reddish-brown varnish is one of the very best of all time.
1
1743 Piacenza Cello
2016 SOLD for $ 1.5M by Tarisio
The architecture of the instruments made by Giovanni Battista Guadagnini is very close to the Stradivarius. He opened his own workshop in Piacenza circa 1742.
Guadagnini is listening the desires of the performers and changes from that early time the shape in a quest to improve the sound. Beyond the reform of the cello conceived by Stradivari, he creates shorter and broader instruments that delight the virtuosos by their easiness of use and their intense tone. His varnish is one of the very best of all time.
A cello made circa 1743 by Guadagnini was sold for $ 1.5M from a lower estimate of $ 800K by Tarisio on May 12, 2016, lot 40. This instrument is a good demonstrator of the precocious talent of the luthier, including a thick honey-colored varnish which prefigures his later achievements on the essential role of the coating in the sound quality of an instrument of the quartet.
Piacenza has a significant musical culture. The Ferrari brothers were born here. Domenico Ferrari, violinist, had left for Cremona but his elder brother Carlo, cellist, lives in Piacenza. There is no documented evidence that Carlo Ferrari ever played an instrument made by Guadagnini but his influence is certain. When Ferrari moves to Milan in 1745, Guadagnini seems to become temporarily less interested in cellos.
Guadagnini moved three times his studio, to Milan in 1749 and much later to Parma and Turin. He had improved most of his know-how during his first phase in Piacenza, with slightly widened violins, sharp angles in the sides and his much effective reddish-brown varnish. Guadagnini's violins have a strong and harmonious sound and are the best concert instruments from the mid-eighteenth century.
His violins from the beginning of his Milanese period are already demonstrating his great maturity. One of them named the Berkova, made in 1755, was sold for $ 720K by Tarisio on May 2, 2013. Its original coating was not complete.
Tarisio sold on October 13, 2016 for $ 1.25M one of the best violins made by Guadagnini in Milan, dated 1753, lot 254. Despite a frequent use in concert, the instrument which has been carefully maintained is in an excellent condition. Its brilliant sound is demonstrated in a YouTube audio by Tarisio.
Guadagnini is listening the desires of the performers and changes from that early time the shape in a quest to improve the sound. Beyond the reform of the cello conceived by Stradivari, he creates shorter and broader instruments that delight the virtuosos by their easiness of use and their intense tone. His varnish is one of the very best of all time.
A cello made circa 1743 by Guadagnini was sold for $ 1.5M from a lower estimate of $ 800K by Tarisio on May 12, 2016, lot 40. This instrument is a good demonstrator of the precocious talent of the luthier, including a thick honey-colored varnish which prefigures his later achievements on the essential role of the coating in the sound quality of an instrument of the quartet.
Piacenza has a significant musical culture. The Ferrari brothers were born here. Domenico Ferrari, violinist, had left for Cremona but his elder brother Carlo, cellist, lives in Piacenza. There is no documented evidence that Carlo Ferrari ever played an instrument made by Guadagnini but his influence is certain. When Ferrari moves to Milan in 1745, Guadagnini seems to become temporarily less interested in cellos.
Guadagnini moved three times his studio, to Milan in 1749 and much later to Parma and Turin. He had improved most of his know-how during his first phase in Piacenza, with slightly widened violins, sharp angles in the sides and his much effective reddish-brown varnish. Guadagnini's violins have a strong and harmonious sound and are the best concert instruments from the mid-eighteenth century.
His violins from the beginning of his Milanese period are already demonstrating his great maturity. One of them named the Berkova, made in 1755, was sold for $ 720K by Tarisio on May 2, 2013. Its original coating was not complete.
Tarisio sold on October 13, 2016 for $ 1.25M one of the best violins made by Guadagnini in Milan, dated 1753, lot 254. Despite a frequent use in concert, the instrument which has been carefully maintained is in an excellent condition. Its brilliant sound is demonstrated in a YouTube audio by Tarisio.
2
1773-1775 Turin Violin
2018 SOLD for £ 1.6M by Tarisio
Guadagnini's career takes place successively in four cities, simply because he endeavors to keep a direct or indirect relationship with the best violinists. He follows Ferrari from Piacenza to Milan and then to Parma where he is protected by the chief minister of Duke Philip of Bourbon. Political changes led him in 1771 to Turin where he probably wanted to get closer to Pugnani.
Count Cozio di Salabue is passionate about violins and especially with the achievements from Cremona. His father owned an Amati. Aged 16 in 1771, the Piedmontese is in Turin for a military period. He meets Guadagnini at that time.
Guadagnini is the most effective designer of violins of his time but Cozio admires Stradivari. Guadagnini is looking for customers. He agrees in 1774 to work almost exclusively for Cozio.
The young aristocrat designates his partner as the ultimate successor to Stradivari. This qualifier is consistent with the hypothesis that Guadagnini had learned his trade with the old master. His instruments made in Turin are identified by the label "Joannes Baptista Guadagnini Cremonensis fecit Taurini. alumnus Antoni Stradivari", to be however considered with caution because it also appears on posthumous pieces.
A violin from that first Cozio period, made in 1773-1775, was sold for £ 1.6M by Tarisio on June 25, 2018, lot 176.
Count Cozio di Salabue is passionate about violins and especially with the achievements from Cremona. His father owned an Amati. Aged 16 in 1771, the Piedmontese is in Turin for a military period. He meets Guadagnini at that time.
Guadagnini is the most effective designer of violins of his time but Cozio admires Stradivari. Guadagnini is looking for customers. He agrees in 1774 to work almost exclusively for Cozio.
The young aristocrat designates his partner as the ultimate successor to Stradivari. This qualifier is consistent with the hypothesis that Guadagnini had learned his trade with the old master. His instruments made in Turin are identified by the label "Joannes Baptista Guadagnini Cremonensis fecit Taurini. alumnus Antoni Stradivari", to be however considered with caution because it also appears on posthumous pieces.
A violin from that first Cozio period, made in 1773-1775, was sold for £ 1.6M by Tarisio on June 25, 2018, lot 176.
An exhilarating end to a very successful sale. The Guadagnini sells at a #WorldRecord Hammer Price of £1.4 million - double the high estimate! pic.twitter.com/J64kfN9isL
— Tarisio (@TarisioAuctions) June 25, 2018
3
1778 Turin Violin
2013 SOLD for $ 1.39M by Tarisio
Guadagnini has the mood of a creator and not of an imitator. His new contract with Cozio is in counter-employment for his designing skill. Cozio goes ahead and buys as early as 1775 to the heirs of Stradivari the violin in a sublime condition which will be later known as the Messiah.
The formal contract is broken in 1777 and Guadagnini can again diversify his production. A violin made in Turin in 1778 is a fine example of his personal art at the time of his better maturity. It was sold on October 17, 2013 by Tarisio for $ 1.39M from a lower estimate of $ 800K, lot 296.
This instrument was once owned by Dorothy DeLay, who was one of the most subtle violin teachers. She understood that the ideal instrument is not the same for each player and depends on the characteristics of their musical skills. This excellent reference attests to how this Guadagnini violin is close to perfection. It retains the thick red varnish so typical of his art.
Guadagnini continues in parallel to produce imitations of Stradivarius for the use of Cozio. He manages it with some freedom so that his Stradivarius models are not identifiable. These instruments are signed Joannes Baptista Guadagnini Cremonensis fecit Taurini on a label.
On February 22, 2018, Tarisio sold for $ 1.25M a violin dated 1779, in excellent condition, lot 157.
The formal contract is broken in 1777 and Guadagnini can again diversify his production. A violin made in Turin in 1778 is a fine example of his personal art at the time of his better maturity. It was sold on October 17, 2013 by Tarisio for $ 1.39M from a lower estimate of $ 800K, lot 296.
This instrument was once owned by Dorothy DeLay, who was one of the most subtle violin teachers. She understood that the ideal instrument is not the same for each player and depends on the characteristics of their musical skills. This excellent reference attests to how this Guadagnini violin is close to perfection. It retains the thick red varnish so typical of his art.
Guadagnini continues in parallel to produce imitations of Stradivarius for the use of Cozio. He manages it with some freedom so that his Stradivarius models are not identifiable. These instruments are signed Joannes Baptista Guadagnini Cremonensis fecit Taurini on a label.
On February 22, 2018, Tarisio sold for $ 1.25M a violin dated 1779, in excellent condition, lot 157.
4
1783 Turin Cello ex Rostropovich
2018 SOLD for £ 1.93M by Sotheby's
Like Stradivari before him, Guadagnini never stopped improving his instruments, seeking the strength of the violin and the voice of the cello. Carlo Ferrari, who was his most important patron in his first three residences, was a virtuoso cellist.
Arrived in 1771 in Turin which will be his fourth and last residence, Guadagnini agrees from 1773 to 1777 to work exclusively for Cozio who was a great admirer of Stradivari. At this time Guadagnini adds the information "Cremonensis alumnus Antonii Stradivari" on his labels. His cellos of this period are short, without loss of sound thanks to a modification of the shape which increases the surface of wood in the cavity.
Mstislav Rostropovich was one of the greatest performers of the cello. For his first success, the gold medal at the Soviet Young Musicians Competition in 1945, he had played a Guadagnini.
In exile from 1974, Rostropovich had appraised the cello of his first glory and learned that its label was apocryphal and that the instrument had nothing to do with a Guadagnini. He is therefore on the watch to acquire an excellent Guadagnini. He will wait a quarter of a century.
The Guadagnini cello bought by Rostropovich in 2000 is from the best period : made in Turin in 1783 three years before the death of the luthier, it is one of the last instruments of the master and has kept intact its dark intense red-brown varnish typical of that period. It was sold for £ 1.93M from a lower estimate of £ 1M by Sotheby's on November 28, 2018, lot 42.
An unlabeled cello made by Guadagnini in Turin ca 1780-1785 was sold for € 1.2M by Tarisio on October 24, 2022, lot 23. Please watch the video preview of the sale, shared by the auction house.
Arrived in 1771 in Turin which will be his fourth and last residence, Guadagnini agrees from 1773 to 1777 to work exclusively for Cozio who was a great admirer of Stradivari. At this time Guadagnini adds the information "Cremonensis alumnus Antonii Stradivari" on his labels. His cellos of this period are short, without loss of sound thanks to a modification of the shape which increases the surface of wood in the cavity.
Mstislav Rostropovich was one of the greatest performers of the cello. For his first success, the gold medal at the Soviet Young Musicians Competition in 1945, he had played a Guadagnini.
In exile from 1974, Rostropovich had appraised the cello of his first glory and learned that its label was apocryphal and that the instrument had nothing to do with a Guadagnini. He is therefore on the watch to acquire an excellent Guadagnini. He will wait a quarter of a century.
The Guadagnini cello bought by Rostropovich in 2000 is from the best period : made in Turin in 1783 three years before the death of the luthier, it is one of the last instruments of the master and has kept intact its dark intense red-brown varnish typical of that period. It was sold for £ 1.93M from a lower estimate of £ 1M by Sotheby's on November 28, 2018, lot 42.
An unlabeled cello made by Guadagnini in Turin ca 1780-1785 was sold for € 1.2M by Tarisio on October 24, 2022, lot 23. Please watch the video preview of the sale, shared by the auction house.
Take an unprecedented glimpse into the lives and loves of two of Russia’s greatest musical legends. Visit our London galleries to view the private collection of #Rostropovich and Vishnevskaya or click ahead to see highlights https://t.co/tDnS2NOICK #SothebysRussia pic.twitter.com/ymPge0oA5s
— Sotheby's (@Sothebys) November 23, 2018
1912 The Violin of the Titanic
2013 SOLD for £ 1.1M by Henry Aldridge and Son
The Titanic was a liner of high luxury and refined entertainment. She sank in her maiden voyage on April 14, 1912, taking the lives of 1,497 of the 2,209 people aboard.
The Titanic legend established a fortnight after the tragedy tells that the bandmaster Wallace Hartley convened the band on the deck and started playing the latest popular melodies in an attempt to calm the passengers and that they did not manage to save themselves while lifeboat places were still to be filled. This scene was staged in the 1997 Titanic movie.
Hartley's violin was retrieved in water beside his body on May 4, 1912. Found in 2006 in a British attic, it was connected to Hartley through an engraved silver plate. The auction house Aldridge and Son, leading specialists in Titanic artifacts, then spent six years investigating its authenticity including through an audio archive. The instrument is implayable with large cracks in its body. It was the centerpiece of dedicated exhibitions of the Titanic centennial.
It was sold for £ 1.1M from a lower estimate of £ 300K by Henry Aldridge and Son on October 19, 2013. Please watch the post sale video shared by On Demand News.
The Titanic legend established a fortnight after the tragedy tells that the bandmaster Wallace Hartley convened the band on the deck and started playing the latest popular melodies in an attempt to calm the passengers and that they did not manage to save themselves while lifeboat places were still to be filled. This scene was staged in the 1997 Titanic movie.
Hartley's violin was retrieved in water beside his body on May 4, 1912. Found in 2006 in a British attic, it was connected to Hartley through an engraved silver plate. The auction house Aldridge and Son, leading specialists in Titanic artifacts, then spent six years investigating its authenticity including through an audio archive. The instrument is implayable with large cracks in its body. It was the centerpiece of dedicated exhibitions of the Titanic centennial.
It was sold for £ 1.1M from a lower estimate of £ 300K by Henry Aldridge and Son on October 19, 2013. Please watch the post sale video shared by On Demand News.
