{"id":24746,"date":"2024-05-03T10:34:05","date_gmt":"2024-05-03T08:34:05","guid":{"rendered":"https:\/\/vichy-encheres.com\/?p=24746"},"modified":"2024-06-21T14:07:50","modified_gmt":"2024-06-21T12:07:50","slug":"violoncelle-francesco-rugger","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2024\/05\/03\/violoncelle-francesco-rugger\/","title":{"rendered":"Un violoncelle de Francesco Rugger"},"content":{"rendered":"\n
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Le 6 juin 2024, \u00e0 Vichy Ench\u00e8res, un remarquable violoncelle de Francesco Rugeri sera pr\u00e9sent\u00e9 \u00e0 la vente, un \u00e9v\u00e9nement sur le march\u00e9. En effet, au cours du XXI\u00e8me si\u00e8cle, moins d\u2019un tiers des instruments de Francesco Rugeri pass\u00e9s aux ench\u00e8res \u00e9taient des violoncelles. Ces derniers, pourtant consid\u00e9r\u00e9s comme le nec plus ultra de sa production, sont ainsi particuli\u00e8rement rares. L\u2019occasion pour nous de revenir sur l\u2019histoire myst\u00e9rieuse de ce luthier mythique, tant\u00f4t consid\u00e9r\u00e9 comme l\u2019\u00e9l\u00e8ve d\u2019Amati et le ma\u00eetre de Stradivari\u2026<\/p>\n<\/blockquote>\n\n\n\n

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Catalogue<\/a><\/div>\n\n\n\n
Vente du 3 juin 2024<\/a><\/div>\n\n\n\n
Vente du 4 juin 2024<\/a><\/div>\n\n\n\n
Vente du 5 juin 2024<\/a><\/div>\n\n\n\n
Vente du 6 juin 2024<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
English version<\/a><\/div>\n<\/div>\n\n\n\n
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Un luthier mythique entour\u00e9 de myst\u00e8res<\/h1>\n\n\n\n
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\u00c9l\u00e9ments biographiques connus<\/h2>\n\n\n\n
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\"Ecole<\/a>
Ecole italienne, Cr\u00e9mone au XVII\u00e8me si\u00e8cle, F\u00eate du Taureau, gravure<\/figcaption><\/figure>\n\n\n\n
\"Felice<\/a>
Felice Giuseppe Vertua, Vue de la ville de Cr\u00e9mone depuis les rives du Po<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Francesco Rugeri – dit aussi Rugger, Ruggeri, Ruggieri – fait partie de ces figures majeures de l\u2019histoire de la lutherie qui, malgr\u00e9 leur renomm\u00e9e, sont loin d\u2019avoir livr\u00e9 tous leurs myst\u00e8res. Les archives le concernant sont en effet relativement minces – ce qui n\u2019a rien d\u2019\u00e9tonnant compte tenu de son existence au XVII\u00e8me si\u00e8cle. On ne conserve ainsi que peu d\u2019actes officiels, parmi lesquels son contrat de mariage, en date de 1652, avec Ippolita Ravasi (Cr\u00e9mone, paroisse San Bernardo) et son acte de d\u00e9c\u00e8s, survenu le 28 octobre 1698 (paroisse San Trinita). Ces \u00e9l\u00e9ments permettent donc de situer approximativement sa naissance autour de 1620-1630.<\/p>\n<\/div>\n\n\n\n

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Divers documents nous permettent \u00e9galement de savoir que Francesco Rugeri \u00e9tait surnomm\u00e9 \u00ab Il Per \u00bb, en particulier les \u00e9tiquettes de certains de ses instruments inscrites \u00ab Rugeri detto il Per \u00bb et plusieurs archives familiales autour de 1660. Il se pourrait que ce surnom ait \u00e9t\u00e9 ajout\u00e9 dans l\u2019optique de se diff\u00e9rencier d\u2019autres luthiers, en particulier de la famille Rogeri de Brescia, active \u00e0 la m\u00eame \u00e9poque et dont la production \u00e9tait parfois confondue avec celle de Francesco Rugeri.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Cr\u00e9mone,<\/a>
Cr\u00e9mone, Chiesa di San Sigismond<\/figcaption><\/figure>\n\n\n\n
\"Tomaso<\/a>
Tomaso Antonio Vitali (1663-1745), compositeur et violoniste<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Concernant son activit\u00e9, on sait que Francesco Rugeri a travaill\u00e9 au num\u00e9ro 7 de la Contrada Coltellai, hors les murs de Cr\u00e9mone, dans la paroisse San Bernardo. On le retrouve \u00e0 partir de 1687 dans la paroisse de San Sebastiano, \u00e0 c\u00f4t\u00e9 du couvent de San Sigismondo (Cr\u00e9mone). Il est assist\u00e9 par ses trois fils, Giovanni Battista, Giacinto et Vincenzo, environ \u00e0 partir de 1670.<\/p>\n<\/div>\n\n\n\n

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Ses instruments \u00e9taient r\u00e9put\u00e9s pour leurs grandes qualit\u00e9s constructives et sonores, ainsi que pour leur raffinement. Ils passaient parfois pour des \u0153uvres de Niccol\u00f2 Amati. Une affaire judiciaire de 1685 rend d\u2019ailleurs compte de la plainte du violoniste Tomaso Antonio Vitali aupr\u00e8s du duc de Mod\u00e8ne, suite \u00e0 son achat d\u2019un violon pr\u00e9tendument d\u2019Amati, s\u2019av\u00e9rant en r\u00e9alit\u00e9 \u00eatre de Rugeri. Cet exemple souligne la grande parent\u00e9 de savoir-faire de ces deux mythiques luthiers.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Le premier \u00e9l\u00e8ve de Niccol\u00f2 Amati ?<\/h2>\n\n\n\n
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\"Jacques-Joseph<\/a>
Jacques-Joseph Lecurieux, Niccolo Amati (1596-1684)<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n\n\n\n
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Francesco Rugeri est traditionnellement consid\u00e9r\u00e9 comme le premier \u00e9l\u00e8ve de Niccol\u00f2 Amati, bien que cet \u00e9l\u00e9ment soit caution \u00e0 d\u00e9bat, compte tenu de l\u2019absence de trace de son apprentissage dans les documents de recensement de la maison Amati. Toutefois, il se pourrait que l\u2019absence de document mentionnant le nom de \u00ab Rugeri \u00bb trouve son explication dans le fait que Francesco Rugeri ne r\u00e9sidait pas chez Amati durant son apprentissage, mais dans son logement personnel. Cela est d\u2019autant plus vraisemblable que nous savons qu\u2019il habitait en p\u00e9riph\u00e9rie de Cr\u00e9mone. A titre de comparaison, le nom d\u2019Antonio Stradivari, \u00e9galement consid\u00e9r\u00e9 comme un \u00e9l\u00e8ve d\u2019Amati, n’appara\u00eet pas non plus dans les archives de l\u2019atelier. Concernant Francesco Rugeri, plusieurs autres indices tendent \u00e0 penser qu\u2019il aurait bel et bien \u00e9t\u00e9 l\u2019\u00e9l\u00e8ve d\u2019Amati. Comme \u00e9voqu\u00e9, on constate une grande proximit\u00e9 stylistique entre certains instruments de Rugeri et ceux d\u2019Amati, ce qui plaide en faveur d\u2019une formation aupr\u00e8s de ce dernier[1]<\/sup><\/a>. La famille Rugeri habitait juste \u00e0 l\u2019ext\u00e9rieur de la ville de Cr\u00e9mone, dans les paroisses San Bernardo et San Sebastiano, et il est donc envisageable que cette localisation ait conduit Rugeri \u00e0 se former chez Amati. Un petit violon de Niccol\u00f2 et Girolamo Amati vendu \u00e0 Vichy Ench\u00e8res en 2021 tend \u00e0 soutenir cette hypoth\u00e8se, puisque celui-ci comportait justement une t\u00eate trahissant la main de Francesco Rugeri.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Wurlitzer, W. Henry Hill, Arthur F. Hill and Alfred E. Hill ; with a new introduction by Sydney Beck and new supplementary indexes by Rembert (1963). Antonio Stradivari : his life and work, 1664\u20131737 (New Dover ed.). New York: Dover. pp. 27 and 31.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon petite taille d’Antonio et Girolamo AMATI
Instrument mis en vente par Vichy Ench\u00e8res le 2 d\u00e9cembre 2021 \/ \u00a9 Christophe DARBELET<\/figcaption><\/figure>\n\n\n\n
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R\u00e9alis\u00e9 vers 1680, le violoncelle de la vente du 6 juin 2024 sugg\u00e8re \u00e9galement une formation chez Amati.<\/p>\n<\/div>\n\n\n\n

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\u201cRugger aurait \u00e9t\u00e9 un \u00e9l\u00e8ve d\u2019Amati et certains d\u00e9tails de ce violoncelle rappellent effectivement le travail d\u2019Amati, notamment en ce qui concerne le traitement des ou\u00efes et de la t\u00eate.\u201d<\/p>\nInterview de Jonathan Marolle, Vatelot-Rampal, Paris, luthier, sp\u00e9cialiste des instruments du quatuor \u00e0 cordes, expert pr\u00e8s la Cour d\u2019Appel de Paris.<\/cite><\/blockquote>\n<\/div>\n<\/div>\n\n\n\n

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\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n
Int\u00e9ressant violoncelle de Francesco RUGGER fait \u00e0 Cr\u00e9mone vers 1700
Instrument mis en vente par Vichy Ench\u00e8res le 6 juin 2024 \/ \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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D\u2019autre part, on conserve des instruments de Rugeri portant des \u00e9tiquettes inscrites \u00ab Alumnus Nicolai Amati \u00bb, \u00e0 l\u2019exemple d\u2019un violon de 1663 \u00e9tiquet\u00e9 \u00ab Francescus Rugerius Alumnus Nicolai Amati fecit Cremon\u00e6 1663 \u00bb. Rugeri se pr\u00e9sentait ainsi lui-m\u00eame comme un \u00e9l\u00e8ve d\u2019Amati. S\u2019agissait-il d\u2019une mani\u00e8re de se revendiquer de l\u2019\u00e9cole d\u2019Amati (lui permettant aussi de mieux vendre), ou d\u2019un v\u00e9ritable fait historique ? La question subsiste.<\/p>\n<\/div>\n\n\n\n

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Une chose est s\u00fbre, les familles Rugeri et Amati \u00e9taient tr\u00e8s proches. Niccol\u00f2 Amati \u00e9tait en effet le parrain de Giacinto, l\u2019un des fils de Francesco Rugeri, baptis\u00e9 en 1658. Trois d\u00e9cennies plus tard, en 1689, un petit-fils de Francesco Rugeri eut \u00e0 son tour pour parrain Girolamo Amati II – alors \u00e0 la t\u00eate de l\u2019atelier familial depuis la mort de son p\u00e8re en 1684.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Le ma\u00eetre d\u2019Antonio Stradivari ?<\/h2>\n\n\n\n
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\"Antonio<\/a><\/figure>\n
Antonio Stradivari<\/figcaption><\/figure>\n\n\n\n
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Parmi les grands myst\u00e8res entourant la vie de Francesco Rugeri, l\u2019un des plus intrigants est sans doute celui de ses liens avec Antonio Stradivari. Les r\u00e9centes recherches tendent en effet \u00e0 consid\u00e9rer qu\u2019Antonio Stradivari aurait en r\u00e9alit\u00e9 \u00e9t\u00e9 form\u00e9 par Francesco Rugeri, et non Niccol\u00f2 Amati.<\/p>\n\n\n\n

Comme il a d\u00e9j\u00e0 pu \u00eatre \u00e9voqu\u00e9, le nom de Stradivari n\u2019appara\u00eet nulle part dans les archives de l\u2019atelier d\u2019Amati – au m\u00eame titre que celui de Rugeri. En outre, les instruments d\u2019Antonio Stradivari divergent en bien des points de ceux d\u2019Amati, alors que ses premiers mod\u00e8les partagent des similitudes avec ceux de Francesco Rugeri.<\/p>\n\n\n\n

La diff\u00e9rence principale entre l’\u0153uvre d\u2019Amati et de Stradivari – sur laquelle s\u2019appuie notamment les chercheurs d\u00e9fendant la th\u00e8se d\u2019un apprentissage de Stradivari chez Rugeri  -, s’observe sur les dos des instruments d\u2019Amati, perc\u00e9s d\u2019un petit trou en leur centre (utilis\u00e9 pour graduer les dos). Or, cette technique est caract\u00e9ristique du travail d\u2019Amati et a \u00e9t\u00e9 reprise par tous ses \u00e9l\u00e8ves connus, \u00e0 l\u2019exception d\u2019Antonio Stradivari ou de Francesco Rugeri. Ce proc\u00e9d\u00e9 \u00e9tant absent de la production de Francesco Rugeri et, compte tenu de la proximit\u00e9 stylistique de ses instruments avec les premi\u00e8res \u0153uvres de Stradivari, l\u2019hypoth\u00e8se selon laquelle Stradivari aurait \u00e9t\u00e9 l\u2019\u00e9l\u00e8ve de Rugeri a donc \u00e9t\u00e9 propos\u00e9e. (La diff\u00e9rence d\u2019\u00e2ge entre Rugeri et Stradivari rendant tout \u00e0 fait plausible cette hypoth\u00e8se.)<\/p>\n<\/div>\n\n\n\n

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\"Amati<\/a><\/figure>\n
Amati Brookings measurements 1654<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Une production ancr\u00e9e dans l\u2019histoire<\/h1>\n\n\n\n
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Le mod\u00e8le cr\u00e9monais revisit\u00e9<\/h2>\n\n\n\n
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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Francesco RUGGER fait \u00e0 Cremone vers 1680
Instrument mis en vente par Vichy Ench\u00e8res le 3 d\u00e9cembre 2020 \/ \u00a9 C. Darbelet<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n
Int\u00e9ressant violoncelle de Francesco RUGGER fait \u00e0 Cr\u00e9mone vers 1700
Instrument mis en vente par Vichy Ench\u00e8res le 6 juin 2024 \/ \u00a9 C. Darbelet<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Bien qu’appartenant \u00e0 l’\u00e9cole d’Amati, l’\u0153uvre de Francesco Rugeri n\u2019en est pas une copie, mais t\u00e9moigne plut\u00f4t d\u2019un esprit libre et novateur. Le luthier \u00e9tait notamment connu pour agrandir l\u00e9g\u00e8rement ses mod\u00e8les et courber ses instruments. Ainsi, bien que ses mod\u00e8les reprennent parfois des caract\u00e9ristiques propres \u00e0 l\u2019art d\u2019Amati, Rugeri les d\u00e9passe en mettant au point des techniques de construction uniques et des d\u00e9tails distinctifs rivalisant en qualit\u00e9 avec le savoir-faire d\u2019Amati. Son travail est notamment caract\u00e9ris\u00e9 par une ex\u00e9cution d\u00e9licate, particuli\u00e8rement visible dans l\u2019application habile et uniforme des vernis \u00e9clatants, aux teintes caract\u00e9ristiques de Cr\u00e9mone, allant de l\u2019orange fonc\u00e9 au jaune-orang\u00e9 brillant – \u00e0 l\u2019exemple du violoncelle de la vente Vichy Ench\u00e8res du 6 juin 2024.<\/p>\n<\/div>\n\n\n\n

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Sa p\u00e9riode la plus productive se situe dans les ann\u00e9es 1670 et 1680, alors qu\u2019il est assist\u00e9 par ses trois fils. Son succ\u00e8s atteint son apog\u00e9e apr\u00e8s le d\u00e9clin de Nicol\u00f2 Amati et avant la mont\u00e9e en puissance de l’atelier d’Antonio Stradivari. Les instruments de Francesco Rugeri rencontr\u00e8rent tr\u00e8s vite le succ\u00e8s et furent recherch\u00e9s en raison de leur haut niveau d’ex\u00e9cution et de leur sonorit\u00e9. Parmi les grands noms ayant poss\u00e9d\u00e9 un instrument r\u00e9alis\u00e9 par Francesco Rugeri, on peut ainsi citer le comte Cozio di Salabue et le marquis Castiglioni. Cependant, peu de collections publiques conservent des instruments de Francesco Rugeri. On trouve seulement un violon et une basse de viole au Mus\u00e9e de la Musique de Paris (fin XVIIe et 1699) ; deux violoncelles \u00e0 la Royal Academy of Music Museum<\/em> (c.1689 et 1695, Londres) ; un violon au Muziekinstrumentenmuseum <\/em>(1690, Bruxelles) et une viole d\u2019amour au Scenkonstmuseet <\/em>(1697, Stockholm). <\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Portrait<\/a>
Portrait du comte Ignazio Alessandro Cozio di Salabue
Circa 1820<\/figcaption><\/figure>\n\n\n\n
\"Francesco<\/a>
Francesco Rugeri, Violon, fin XVIIe, Mus\u00e9e de la Musique de Paris, cr\u00e9dits Jean-Claude Billing<\/figcaption><\/figure>\n\n\n\n
\"Francesco<\/a>
Francesco Rugeri, Violoncelle, c.1689, MINIM, Londres<\/figcaption><\/figure>\n\n\n\n
\"Francesco<\/a>
Francesco Rugeri, Violoncelle, 1695, MINIM, Londres<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Le violoncelle : le nec plus ultra<\/em> de sa production<\/h2>\n\n\n\n
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\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n
Int\u00e9ressant violoncelle de Francesco RUGGER fait \u00e0 Cr\u00e9mone vers 1700
Instrument mis en vente par Vichy Ench\u00e8res le 6 juin 2024 \/ \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Francesco Rugeri \u00e9tait r\u00e9ellement un inventeur de g\u00e9nie, comme le confirme la p\u00e9rennit\u00e9 de certaines de ses cr\u00e9ations. S\u2019il a durablement marqu\u00e9 l\u2019histoire de la lutherie, c\u2019est principalement gr\u00e2ce \u00e0 ses magnifiques violoncelles. Il en produisait deux types de tailles diff\u00e9rentes, afin de s\u2019adapter au registre musical. Les grands formats \u00e9taient davantage pris\u00e9s pour le r\u00e9pertoire sacr\u00e9, alors que les petits mod\u00e8les servaient essentiellement \u00e0 la musique profane. Le violoncelle de la vente Vichy Ench\u00e8res du 6 juin 2024 offre un bel exemple du type dit de grande taille. Ses formes pleines et \u00e9l\u00e9gantes sont caract\u00e9ristiques de la facture de Rugeri, et sont sublim\u00e9es par un vernis d\u00e9licat.<\/p>\n\n\n\n

Ce violoncelle a \u00e9t\u00e9 r\u00e9alis\u00e9 vers 1680 et est l\u2019un des rares mod\u00e8les parvenus jusqu\u2019\u00e0 nous. En effet, sur une trentaine d\u2019instruments du ma\u00eetre pass\u00e9s aux ench\u00e8res au XXI\u00e8me<\/sup> si\u00e8cle, moins d\u2019un tiers \u00e9taient des violoncelles.<\/p>\n<\/div>\n\n\n\n

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Rugeri est aussi particuli\u00e8rement connu pour son invention d\u2019un autre mod\u00e8le, plus petit, devenu par la suite la norme pour l\u2019instrument. Aujourd\u2019hui encore, la taille des violoncelles imagin\u00e9e par Francesco Rugeri reste en usage. A son \u00e9poque, celle-ci \u00e9tait r\u00e9volutionnaire puisqu\u2019il fabriquait des instruments mesurant 10 centim\u00e8tres de moins que ceux des autres luthiers cr\u00e9monais. Cette taille r\u00e9duite fut imm\u00e9diatement appr\u00e9ci\u00e9e par les musiciens, puisqu\u2019elle leur permettait de gagner en mobilit\u00e9 et aisance.<\/p>\n\n\n\n

Outre cet aspect formel, les violoncelles de Francesco Rugeri \u00e9taient r\u00e9put\u00e9s pour leur sonorit\u00e9 profonde et enveloppante.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Le fondateur de la dynastie Rugeri<\/h2>\n\n\n\n
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\"Violon
Violon de la famille RUGGER fait \u00e0 Cr\u00e9mone vers 1700 (Probablement de Vicenzo Rugger)
Instrument mis en vente par Vichy Ench\u00e8res le 8 juin 2017
\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Violon
Violon de la famille RUGGER fait \u00e0 Cr\u00e9mone vers 1700 (Probablement de Vicenzo Rugger)
Instrument mis en vente par Vichy Ench\u00e8res le 8 juin 2017
\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Vincenzo
Vincenzo Rugeri, viole d’amour, 1701, MINIM UK<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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L’\u0153uvre de Francesco Rugeri marqua l\u2019histoire de la lutherie et s\u2019ancra durablement dans le temps gr\u00e2ce \u00e0 sa qualit\u00e9 et aux innovations qu’elle proposait. Le savoir-faire \u00e9labor\u00e9 par le ma\u00eetre fut aussi diffus\u00e9 par la suite par ses trois fils luthiers et par ses \u00e9l\u00e8ves – dont peut-\u00eatre Stradivari (voir plus haut).
Parmi les fils de Francesco Rugeri devenus luthiers, on compte d\u2019abord l\u2019a\u00een\u00e9, Giovanni Battista Rugeri (1653 – 1711), qui travailla dans l\u2019atelier de son p\u00e8re. Sa production reste peu connue et limit\u00e9e. L\u2019un de ses fils fut le neveu de Hieronymus Amati II – autre attestation des relations \u00e9troites qu\u2019entretinrent ces deux familles.
Le deuxi\u00e8me fils de Francesco Rugeri, pr\u00e9nomm\u00e9 Giacinto (1661 – 1697. A distinguer du neveu de Niccol\u00f2 Amati qui mourut en bas \u00e2ge), travailla \u00e9galement dans l\u2019atelier familial. Ses instruments sont, tout comme ceux de son fr\u00e8re, tr\u00e8s rares. On sait qu\u2019il eut un fils luthier, mais dont le travail est inconnu.<\/p>\n<\/div>\n\n\n\n

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Enfin, Vincenzo Rugeri (1663 – 1719), le troisi\u00e8me fils de Francesco, \u00e9tait aussi actif dans l\u2019atelier de ce dernier. Il est le plus connu et fut aussi renomm\u00e9 que son p\u00e8re. Il est parfois consid\u00e9r\u00e9 comme le meilleur luthier de la famille, bien que ses instruments valent le plus souvent ceux de Francesco Rugeri. Vincenzo Rugeri marqua lui aussi l\u2019histoire de la lutherie et aurait notamment \u00e9t\u00e9 le premier professeur de Carlo Bergonzi.
Tous ont \u00e9t\u00e9 form\u00e9s par Francesco Rugeri, dans l\u2019atelier familial, o\u00f9 ils r\u00e9alis\u00e8rent des instruments pour lui ou avec lui. Apr\u00e8s cette formation, autour des ann\u00e9es 1690, les trois fils s\u2019install\u00e8rent \u00e0 Cr\u00e9mone, dans le voisinage d\u2019Amati, Guarneri et Stradivari, perp\u00e9tuant ainsi la tradition familiale…  <\/p>\n<\/div>\n<\/div>\n\n\n\n

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Rendez-vous \u00e0 Vichy Ench\u00e8res le 6 juin 2024 pour la vente de ce rare violoncelle de Francesco Rugeri !<\/p>\n<\/blockquote>\n\n\n\n

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A CELLO BY FRANCESCO RUGGER<\/h1>\n\n\n\n
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On 6 June 2024, a remarkable cello by Francesco Rugeri will be auctioned by Vichy Ench\u00e8res. This is rare opportunity on the market; indeed, during the 21st century, less than a third of Francesco Rugeri’s instruments sold at auction were cellos. They are the most sought after instruments in his output, and also the rarest. On this occasion, let\u2019s delve into the mysterious history of this legendary maker, believed by some to have been the student of Amati and the master of Stradivari.<\/p>\n<\/blockquote>\n\n\n\n

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Catalog<\/a><\/div>\n\n\n\n
Sale on 3 June 2024<\/a><\/div>\n\n\n\n
Sale on 4 June 2024<\/a><\/div>\n\n\n\n
Sale on 5 June 2024<\/a><\/div>\n\n\n\n
Sale on 6 June 2024<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
Version fran\u00e7aise<\/a><\/div>\n<\/div>\n\n\n\n
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A legendary maker shrouded in mystery<\/h1>\n\n\n\n
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Known facts about his life and work<\/h2>\n\n\n\n
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\"Ecole<\/a>
Ecole italienne, Cr\u00e9mone au XVII\u00e8me si\u00e8cle, F\u00eate du Taureau, gravure<\/figcaption><\/figure>\n\n\n\n
\"Felice<\/a>
Felice Giuseppe Vertua, Vue de la ville de Cr\u00e9mone depuis les rives du Po<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Despite Francesco Rugeri\u2019s \u2013 also known as Rugger, Ruggeri and Ruggieri \u2013 position as one of the preeminent figures in violin making history, details about his life and work remain shrouded in mystery. Historical documents about him are in fact relatively rare \u2013 which is not that surprising considering he lived in the 17th century. Only a few official documents relating to him are available today, including his marriage contract, dated 1652, with Ippolita Ravasi (Cremona, parish of San Bernardo) and his death certificate, dated 28 October 1698 (parish of San Trinita). This would date his birth to around 1620-1630.<\/p>\n<\/div>\n\n\n\n

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Various documents also indicate that Francesco Rugeri was nicknamed \u201cIl Per\u201d, in particular the labels in some of his instruments, inscribed \u201cRugeri detto il Per\u201d, as well as several family documents from around 1660. It is possible that this nickname was added in order to distinguish him from other violin makers, in particular the Rogeri family of Brescia, active at the same time and whose instruments were sometimes mistaken for those of Francesco Rugeri.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Cr\u00e9mone,<\/a>
Cr\u00e9mone, Chiesa di San Sigismond<\/figcaption><\/figure>\n\n\n\n
\"Tomaso<\/a>
Tomaso Antonio Vitali (1663-1745), compositeur et violoniste<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Regarding his activity, we know that Francesco Rugeri worked at number 7 Contrada Coltellai, outside the walls of Cremona, in the parish of San Bernardo. From 1687, he was registered in the parish of San Sebastiano, next to the convent of San Sigismondo (Cremona). From around 1670, he was assisted by his three sons, Giovanni Battista, Giacinto and Vincenzo.<\/p>\n<\/div>\n\n\n\n

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His instruments were renowned for their superior craftsmanship and tone, as well as for their refinement. They were sometimes passed off as works by Niccol\u00f2 Amati. In 1685, violinist Tomaso Antonio Vitali brought a legal case to the Duke of Modena, following his purchase of a violin supposedly by Amati, which turned out to be by Rugeri. This illustrates the great similarity of making styles between these two legendary violin makers.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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The first pupil of Niccol\u00f2 Amati?<\/h2>\n\n\n\n
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\"Jacques-Joseph<\/a>
Jacques-Joseph Lecurieux, Niccolo Amati (1596-1684)<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n\n\n\n
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Francesco Rugeri is generally considered to be the first pupil of Niccol\u00f2 Amati, although this is debatable, given the absence of any evidence of his apprenticeship in the Amati workshop census documents. However, it is possible that the absence of such document mentioning the name \u201cRugeri\u201d can be explained by the fact that Francesco Rugeri did not reside with Amati during his apprenticeship, but in his own home instead, on the outskirts of Cremona. This is also consistent with the fact that the name of Antonio Stradivari, also considered a pupil of Amati, does not appear in the workshop documents either. There are several clues that point to Francesco Rugeri having been a pupil of Amati. As mentioned above, there are a great stylistic similarities between some of Rugeri\u2019s instruments and those of Amati, suggesting he was trained by him [1]. Also, the Rugeri family lived just outside the city of Cremona, in the parishes of San Bernardo and San Sebastiano, and their proximity to the Amati workshop would make it entirely possible Rugeri could have apprenticed with Amati. A small violin by Niccol\u00f2 and Girolamo Amati, sold at Vichy Ench\u00e8res in 2021, supports this theory, as it has a head that betrays the hand of Francesco Rugeri.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Wurlitzer, W. Henry Hill, Arthur F. Hill and Alfred E. Hill ; with a new introduction by Sydney Beck and new supplementary indexes by Rembert (1963). Antonio Stradivari : his life and work, 1664\u20131737 (New Dover ed.). New York: Dover. pp. 27 and 31.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon petite taille d’Antonio et Girolamo AMATI
Instrument mis en vente par Vichy Ench\u00e8res le 2 d\u00e9cembre 2021 \/ \u00a9 Christophe DARBELET<\/figcaption><\/figure>\n\n\n\n
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The cello in the sale of 6 June 2024, which was made around 1680, also points to the influence of Amati.<\/p>\n<\/div>\n\n\n\n

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\u201cRugeri was probably a pupil of Amati, and certain details of this cello are indeed reminiscent of Amati\u2019s work, particularly the treatment of the f-holes and the head.\u201d<\/p>\nInterview with Jonathan Marolle, Vatelot-Rampal, Paris, violin maker, specialist in string instruments, expert at the Paris Court of Appeal.<\/cite><\/blockquote>\n<\/div>\n<\/div>\n\n\n\n

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\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n
Int\u00e9ressant violoncelle de Francesco RUGGER fait \u00e0 Cr\u00e9mone vers 1700
Instrument mis en vente par Vichy Ench\u00e8res le 6 juin 2024 \/ \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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In addition, there are Rugeri instruments labelled with the mention \u201cAlumnus Nicolai Amati\u201d, such as a 1663 violin labelled \u201cFrancescus Rugerius Alumnus Nicolai Amati fecit Cremon\u00e6 1663\u201d. Therefore, Rugeri claimed to be a student of Amati. Was this a way of claiming to be part of the Amati school (which would have been commercially beneficial for him), or a statement of fact? The question remains.<\/p>\n<\/div>\n\n\n\n

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However, one thing is certain: the Rugeri and Amati families were very close. For instance, Niccol\u00f2 Amati was the godfather of Giacinto Rugeri, one of Francesco\u2019s sons, baptized in 1658. Three decades later, in 1689, a grandson of Francesco Rugeri, in turn, had as godfather Girolamo Amati II \u2013 the then head of the family workshop after the death of his father in 1684.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Antonio Stradivari’s master?<\/h2>\n\n\n\n
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\"Antonio<\/a><\/figure>\n
Antonio Stradivari<\/figcaption><\/figure>\n\n\n\n
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Amongst the great mysteries surrounding the life of Francesco Rugeri, one of the most intriguing is undoubtedly that of his links with Antonio Stradivari. Recent research revealed that Antonio Stradivari might have been trained by Francesco Rugeri, not Niccol\u00f2 Amati, as previously believed.<\/p>\n\n\n\n

As mentioned above, the name of Stradivari does not appear anywhere in the historical documents regarding the Amati workshop \u2013 as is the case with Rugeri. Furthermore, Antonio Stradivari\u2019s instruments diverge in many respects from those of Amati, whilst his early examples share many similarities with those of Francesco Rugeri.<\/p>\n\n\n\n

The main difference between the work of Amati and Stradivari that has been put forward as evidence that Stradivari was apprenticed to Rugeri relates to the backs of Amati\u2019s instruments, which have a small hole in their centre (used to graduate the thickness of the back). This technique, typical of Amati\u2019s work, was used by all of his known pupils, with the exception of Antonio Stradivari or Francesco Rugeri. Since this process was not used in Francesco Rugeri\u2019s production, and in light of the stylistic similarities between his instruments and those of Stradivari\u2019s early period, it is entirely possible that Stradivari trained with Rugeri. (The age difference between Rugeri and Stradivari is consistent with this theory as well.)<\/p>\n<\/div>\n\n\n\n

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\"Amati<\/a><\/figure>\n
Amati Brookings measurements 1654<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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An output rooted in history<\/h1>\n\n\n\n
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The cremonese model revisited<\/h2>\n\n\n\n
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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Francesco RUGGER fait \u00e0 Cremone vers 1680
Instrument mis en vente par Vichy Ench\u00e8res le 3 d\u00e9cembre 2020 \/ \u00a9 C. Darbelet<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n
Int\u00e9ressant violoncelle de Francesco RUGGER fait \u00e0 Cr\u00e9mone vers 1700
Instrument mis en vente par Vichy Ench\u00e8res le 6 juin 2024 \/ \u00a9 C. Darbelet<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Although belonging to the Amati school, Francesco Rugeri\u2019s work is not a copy, but rather demonstrates his free and innovative spirit. The maker was particularly known for producing slightly larger and curvier models. Therefore, although Rugeri sometimes borrowed elements specific to Amati\u2019s work, he also developed unique construction methods and distinctive details that rivalled the quality of Amati\u2019s craftsmanship. His work is particularly distinctive by its careful execution, particularly in evidence in the skilful and uniform application of his bright varnishes, in shades typical of Cremona, ranging from dark orange to brilliant yellow-orange \u2013 as with the cello in the Vichy Ench\u00e8res sale of 6 June 2024.<\/p>\n<\/div>\n\n\n\n

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His most productive period was in the 1670s and 1680s, when he was assisted by his three sons. His success reached its peak after the decline of Nicol\u00f2 Amati\u2019s workshop and before the rise of that of Antonio Stradivari. Francesco Rugeri\u2019s instruments quickly found success and were sought after for their superior craftsmanship and tone. The great names who owned instruments by Francesco Rugeri include Count Cozio di Salabue and the Marquis Castiglioni. However, few public collections hold instruments made by him. There is only one violin and one bass viol in the Mus\u00e9e de la Musique in Paris (late 17th century and 1699), two cellos in the Royal Academy of Music Museum (c.1689 and 1695, London), one violin in the Muziekinstrumentenmuseum<\/em> (1690, Brussels), and a viola d’amore in the Scenkonstmuseet<\/em> (1697, Stockholm).<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Portrait<\/a>
Portrait du comte Ignazio Alessandro Cozio di Salabue
Circa 1820<\/figcaption><\/figure>\n\n\n\n
\"Francesco<\/a>
Francesco Rugeri, Violon, fin XVIIe, Mus\u00e9e de la Musique de Paris, cr\u00e9dits Jean-Claude Billing<\/figcaption><\/figure>\n\n\n\n
\"Francesco<\/a>
Francesco Rugeri, Violoncelle, c.1689, MINIM, Londres<\/figcaption><\/figure>\n\n\n\n
\"Francesco<\/a>
Francesco Rugeri, Violoncelle, 1695, MINIM, Londres<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The cellos: the finest instruments in his production<\/h2>\n\n\n\n
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\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n
Int\u00e9ressant violoncelle de Francesco RUGGER fait \u00e0 Cr\u00e9mone vers 1700
Instrument mis en vente par Vichy Ench\u00e8res le 6 juin 2024 \/ \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Francesco Rugeri was true innovator, as demonstrated by the longevity of some of his designs. He left a lasting mark on the history of violin making mainly thanks to his magnificent cellos. He produced two types of different size, in order to adapt to the musical repertoire. The large one was more popular for the sacred repertoire, while the smaller one was mainly used for secular music. The cello in the Vichy Ench\u00e8res sale on 6 June 2024 is a fine example of the so-called large type. Its full and elegant curves are typical of Rugeri’s work, and are enhanced by a delicate varnish.<\/p>\n\n\n\n

This cello was made around 1680 and is one of the rare examples of this type to have survived. Indeed, only a third of the 30 or so instruments by the master auctioned in the 21st century were cellos.<\/p>\n<\/div>\n\n\n\n

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Francesco Rugeri is also known for setting the standard size and proportions of the cello with his smaller model, which remains the standard size for cellos in use today. At the time, this was revolutionary, as this smaller model was 10 centimetres shorter than those of other Cremonese violin makers. This reduced size was immediately popular with musicians, as it made the instrument easier to carry and play.<\/p>\n\n\n\n

In addition to their distinctive appearance, Francesco Rugeri’s cellos were renowned for their deep and rounded tone.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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The founder of the Rugeri dynasty<\/h2>\n\n\n\n
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\"Violon
Violon de la famille RUGGER fait \u00e0 Cr\u00e9mone vers 1700 (Probablement de Vicenzo Rugger)
Instrument mis en vente par Vichy Ench\u00e8res le 8 juin 2017
\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Violon
Violon de la famille RUGGER fait \u00e0 Cr\u00e9mone vers 1700 (Probablement de Vicenzo Rugger)
Instrument mis en vente par Vichy Ench\u00e8res le 8 juin 2017
\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Vincenzo
Vincenzo Rugeri, viole d’amour, 1701, MINIM UK<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Francesco Rugeri marked the history of violin making thanks to the quality of his work and his innovative spirit. The craftsmanship and techniques he developed were subsequently used and passed on by his three violin-making sons and by his apprentices \u2013 including perhaps Stradivari (see above).<\/p>\n\n\n\n

Amongst the sons of Francesco Rugeri who became violin makers, the eldest, Giovanni Battista Rugeri (1653 \u2013 1711), was the first, and he worked in his father’s workshop. His production was limited and remains little known. One of his sons was the nephew of Hieronymus Amati II \u2013 another evidence of the close relationship between the two families.<\/p>\n\n\n\n

Francesco Rugeri\u2019s second son, Giacinto (1661 \u2013 1697, not to be confused with Niccol\u00f2 Amati\u2019s nephew who died in infancy), also worked in the family workshop. His instruments are, like those of his brother, very rare. He had a son who was a violin maker, but no information exists about his work.<\/p>\n<\/div>\n\n\n\n

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Finally, Vincenzo Rugeri (1663 \u2013 1719), Francesco\u2019s third son, was also active in the family workshop. He is the best known of the three sons, and was as renowned as his father. He is sometimes considered to be the best violin maker in the family, although his instruments are often comparable in quality to those of Francesco Rugeri. Vincenzo Rugeri also left his mark on the history of violin making, and he is thought to have been Carlo Bergonzi\u2019s first tutor.<\/p>\n\n\n\n

All were trained by Francesco Rugeri, in the family workshop, where they made instruments for him or with him. After their training, around the 1690s, the three sons settled in Cremona, in the vicinity of the Amati, Guarneri and Stradivari workshops, thus perpetuating the family tradition.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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We hope to see you at Vichy Ench\u00e8res on 6 June 2024 for the sale of this rare cello by Francesco Rugeri.<\/p>\n<\/blockquote>\n\n\n\n

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\ud83d\ude80 Suivez-nous !<\/strong><\/h2>\n\n\n\n