{"id":32482,"date":"2026-04-09T17:53:45","date_gmt":"2026-04-09T15:53:45","guid":{"rendered":"https:\/\/vichy-encheres.com\/?p=32482"},"modified":"2026-05-28T10:50:45","modified_gmt":"2026-05-28T08:50:45","slug":"violoncelles-storioni","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2026\/04\/09\/violoncelles-storioni\/","title":{"rendered":"Deux violoncelles de Lorenzo Storioni"},"content":{"rendered":"\n
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La vente du 4 juin 2026 r\u00e9unit deux violoncelles de Lorenzo Storioni, faits \u00e0 Cr\u00e9mone respectivement vers 1780 et en 1792. Une telle conjoncture est exceptionnelle – les violoncelles du luthier cr\u00e9monais \u00e9tant extr\u00eamement rares. Il est, en effet, inou\u00ef de pouvoir observer simultan\u00e9ment deux instruments de Storioni, d\u2019autant plus qu\u2019ils t\u00e9moignent chacun d\u2019un des deux mod\u00e8les caract\u00e9ristiques de la production de luthier.<\/p>\n<\/blockquote>\n\n\n\n

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Catalogue de vente<\/a><\/div>\n\n\n\n
Catalogue de la collection Jean-Fran\u00e7ois Raffin<\/a><\/div>\n\n\n\n
Vente du 1er juin 2026<\/a><\/div>\n\n\n\n
Vente du 2 juin 2026<\/a><\/div>\n\n\n\n
Vente du 3 juin 2026<\/a><\/div>\n\n\n\n
Vente du 4 juin 2026<\/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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Lorenzo Storioni et la lutherie cr\u00e9monaise<\/h1>\n\n\n\n
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Cr\u00e9mone \u00e0 la fin du XVIIIe<\/sup> si\u00e8cle<\/h2>\n\n\n\n
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\"Giannino<\/a>
Giannino Grossi, Cr\u00e9mona, Torrazzo da Piazza Cavour Da Stradivari a Mantegna, estampe, 1937<\/figcaption><\/figure>\n\n\n\n
\"Giannino<\/a>
Giannino Grossi, Cremona, Piazza del Comune – Il Duomo e il Battistero, 1937 <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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\u201cCet artiste v\u00e9ritablement polyvalent et exceptionnel a, presque \u00e0 lui seul, d\u00e9tourn\u00e9 la lutherie cr\u00e9monaise de sa course effr\u00e9n\u00e9e vers l’ab\u00eeme.\u201d<\/p>\n\n\n\n

Traduction de Dmitry Gindin, The Late Cremonese Violin Makers<\/em>, Edizioni Novecento<\/p>\n<\/blockquote>\n\n\n\n

La place de Lorenzo Storioni s\u2019inscrit dans un moment charni\u00e8re de l\u2019histoire de Cr\u00e9mone. La mort d\u2019Antonio Stradivari en 1737, de Giuseppe Guarneri del Ges\u00f9 en 1744, puis de Carlo Bergonzi en 1747, marquent la fin de l\u2019apog\u00e9e de la lutherie cr\u00e9monaise. Toutefois, il ne faut pas comprendre cette p\u00e9riode comme une rupture soudaine, mais plut\u00f4t comme un d\u00e9clin progressif, d\u00e9j\u00e0 perceptible dans les derni\u00e8res ann\u00e9es des grands ateliers.<\/p>\n<\/div>\n\n\n\n

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Apr\u00e8s 1747, Cr\u00e9mone demeure une ville prestigieuse, mais son r\u00f4le change. Les plus beaux instruments anciens quittent progressivement la ville et commencent \u00e0 \u00eatre recherch\u00e9s par une client\u00e8le fortun\u00e9e, tandis que les luthiers encore actifs travaillent davantage pour un march\u00e9 local, moins aristocratique. La concurrence d\u2019autres centres italiens – tels que Milan, Turin, Venise ou Mantoue – s\u2019affirme, et l\u2019acc\u00e8s aux bois et vernis de grande qualit\u00e9 devient plus difficile.<\/p>\n\n\n\n

C\u2019est dans ce contexte que se d\u00e9veloppe ce qu\u2019on a appel\u00e9 la lutherie \u201ccr\u00e9monaise tardive\u201d[1]<\/sup><\/a>, dont Lorenzo Storioni est la figure centrale.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Dmitry Gindin, The Late Cremonese Violin Makers<\/em>, Edizioni Novecento<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Lorenzo Storioni<\/h2>\n\n\n\n
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\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n
Int\u00e9ressant violon probablement de Michel Ange BERGONZI
Fait \u00e0 Cr\u00e9mone en 1755 – Instrument mis en vente par Vichy Ench\u00e8res le 2 juin 2022
\u00a9 Vichy Ench\u00e8res\/ Photo 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 et rare violoncelle de Jean-Baptiste GUADAGNINI
Fait \u00e0 Milan en 1752 – Instrument mis en vente par Vichy Ench\u00e8res le 7 juin 2018
\u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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N\u00e9 \u00e0 Cr\u00e9mone le 10 novembre 1744, Lorenzo Storioni appartient \u00e0 une g\u00e9n\u00e9ration qui n\u2019a pas connu directement l\u2019\u00e2ge d\u2019or, mais qui en h\u00e9rite indirectement.<\/p>\n\n\n\n

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\u201cIl est tr\u00e8s improbable que Storioni ait eu le moindre contact avec l’atelier de Michele Angelo Bergonzi, puisqu’il n’avait que treize ans lorsque Michele Angelo mourut […] Zosimo Bergonzi (mort en 1779) fut sans doute le seul luthier vivant \u00e0 Cr\u00e9mone capable de susciter l\u2019int\u00e9r\u00eat de Storioni pour la lutherie en tant que profession. Ainsi, entour\u00e9 de diverses influences issues du pass\u00e9 de Cr\u00e9mone, Storioni a pu s\u2019inscrire dans la lign\u00e9e des techniques et du style d\u00e9j\u00e0 bien \u00e9tablis tant par les fils d\u2019Antonio Stradivari et de Carlo Bergonzi que par les descendants de Francesco Rugeri.\u201d<\/p>\n\n\n\n

Dmitry Gindin, The Late Cremonese Violin Makers<\/em>, Edizioni Novecento<\/p>\n<\/blockquote>\n\n\n\n

Son activit\u00e9 est attest\u00e9e d\u00e8s la fin des ann\u00e9es 1760. Mari\u00e9 en 1771, il s\u2019impose progressivement comme le principal luthier de Cr\u00e9mone dans les d\u00e9cennies suivantes, notamment dans les ann\u00e9es 1780, p\u00e9riode la plus f\u00e9conde de sa production. Il travaille alors avec son apprenti Giovanni Rota. <\/p>\n<\/div>\n\n\n\n

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\u00c0 partir du tournant du XIX\u00e8me si\u00e8cle, sa production d\u00e9cline et ses derni\u00e8res ann\u00e9es sont marqu\u00e9es par des d\u00e9placements encore mal document\u00e9s, avant son retour \u00e0 Cr\u00e9mone o\u00f9 il meurt en 1816 dans des conditions modestes.<\/p>\n\n\n\n

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\u201cLes meilleurs instruments fabriqu\u00e9s par Storioni durant ces ann\u00e9es [environ de 1780 \u00e0 1790] soutiennent favorablement la comparaison avec les r\u00e9alisations des deux autres grands luthiers de la fin du XVIIIe si\u00e8cle, Balestrieri et G.B. Guadagnini […] Peu d\u2019\u0153uvres de cette \u00e9poque sont aujourd\u2019hui disponibles pour l\u2019\u00e9tude.\u201d<\/p>\n<\/blockquote>\n\n\n\n

Loin de chercher \u00e0 reproduire les mod\u00e8les de l\u2019\u00e2ge d\u2019or, Storioni affirme une identit\u00e9 propre. Ses instruments, souvent plats, assez larges, rarement longs, se distinguent par des coins larges, un filet marqu\u00e9, des bois souvent locaux et un vernis sec, jaune-orang\u00e9 \u00e0 rouge-orang\u00e9. Par sa facture, il contribue \u00e0 d\u00e9finir une nouvelle mani\u00e8re de faire \u00e0 Cr\u00e9mone dans les ann\u00e9es 1770-1790[1]<\/sup><\/a>, dont t\u00e9moignent les deux violoncelles pr\u00e9sent\u00e9s \u00e0 Vichy Ench\u00e8res.<\/p>\n\n\n\n

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[1]<\/sup><\/a>  Dmitry Gindin, The Late Cremonese Violin Makers<\/em>, Edizioni Novecento<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Les deux violoncelles de la vente du 4 juin 2026<\/h1>\n\n\n\n
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\u201c\u00c9tant donn\u00e9 qu\u2019il est n\u00e9 \u00e0 peine trois semaines apr\u00e8s l\u2019un des \u00e9v\u00e9nements les plus tristes de l\u2019histoire de Cr\u00e9mone – la mort pr\u00e9matur\u00e9e de Guarneri del Ges\u00f9 -, j\u2019aime \u00e0 consid\u00e9rer les meilleures \u0153uvres de Storioni comme la continuit\u00e9 de l\u2019esprit de ce grand ma\u00eetre.\u201d<\/p>Dmitry Gindin, The Late Cremonese Violin Makers<\/em>, Edizioni Novecento<\/cite><\/blockquote><\/figure>\n\n\n\n

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Le violoncelle vers 1780 : un mod\u00e8le plus ample<\/h2>\n\n\n\n
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Comme l\u2019explique Jonathan Marolle, la production de Storioni en mati\u00e8re de violoncelles se distingue essentiellement par deux grands types de mod\u00e8les, \u00e0 savoir un mod\u00e8le court et trapu, et un mod\u00e8le plus grand et large. Le premier instrument, fait \u00e0 Cr\u00e9mone vers 1780, porte une \u00e9tiquette de Storioni et pr\u00e9sente une longueur de corps de 740 mm, sensiblement sup\u00e9rieure \u00e0 celle du violoncelle de 1792.<\/p>\n\n\n\n

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\u201cOn est ici en pr\u00e9sence d\u2019un bon exemple de violoncelle assez grand chez Storioni, avec un corps moins trapu, plus large et avec des C plus grands.\u201d<\/p>\n\n\n\n

Entretien avec Jonathan Marolle, Maison Vatelot-Rampal, expert lutherie pr\u00e8s la cour d\u2019appel de Paris, avril 2026<\/p>\n<\/blockquote>\n\n\n\n

Ce mod\u00e8le se caract\u00e9rise par une silhouette plus ouverte, avec des proportions moins ramass\u00e9es. Les coins sont plus d\u00e9velopp\u00e9s et l\u2019allure g\u00e9n\u00e9rale est imposante.<\/p>\n<\/div>\n\n\n\n

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Jonathan Marolle attire \u00e9galement l\u2019attention sur le choix du bois :<\/p>\n\n\n\n

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\u201cLe bois chez Storioni r\u00e9v\u00e8le des pratiques locales, ici il s\u2019agit d\u2019\u00e9rable champ\u00eatre.\u201d<\/p>\n\n\n\n

Entretien avec Jonathan Marolle, Maison Vatelot-Rampal, expert lutherie pr\u00e8s la cour d\u2019appel de Paris, avril 2026<\/p>\n<\/blockquote>\n\n\n\n

Ce d\u00e9tail est r\u00e9v\u00e9lateur des conditions de production de la lutherie cr\u00e9monaise tardive, dans un contexte d\u2019acc\u00e8s plus limit\u00e9 aux mat\u00e9riaux les plus prestigieux, obligeant les luthiers \u00e0 recourir \u00e0 des ressources locales. L\u2019instrument pr\u00e9sente par ailleurs une t\u00eate italienne plus tardive, non d\u2019origine, ainsi que des traces de vers et diff\u00e9rentes alt\u00e9rations du fond, t\u00e9moignant de son anciennet\u00e9 et de son usage.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violoncelle<\/a><\/figure>\n\n\n\n
\"Violoncelle<\/a><\/figure>\n\n\n\n
\"Violoncelle<\/a><\/figure>\n
Violoncelle de Lorenzo STORIONI – Fait \u00e0 Cr\u00e9mone vers 1780
Instrument mis en vente par Vichy Ench\u00e8res le 4 juin 2026 – \u00a9 Photo J. Marolle<\/figcaption><\/figure>\n\n\n\n
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Provenance : un instrument en lien avec l\u2019Orchestre de Paris<\/h2>\n\n\n\n
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Ce violoncelle a accompagn\u00e9 pendant plus de quarante ans un musicien de l\u2019Orchestre de Paris et, d\u00e8s lors, est \u00e9troitement li\u00e9 \u00e0 la vie musicale fran\u00e7aise de la seconde moiti\u00e9 du XX\u00e8me si\u00e8cle. Pr\u00e9sent d\u00e8s les premi\u00e8res d\u00e9cennies de l\u2019orchestre, apr\u00e8s la dissolution de la Soci\u00e9t\u00e9 des Concerts du Conservatoire, il a r\u00e9sonn\u00e9 au sein d\u2019une institution qui a profond\u00e9ment marqu\u00e9 la vie symphonique fran\u00e7aise. <\/p>\n<\/div>\n\n\n\n

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Au fil des saisons, l\u2019instrument a \u00e9t\u00e9 jou\u00e9 sous la direction de plusieurs g\u00e9n\u00e9rations de chefs, parmi lesquels Herbert von Karajan, Georg Solti, Daniel Barenboim ainsi que Christoph Eschenbach, participant \u00e0 l\u2019exploration d\u2019un vaste r\u00e9pertoire allant des grandes \u0153uvres symphoniques aux cr\u00e9ations contemporaines. \u00c0 travers des d\u00e9cennies de concerts, de r\u00e9p\u00e9titions et de voyages, ce violoncelle conserve ainsi la m\u00e9moire d\u2019une intense vie musicale, \u00e9troitement li\u00e9e \u00e0 l\u2019histoire de l\u2019orchestre et \u00e0 celle des grandes sc\u00e8nes europ\u00e9ennes de la seconde moiti\u00e9 du XX\u00e8me si\u00e8cle.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Orchestre<\/a>
Orchestre de Paris<\/figcaption><\/figure>\n\n\n\n
\"Orchestre<\/a>
Orchestre de Paris<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Le violoncelle de 1792<\/h2>\n\n\n\n
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Le second instrument, un violoncelle fait \u00e0 Cr\u00e9mone en 1792, est, quant \u00e0 lui, caract\u00e9ristique de l\u2019autre mod\u00e8le identifi\u00e9 dans la production de Storioni. En effet, celui-ci est nettement plus petit que le premier mod\u00e8le, avec une longueur de corps de 720 mm.<\/p>\n\n\n\n

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\u201cCet instrument est particuli\u00e8rement int\u00e9ressant. Il a gard\u00e9 son \u00e9tiquette d\u2019origine et il est typique de l\u2019autre type de violoncelle courant chez Storioni, c\u2019est-\u00e0-dire un mod\u00e8le assez court, plut\u00f4t trapu, avec des petits C \u00e9troits et assez carr\u00e9s.\u201d<\/p>\n\n\n\n

Entretien avec Jonathan Marolle, Maison Vatelot-Rampal, expert lutherie pr\u00e8s la cour d\u2019appel de Paris, avril 2026<\/p>\n<\/blockquote>\n<\/div>\n\n\n\n

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L\u2019instrument s\u2019\u00e9loigne ainsi des grands mod\u00e8les plus allong\u00e9s, pour se rapprocher de conceptions plus courtes et larges dans la partie centrale, que l\u2019expert rapproche de certaines traditions v\u00e9nitiennes. \u201cDans les tailles, si on voulait faire des comparaisons, on dirait qu\u2019on s\u2019inspire de ce qui se faisait \u00e0 Venise, avec des instruments plus courts [\u2026] loin des grands mod\u00e8les de Stradivari.\u201d<\/p>\n\n\n\n

Entretien avec Jonathan Marolle, Maison Vatelot-Rampal, expert lutherie pr\u00e8s la cour d\u2019appel de Paris, avril 2026<\/p>\n<\/blockquote>\n\n\n\n

Les ou\u00efes, relativement basses, petites et inclin\u00e9es vers l\u2019int\u00e9rieur, ainsi que le vernis sec et fin, de teinte jaune-orang\u00e9, participent \u00e0 la singularit\u00e9 de ce mod\u00e8le.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Rare<\/a><\/figure>\n\n\n\n
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\"Rare<\/a><\/figure>\n\n\n\n
\"Rare<\/a><\/figure>\n\n\n\n
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Rare et exceptionnel violoncelle de Lorenzo STORIONI – Fait \u00e0 Cr\u00e9mone en 1792
Instrument mis en vente par Vichy Ench\u00e8res le 4 juin 2026 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Provenance : Cecilia Mihalyka Telm\u00e1nyi Thomsen et l\u2019h\u00e9ritage d\u2019Emil Telm\u00e1nyi<\/h2>\n\n\n\n
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La provenance de ce violoncelle est particuli\u00e8rement bien document\u00e9e. Il fut acquis en 1958 \u00e0 Hambourg par Cecilia Mihalyka Telmanyi Thomsen, alors \u00e2g\u00e9e de vingt ans. L\u2019achat fut formalis\u00e9 par son p\u00e8re, Emil Telm\u00e1nyi, violoniste hongrois-danois de premier plan.<\/p>\n\n\n\n

Emil Telm\u00e1nyi fut \u00e9galement chef d’orchestre et p\u00e9dagogue, proche du compositeur Carl Nielsen, dont il fut le gendre et l\u2019interpr\u00e8te privil\u00e9gi\u00e9. Il mena une carri\u00e8re de soliste internationale et contribua activement \u00e0 la diffusion du r\u00e9pertoire scandinave. Son implication dans l\u2019acquisition de ce violoncelle le replace dans un environnement artistique de premier plan, au contact des grandes figures de la vie musicale scandinave du XX\u00e8me si\u00e8cle.<\/p>\n<\/div>\n\n\n\n

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L\u2019instrument fut achet\u00e9 aupr\u00e8s de la maison Georg Winterling \u00e0 Hambourg, \u00e9tablissement fond\u00e9 en 1890 et sp\u00e9cialis\u00e9 dans le commerce et la restauration d\u2019instruments anciens. Il passa \u00e9galement par la Maison Hamma & Co. de Stuttgart, fond\u00e9e en 1864, l\u2019une des plus importantes r\u00e9f\u00e9rences europ\u00e9ennes en mati\u00e8re de lutherie historique.<\/p>\n\n\n\n

Le violoncelle accompagna Cecilia Mihalyka Telmanyi Thomsen tout au long de sa carri\u00e8re, notamment au sein de l\u2019Orchestre symphonique d\u2019Aarhus, o\u00f9 elle joua pendant pr\u00e8s de quarante ans.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Emil<\/a>
Emil Telmanyi, George Grantham Bain collection ved Library of Congress<\/figcaption><\/figure>\n\n\n\n
\"Emil<\/a>
Emil Telmanyi, Bach, Three sonatas and three partitas, Decca<\/figcaption><\/figure>\n\n\n\n
\"Emil<\/a>
Emil Telmanyi et Albert Schweitzer<\/figcaption><\/figure>\n\n\n\n
\"Certificat<\/a>
Certificat de garantie du violoncelle de la Maison Hamma<\/figcaption><\/figure>\n\n\n\n
\"Certificat<\/a>
Certificat de garantie du violoncelle de la Maison Geogr Winterling, Hambourg <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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La r\u00e9union de ces deux violoncelles de Lorenzo Storioni illustre une p\u00e9riode charni\u00e8re de la lutherie cr\u00e9monaise, entre h\u00e9ritage des grands ma\u00eetres et affirmation d\u2019un style propre. Chacun t\u00e9moigne d\u2019un des deux mod\u00e8les caract\u00e9ristiques de la production du luthier, offrant un aper\u00e7u de sa facture particuli\u00e8rement rare. Leurs provenances, toutes deux li\u00e9es \u00e0 des figures marquantes de la vie musicale europ\u00e9enne, renforcent leur int\u00e9r\u00eat. Leur pr\u00e9sentation conjointe lors de la vente du 4 juin 2026 est ainsi une opportunit\u00e9 unique d\u2019\u00e9tude et d\u2019acquisition pour les chercheurs, musiciens et collectionneurs.<\/p>\n<\/blockquote>\n\n\n\n

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TWO CELLOS BY LORENZO STORIONI<\/h1>\n\n\n\n
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The sale on 4 June 2026 brings together two cellos by Lorenzo Storioni, made in Cremona around 1780 and in 1792. Such an occurrence is exceptional \u2013 cellos by this Cremonese violin maker are extremely rare indeed. In fact, being able to study two Storioni instruments side by side is unheard of, let alone two that exemplify each of the two models typically produced by this maker.<\/p>\n<\/blockquote>\n\n\n\n

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Catalog<\/a><\/div>\n\n\n\n
Catalog of the Jean Fran\u00e7ois Raffin collection <\/a><\/div>\n\n\n\n
Sale on 1 June 2026<\/a><\/div>\n\n\n\n
Sale on 2 June 2026<\/a><\/div>\n\n\n\n
Sale on 3 June 2026<\/a><\/div>\n\n\n\n
Sale on 4 June 2026<\/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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Lorenzo Storioni and Cremonese violin making<\/h1>\n\n\n\n
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Cremona at the end of the 18th century<\/h2>\n\n\n\n
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\"Giannino<\/a>
Giannino Grossi, Cr\u00e9mona, Torrazzo da Piazza Cavour Da Stradivari a Mantegna, estampe, 1937<\/figcaption><\/figure>\n\n\n\n
\"Giannino<\/a>
Giannino Grossi, Cremona, Piazza del Comune – Il Duomo e il Battistero, 1937 <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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\u201cThis truly versatile and exceptional artist almost single-handedly diverted Cremonese violin making from its headlong rush towards the abyss.\u201d<\/p>\n\n\n\n

Traduction de Dmitry Gindin, The Late Cremonese Violin Makers<\/em>, Edizioni Novecento<\/p>\n<\/blockquote>\n\n\n\n

Lorenzo Storioni’s place in Cremona’s history is situated at a pivotal moment. The deaths of Antonio Stradivari in 1737, Giuseppe Guarneri del Ges\u00f9 in 1744 and Carlo Bergonzi in 1747 marked the end of the golden age of Cremonese violin making. However, this period should not be understood as a sudden break, but rather as a gradual decline, already perceptible in the final years of the great workshops.<\/p>\n<\/div>\n\n\n\n

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After 1747, Cremona remained a prestigious city, but its role changed. The finest antique instruments gradually left the city and began to be sought after by a wealthy clientele, while the remaining active makers worked more for a local, less aristocratic clientele. Competition from other Italian centres \u2013 such as Milan, Turin, Venice and Mantua \u2013 intensified, and access to high-quality woods and varnishes became more difficult.<\/p>\n\n\n\n

It is in this context that what has been referred to as “late Cremonese” violin making developed[1]<\/sup><\/a>, with Lorenzo Storioni as its central figure.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Dmitry Gindin, The Late Cremonese Violin Makers<\/em>, Edizioni Novecento<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Lorenzo Storioni<\/h2>\n\n\n\n
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\"Int\u00e9ressant<\/a><\/figure>\n\n\n\n
\"Int\u00e9ressant<\/a><\/figure>\n
Int\u00e9ressant violon probablement de Michel Ange BERGONZI
Fait \u00e0 Cr\u00e9mone en 1755 – Instrument mis en vente par Vichy Ench\u00e8res le 2 juin 2022
\u00a9 Vichy Ench\u00e8res\/ Photo 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 et rare violoncelle de Jean-Baptiste GUADAGNINI
Fait \u00e0 Milan en 1752 – Instrument mis en vente par Vichy Ench\u00e8res le 7 juin 2018
\u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Lorenzo Storioni was born in Cremona on 10 November 1744, and belongs to a generation that did not experience first-hand the golden age, instead inheriting it indirectly.<\/p>\n\n\n\n

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\u201cIt is highly unlikely that Storioni had any contact whatsoever with Michele Angelo Bergonzi\u2019s workshop, since he was only 13 years old when Michele Angelo died [\u2026] Zosimo Bergonzi (who died in 1779) was most likely the only living maker in Cremona capable of sparking Storioni\u2019s interest in violin making as a profession. Therefore, surrounded by various influences from Cremona\u2019s past, Storioni was able to follow in the footsteps of the techniques and style already well established by the sons of Antonio Stradivari and Carlo Bergonzi, as well as the descendants of Francesco Rugeri.\u201d<\/p>\n\n\n\n

Dmitry Gindin, The Late Cremonese Violin Makers<\/em>, Edizioni Novecento<\/p>\n<\/blockquote>\n\n\n\n

His activity is documented from the late 1760s. He married in 1771, and gradually established himself as Cremona\u2019s leading violin maker in the following decades, particularly in the 1780s, the most prolific period of his career. He was working at the time with his apprentice, Giovanni Rota.<\/p>\n<\/div>\n\n\n\n

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From the turn of the 19th century, his production declined, and his final years were marked by poorly documented travels, before his return to Cremona, where he died in 1816 in modest circumstances.<\/p>\n\n\n\n

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\u201cThe best instruments made by Storioni during these years [approximately from 1780 to 1790] compare favourably with the work of the two other great violin makers of the late 18th century, Balestrieri and G.B. Guadagnini [\u2026] Few examples from this period are available for study today.\u201d<\/p>\n<\/blockquote>\n\n\n\n

Far from seeking to reproduce the models of the golden age, Storioni asserted his own identity. His instruments, often flat, quite wide and rarely long, are distinguished by wide corners, pronounced purfling, the use of local woods, and a dry, yellow-orange to red-orange, varnish. Through his craftsmanship, he helped create a new approach to cello making in Cremona from 1770 to 1790[1]<\/sup><\/a>, as evidenced by the two cellos offered at Vichy Ench\u00e8res.<\/p>\n\n\n\n

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[1]<\/sup><\/a>  Dmitry Gindin, The Late Cremonese Violin Makers<\/em>, Edizioni Novecento<\/p>\n<\/div>\n<\/div>\n\n\n\n

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The two cellos in the sale of 4 June 2026<\/h1>\n\n\n\n
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\u201cGiven that he was born barely three weeks after one of the saddest events in Cremona\u2019s history \u2013 the untimely death of Guarneri del Ges\u00f9 \u2013 I like to think of Storioni\u2019s finest works as a continuation of the spirit of this great master.\u201d<\/p>Dmitry Gindin, The Late Cremonese Violin Makers<\/em>, Edizioni Novecento<\/cite><\/blockquote><\/figure>\n\n\n\n

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The cello circa 1780: a larger model<\/h2>\n\n\n\n
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As Jonathan Marolle explains, Storioni\u2019s cello production can be essentially divided into two main types of models: a short and stocky model, and a larger and wider one. The first instrument, made in Cremona around 1780, bears a Storioni label and has a body length of 740mm, significantly longer than that of the 1792 cello.<\/p>\n\n\n\n

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\u201cHere we have a good example of a fairly large Storioni cello, with a wider, less stocky body and larger C-bouts.\u201d<\/p>\n\n\n\n

Interview with Jonathan Marolle, Maison Vatelot-Rampal, violin expert appointed to the Paris Court of Appeal, April 2026.<\/p>\n<\/blockquote>\n\n\n\n

This model is characterized by a more open outline, with less compressed proportions. The corners are more developed, and the overall appearance is imposing.<\/p>\n<\/div>\n\n\n\n

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Jonathan Marolle also draws attention to the choice of wood:<\/p>\n\n\n\n

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\u201cThe wood used by Storioni attests to local practices; here, it is field maple.\u201d<\/p>\n\n\n\n

Interview with Jonathan Marolle, Maison Vatelot-Rampal, violin expert appointed to the Paris Court of Appeal, April 2026.<\/p>\n<\/blockquote>\n\n\n\n

This detail is revealing of the conditions in which late Cremonese violin makers had to operate, with more limited access to the most prestigious materials, forcing them to rely on local supplies. Furthermore, the instrument features a later, non-original, Italian head, as well as traces of woodworm damage and various alterations to the back, attesting to its age and use.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violoncelle<\/a><\/figure>\n\n\n\n
\"Violoncelle<\/a><\/figure>\n\n\n\n
\"Violoncelle<\/a><\/figure>\n
Violoncelle de Lorenzo STORIONI – Fait \u00e0 Cr\u00e9mone vers 1780
Instrument mis en vente par Vichy Ench\u00e8res le 4 juin 2026 – \u00a9 Photo J. Marolle<\/figcaption><\/figure>\n\n\n\n
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Provenance: an instrument linked to the Orchestre de Paris<\/h2>\n\n\n\n
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This cello accompanied a musician from the Orchestre de Paris for over forty years and is therefore closely linked to French musical life in the second half of the 20th century. A fixture from the orchestra\u2019s earliest decades, following the dissolution of the Soci\u00e9t\u00e9 des Concerts du Conservatoire, it resonated within an institution that left a profound mark on French symphonic life. <\/p>\n<\/div>\n\n\n\n

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Over the seasons, the instrument was played under the baton of several generations of conductors, including Herbert von Karajan, Georg Solti, Daniel Barenboim and Christoph Eschenbach, contributing to the exploration of a vast repertoire ranging from major symphonic works to contemporary premieres. Through decades of concerts, rehearsals and tours, this cello thus preserves the memory of an intense musical life, closely linked to the history of the orchestra and to that of the great European stages of the second half of the 20th century.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Orchestre<\/a>
Orchestre de Paris<\/figcaption><\/figure>\n\n\n\n
\"Orchestre<\/a>
Orchestre de Paris<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The cello of 1792<\/h2>\n\n\n\n
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The second instrument, a cello made in Cremona in 1792, is typical of the other model identified in Storioni’s output. Indeed, it is significantly smaller than the first example, with a body length of 720mm.<\/p>\n\n\n\n

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\u201cThis instrument is particularly interesting. It has retained its original label and is typical of the other type of cello common with Storioni, i.e., a rather short, somewhat stocky model, with small, narrow and fairly square C-bouts.\u201d<\/p>\n\n\n\n

Interview with Jonathan Marolle, Maison Vatelot-Rampal, violin expert appointed to the Paris Court of Appeal, April 2026.<\/p>\n<\/blockquote>\n<\/div>\n\n\n\n

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The instrument thus departed from the larger and more elongated models, and moved in the direction of shorter designs with a wider central section, which the expert links to certain Venetian traditions. \u201cIn terms of size, if we wanted to make comparisons, we would say that it was inspired by what was being done in Venice, with shorter instruments [\u2026] far removed from the large Stradivari models.\u201d<\/p>\n\n\n\n

Interview with Jonathan Marolle, Maison Vatelot-Rampal, violin expert appointed to the Paris Court of Appeal, April 2026.<\/p>\n<\/blockquote>\n\n\n\n

The relatively low, small and inwardly sloping f-holes, along with the dry and thin yellow-orange varnish, contribute to the unique character of this example.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Rare<\/a><\/figure>\n\n\n\n
\"Rare<\/a><\/figure>\n\n\n\n
\"Rare<\/a><\/figure>\n\n\n\n
\"Rare<\/a><\/figure>\n\n\n\n
\"Rare<\/a><\/figure>\n\n\n\n
\"Rare<\/a><\/figure>\n\n\n\n
\"Rare<\/a><\/figure>\n
Rare et exceptionnel violoncelle de Lorenzo STORIONI – Fait \u00e0 Cr\u00e9mone en 1792
Instrument mis en vente par Vichy Ench\u00e8res le 4 juin 2026 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Provenance: Cecilia Mihalyka Telmanyi Thomsen and the legacy of Emil Telmanyi<\/h2>\n\n\n\n
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The provenance of this cello is particularly well documented. It was acquired in 1958 in Hamburg by Cecilia Mihalyka Telmanyi Thomsen, then 20 years old. The purchase was formalized by her father, Emil Telm\u00e1nyi, a leading Hungarian-Danish violinist.<\/p>\n\n\n\n

Emil Telm\u00e1nyi was also a conductor and teacher, close to the composer Carl Nielsen, whose son-in-law and preferred interpreter he was. He pursued an international solo career and actively contributed to the spread of the Scandinavian repertoire. His involvement in acquiring this cello placed him within a leading artistic circle, giving him access to the major figures of 20th-century Scandinavian musical life.<\/p>\n<\/div>\n\n\n\n

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The instrument was purchased from Georg Winterling in Hamburg, an establishment founded in 1890 and specializing in the sale and restoration of antique instruments. It also passed through the hands of Hamma & Co. in Stuttgart, which was founded in 1864 and was one of Europe’s most important references with regards to historical instruments.<\/p>\n\n\n\n

The cello accompanied Cecilia Mihalyka Telmanyi Thomsen throughout her career, in particular with the Aarhus Symphony Orchestra, with which she played for nearly 40 years.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Emil<\/a>
Emil Telmanyi, George Grantham Bain collection ved Library of Congress<\/figcaption><\/figure>\n\n\n\n
\"Emil<\/a>
Emil Telmanyi, Bach, Three sonatas and three partitas, Decca<\/figcaption><\/figure>\n\n\n\n
\"Emil<\/a>
Emil Telmanyi et Albert Schweitzer<\/figcaption><\/figure>\n\n\n\n
\"Certificat<\/a>
Certificat de garantie du violoncelle de la Maison Hamma<\/figcaption><\/figure>\n\n\n\n
\"Certificat<\/a>
Certificat de garantie du violoncelle de la Maison Geogr Winterling, Hambourg <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The coming together of these two cellos by Lorenzo Storioni illustrates a pivotal period in Cremonese instrument making, between the legacy of the great masters and the emergence of a distinctive style. Each one constitutes an example of the two typical models in the maker’s output, offering a particularly unique glimpse into his craftsmanship. Their provenance, which links both instruments to prominent figures in European musical life, only serves to enhance their appeal. Their joint presentation, in connection with the sale on 4 June 2026, thus offers a unique opportunity for researchers, musicians and collectors to study and acquire them.<\/p>\n<\/blockquote>\n\n\n\n

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