{"id":3581,"date":"2014-12-04T00:00:59","date_gmt":"2014-12-03T23:00:59","guid":{"rendered":"http:\/\/vichyencheres.wordpress.com\/?p=3581"},"modified":"2022-11-08T09:54:59","modified_gmt":"2022-11-08T08:54:59","slug":"joseph-guarneri-fils-d-andrea","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2014\/12\/04\/joseph-guarneri-fils-d-andrea\/","title":{"rendered":"Joseph GUARNERI “filius Andrae”"},"content":{"rendered":"\n
\n

Lors d\u2019une pr\u00e9c\u00e9dente vacation, nous vous pr\u00e9sentions un beau violon d\u2019Andrea GUARNERI, fameux luthier, fondateur de la \u00ab Casa Guarneri \u00bb, l\u00e9gendaire dynastie cremonaise. Nous plongeons de nouveau dans l\u2019histoire de cette famille gr\u00e2ce \u00e0 un autre de ses illustres repr\u00e9sentants : Joseph d\u00eet \u00ab Joseph fils d\u2019Andrea \u00bb dont l’instrument est pr\u00e9sent\u00e9 lors de la prestigieuse vente d’instruments du quatuor de Vichy du 4 d\u00e9cembre 2014\u2026   <\/p>\n<\/blockquote>\n\n\n\n

\n
Catalogue<\/a><\/div>\n\n\n\n
R\u00e9sultats de ventes<\/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
<\/div>\n\n\n\n
\n\n\n\n
<\/div>\n\n\n\n

un environnement familial propice <\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

Cadet des enfants d\u2019Andrea, Joseph na\u00eet \u00e0 Cr\u00e9mone en 1666. Il effectue son apprentissage dans l\u2019atelier paternel aux c\u00f4t\u00e9s de son fr\u00e8re a\u00een\u00e9 Pietro (n\u00e9 en 1655) qui s\u2019installera plus tard, dans la ville de Mantoue. Les conditions semblent r\u00e9unies pour le jeune Joseph, qui s\u2019\u00e9panouit dans un environnement familial et professionnel o\u00f9 r\u00e8gne une grande \u00e9mulation ainsi qu\u2019une saine concurrence. Les confr\u00e8res cr\u00e9mones d\u2019alors se nomment STRADIVARI, AMATI (Girolamo II) et les fr\u00e8res RUGGER, pour ne citer que les plus illustres.<\/p>\n\n\n\n

Andrea mort en 1698, Joseph assume seul la succession de l\u2019atelier paternel (son fr\u00e8re a\u00een\u00e9 Pietro s\u2019\u00e9tant install\u00e9 \u00e0 Mantoue cette m\u00eame ann\u00e9e).<\/p>\n<\/div>\n\n\n\n

\n
\"Arbre<\/a>
Arbre g\u00e9n\u00e9alogique de la famille GUARNERIUS tir\u00e9 du livre “The violon makers of the Guarneri Family (1626-1762)”, William E. HILL & Sons, Londres, 1931<\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

Une personnalit\u00e9<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\n
\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n
Violon de Joseph GUARNERIUS dit Joseph Fils d’Andr\u00e9
Instrument mis en vente par Vichy Ench\u00e8res le 4 d\u00e9cembre 2014
\u00a9 Studio Sebert<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n

Si les premiers travaux connus de Joseph (un exemplaire sign\u00e9 d\u00e8s 1690, un autre de 1696) montrent d\u00e9j\u00e0 une certaine personnalit\u00e9, certains d\u00e9tails t\u00e9moignent encore de l\u2019influence d\u2019AMATI aupr\u00e8s duquel Andrea GUARNERI<\/a> avait fait son apprentissage. Petit \u00e0 petit, ces d\u00e9tails vont s\u2019estomper pour laisser place \u00e0 la pleine personnalit\u00e9 du jeune luthier. Au regard de l\u2019\u0153uvre de Joseph sur l\u2019ensemble de sa carri\u00e8re, on peut penser qu\u2019\u00e0 l\u2019instar de STRADIVARI, il fut un inlassable exp\u00e9rimentateur, modifiant souvent son mod\u00e8le, probablement \u00e0 des fins d\u2019am\u00e9liorations sonore.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n

P\u00e9riode charni\u00e8re<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

L\u2019instrument pr\u00e9sent\u00e9 et propos\u00e9 \u00e0 la vente au mois de d\u00e9cembre 2014<\/a> est un formidable exemplaire tr\u00e8s probablement dat\u00e9 des ann\u00e9es 1705-1710, t\u00e9moignage de l\u2019exceptionnelle qualit\u00e9 d\u2019ex\u00e9cution du jeune ma\u00eetre au d\u00e9but du XVIII\u00e8me<\/sup> si\u00e8cle.<\/p>\n\n\n\n

Ce violon se situe donc \u00e0 une p\u00e9riode charni\u00e8re de l\u2019\u0153uvre de l\u2019auteur. Le mod\u00e8le de son p\u00e8re, fortement influenc\u00e9 par AMATI, figure tut\u00e9laire de la ville, est abandonn\u00e9. Cependant, la forme du mod\u00e8le des ann\u00e9es 1725-1730 n\u2019est pas encore compl\u00e8tement aboutie. Cet exemplaire, par ses mensurations (en tout point identiques \u00e0 celles relev\u00e9es par les HILL dans leur ouvrage sur la famille GUARNERI) semble devoir s\u2019inspirer des violons de son fr\u00e8re Pietro \u00ab de Mantoue \u00bb. Une longueur de coffre de 357 mm, un contour plus large, un diapason long r\u00e9sultant du placement bas des ou\u00efes sur la table, un filet teint\u00e9 aux noirs soutenus, un ragr\u00e9age mod\u00e9r\u00e9 : le jeune ma\u00eetre cherche, s\u2019inspire, exp\u00e9rimente.<\/p>\n<\/div>\n\n\n\n

\n
\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n
Violon de Joseph GUARNERIUS dit Joseph Fils d’Andr\u00e9
Instrument mis en vente par Vichy Ench\u00e8res le 4 d\u00e9cembre 2014
\u00a9 Studio Sebert<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

Influence des Maitres italiens du XVIII\u00e8me<\/sup><\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n
Violon de Joseph GUARNERIUS dit Joseph Fils d’Andr\u00e9
Instrument mis en vente par Vichy Ench\u00e8res le 4 d\u00e9cembre 2014
\u00a9 Studio Sebert<\/figcaption><\/figure>\n\n\n\n
\n
\n

Le bois est assez bien choisi. L\u2019\u00e9pic\u00e9a de la table \u00e0 l\u2019accroissement plut\u00f4t r\u00e9gulier s\u2019\u00e9largi l\u00e9g\u00e8rement vers les bords. D\u2019apr\u00e8s les examens dendrochronologies (effectu\u00e9s par Peter RATCLIFF en octobre 2014 et disponibles sur demande) pratiqu\u00e9s sur la table, il existe de grandes similitudes quant au type d\u2019\u00e9pic\u00e9a employ\u00e9 avec certains exemplaires de STRADIVARI, GUARNERI DEL GESU et de la plupart des ma\u00eetres italiens du XVIII\u00e8me<\/sup> si\u00e8cle.<\/p>\n<\/div>\n\n\n\n

\n

La datation donne l\u2019ann\u00e9e 1695 pour le cerne le plus jeune c\u00f4t\u00e9 aigu et 1690 pour le cerne le plus jeune c\u00f4t\u00e9 grave.
Le fond est de deux pi\u00e8ces d\u2019\u00e9rable sur quartier \u00e0 ondes douces et assez r\u00e9guli\u00e8res. La pr\u00e9sence d\u2019un petit n\u0153ud dans la partie sup\u00e9rieure r\u00e9v\u00e8le probablement des difficult\u00e9s pour Joseph \u00e0 s\u2019approvisionner en bois de premi\u00e8re qualit\u00e9.
Les \u00e9clisses sont d\u2019un bel \u00e9rable \u00e0 ondes plus larges.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n

D\u00e9tails r\u00e9currents sur les instruments de Joseph<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a>
Violon de Joseph GUARNERI, Cr\u00e9mone vers 1735<\/figcaption><\/figure>\n
Images de gauche : Violon de Joseph GUARNERIUS dit Joseph Fils d’Andr\u00e9
Instrument mis en vente par Vichy Ench\u00e8res le 4 d\u00e9cembre 2014
\u00a9 Studio Sebert<\/figcaption><\/figure>\n\n\n\n
\n
\n

La t\u00eate est d\u2019un \u00e9rable sans ondes comme bien souvent en Italie \u00e0 cette \u00e9poque. Elle conserve dans le d\u00e9gorgement de la volute, les vestiges d\u2019un chanfrein noirci. Le per\u00e7age des chevilles est d\u2019origine.<\/p>\n<\/div>\n\n\n\n

\n

La coulisse arri\u00e8re est assez large, droite et peu creus\u00e9e. Les marques de gouges sont encore tr\u00e8s visibles. Ces d\u00e9tails sont assez r\u00e9currents sur les instruments de Joseph. En g\u00e9n\u00e9ral, ses volutes sont moins soign\u00e9es que celles de son p\u00e8re.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n

Montage int\u00e9rieur<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n\n\n\n
\n
\n

Le montage int\u00e9rieur est proprement ex\u00e9cut\u00e9 mais sans attention excessive.<\/p>\n<\/div>\n\n\n\n

\n

Les blocs de coins et tasseaux sont en saule et bruts de gouge tandis que les contre-\u00e9clisses sont en \u00e9pic\u00e9a.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"\"
\u00c9tiquette de Joseph Guarnerius filius Andrea fecit Cremonae Sub titulo S. Teresia 170\u2026<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n

Troublante similarit\u00e9 avec le vernis de deux STRADIVARIUS<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n
Violon de Joseph GUARNERIUS dit Joseph Fils d’Andr\u00e9
Instrument mis en vente par Vichy Ench\u00e8res le 4 d\u00e9cembre 2014
\u00a9 Maison VATELOT-RAMPAL<\/figcaption><\/figure>\n\n\n\n
\n
\n

Le vernis est dans un exceptionnel \u00e9tat de pr\u00e9servation. De larges zones (sur le fond et les \u00e9clisses notamment) sont demeur\u00e9es intactes, sans le moindre rajout de gomme laque ou autre vernis de protection. Plusieurs examens comparatifs aux ultra-violets ont r\u00e9v\u00e9l\u00e9 une troublante similarit\u00e9 avec le vernis de deux violons de STRADIVARIUS, dat\u00e9s respectivement de 1701 et 1708.<\/p>\n<\/div>\n\n\n\n

\n

Nous sommes en pr\u00e9sence d\u2019un vernis d\u2019huile cuite m\u00e9lang\u00e9e \u00e0 une r\u00e9sine, \u00e0 la texture plut\u00f4t s\u00e8che comme le sugg\u00e8re la mani\u00e8re dont s\u2019est patin\u00e9 l\u2019instrument. L\u2019absence de pigment (peu utilis\u00e9s encore \u00e0 cette \u00e9poque) lui conf\u00e8re une tr\u00e8s belle transparence.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n

Rapport de dendrochronologie<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

La dendrochronologie est la science de la datation du bois d\u2019apr\u00e8s les informations contenues dans les cernes des arbres.
Le rapport de dendrochronologie est devenu un \u00e9l\u00e9ment important lors de l\u2019\u00e9valuation approfondie d\u2019un instrument de musique. Il permet de situer avec une grande pr\u00e9cision, la p\u00e9riode exacte \u00e0 laquelle l\u2019arbre a \u00e9t\u00e9 utilis\u00e9 dans la fabrication de la table de l\u2019instrument. Le but principal \u2013 et la seule certitude qui se d\u00e9gage d\u2019une analyse r\u00e9ussie \u2013 est d\u2019obtenir une date, portant sur le dernier anneau visible de la table de l\u2019instrument, qui pr\u00e9c\u00e8de de pr\u00e9f\u00e9rence d\u2019au moins quelques ann\u00e9es la mort de l\u2019auteur attribu\u00e9.<\/p>\n\n\n\n

Tous les tests statistiques, combin\u00e9s \u00e0 l\u2019\u00e9valuation de nombreux graphiques comparatifs, ont ainsi d\u00e9termin\u00e9 que la premi\u00e8re date possible de l\u2019abattage de l\u2019arbre utilis\u00e9 pour faire la table de ce violon est tr\u00e8s rapidement apr\u00e8s 1695.
La diff\u00e9rence entre la \u00ab date du dernier anneau \u00bb (1695) et la possible date de fabrication est naturellement une question de conjecture, et cet instrument pourrait en effet avoir \u00e9t\u00e9 r\u00e9alis\u00e9 \u00e0 tout moment \u00e0 partir de 1700.<\/p>\n\n\n\n

Apr\u00e8s de nombreux tests dendrochronologies sur le bois d\u2019\u00e9pic\u00e9a utilis\u00e9 par les fabricants italiens en g\u00e9n\u00e9ral, il a \u00e9t\u00e9 constat\u00e9 que le d\u00e9lai entre la date du dernier anneau et la date de fabrication attribu\u00e9e varie grandement. Dans certains cas que nous avons rencontr\u00e9s, ce laps de temps \u00e9tait parfois de moins de 5 ans, au plus une p\u00e9riode de 10 \u00e0 25 ans se sont \u00e9coul\u00e9s entre la date de dendrochronologie et l\u2019ann\u00e9e de fabrication.<\/p>\n\n\n\n

Les r\u00e9sultats de cette analyse dendrochronologique sont donc favorables \u00e0 une date de fabrication attribu\u00e9e de cira 1705<\/strong>.<\/p>\n\n\n\n

Rapport effectu\u00e9 par Peter RATCLIFF (octobre 2014)<\/p>\n<\/div>\n\n\n\n

\n
\n
\"\"<\/a>
Rapport de dendrochronologie<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

Jean-Jacques RAMPAL<\/a> & Jonathan MAROLLE<\/a>, Maison VATELOT-RAMPAL
R\u00e9f\u00e9rences bibliographiques : “The violon makers of the Guarneri Family (1626-1762)”, William E. HILL & Sons, Londres, 1931<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n\n\n\n
<\/div>\n\n\n\n

GIUSEPPE GUARNERI “FILIUS ANDREAE”<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n

In a previous sale, we auctioned a beautiful violin by Andrea GUARNERI, the famous violin maker and founder of the “Casa Guarneri”, a legendary Cremonese dynasty of violin makers. We dive again into the history of this family thanks to an instrument from another of its illustrious representatives: Giuseppe, known as “filius Andreae”, whose instrument will be auctioned during our sale of fine stringed instruments on 4 December 2014.<\/em><\/p>\n<\/blockquote>\n\n\n\n

\n
Catalog<\/a><\/div>\n\n\n\n
Results<\/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
<\/div>\n\n\n\n
\n\n\n\n
<\/div>\n\n\n\n

A favourable family environment <\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

Giuseppe was born in Cremona in 1666, the youngest of Andrea’s children. He completed his apprenticeship at his father’s workshop, alongside his older brother Pietro (born in 1655), who later settled in Mantua. The young Giuseppe grew up in a family and professional environment that was conducive to success, and in which there was constant stimulation and a healthy dose of competition. His Cremonese colleagues at the time were STRADIVARI, AMATI (Girolamo II) and the RUGERI brothers, to name only the most illustrious.<\/p>\n\n\n\n

Upon Andrea\u2019s death in 1698, Giuseppe singlehandedly took over the succession of the paternal workshop (his older brother Pietro having settled in Mantua that same year).<\/p>\n<\/div>\n\n\n\n

\n
\"Arbre<\/a>
Arbre g\u00e9n\u00e9alogique de la famille GUARNERIUS tir\u00e9 du livre “The violon makers of the Guarneri Family (1626-1762)”, William E. HILL & Sons, Londres, 1931<\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

A marked individuality<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\n
\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n
Violon de Joseph GUARNERIUS dit Joseph Fils d’Andr\u00e9
Instrument mis en vente par Vichy Ench\u00e8res le 4 d\u00e9cembre 2014
\u00a9 Studio Sebert<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n

Whilst the first known instruments by Giuseppe (dated 1690 and 1696) show the early signs of a growing individuality, certain aspects still betray the influence of AMATI, with whom Andrea GUARNERI<\/a>\u00a0had made his apprenticeship. Gradually, this influence became less perceptible as the individuality of the young maker prevailed. When examining Giuseppe’s work over his entire career, it is apparent that, just like STRADIVARI, he was a tireless experimenter, constantly modifying his models in order to achieve a better sound.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n

A pivotal period<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

The instrument discussed here and offered for sale in December 2014<\/a> is an extraordinary example, most likely dated from the years 1705-1710, which attests to the exceptional craftsmanship of the young master maker at the beginning of the 18th century.<\/p>\n\n\n\n

This violin was therefore made at a pivotal period in the maker’s career. His father’s model, which was strongly influenced by AMATI, the founding figure of violin making the city, was eventually abandoned. However, the model of the years 1725-1730 does not yet completely reflect this transition. Our instrument, in its measurements (identical in all respects to those recorded by the HILLs in their work on the GUARNERI family), seems to have been inspired by the violins of his brother Pietro “of Mantua”. It features a body length of 357 mm, wider edges, a long string length resulting from the low placement of the soundholes on the front, tinted purfling with strong blacks, and a moderate amount of filling; the young master was inspired, searching and experimenting.<\/p>\n<\/div>\n\n\n\n

\n
\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n
Violon de Joseph GUARNERIUS dit Joseph Fils d’Andr\u00e9
Instrument mis en vente par Vichy Ench\u00e8res le 4 d\u00e9cembre 2014
\u00a9 Studio Sebert<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

The influence of the Italian Masters of the 18th<\/sup> century<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n
Violon de Joseph GUARNERIUS dit Joseph Fils d’Andr\u00e9
Instrument mis en vente par Vichy Ench\u00e8res le 4 d\u00e9cembre 2014
\u00a9 Studio Sebert<\/figcaption><\/figure>\n\n\n\n
\n
\n

The wood is well chosen. The spruce of the front has even growth rings that widen slightly towards the flanks. According to the dendrochronological analysis (carried out by Peter RATCLIFF in October 2014 and available on request) of the front, there are great similarities between the spruce used here and that of certain instruments by STRADIVARI, GUARNERI DEL GESU and most of the 18th century Italian masters.<\/p>\n<\/div>\n\n\n\n

\n

The dating gives the year 1695 for the youngest ring on the treble side and 1690 for the youngest ring on the bass side.
The back is in two pieces of quartered maple with soft and fairly regular figure. The presence of a small knot in the upper part probably betrays the difficulty for Giuseppe to source first quality wood.
The sides are of beautiful maple with wider figure.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n

Typical features of Giuseppe’s instruments<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a>
Violon de Joseph GUARNERI, Cr\u00e9mone vers 1735<\/figcaption><\/figure>\n
Images de gauche : Violon de Joseph GUARNERIUS dit Joseph Fils d’Andr\u00e9
Instrument mis en vente par Vichy Ench\u00e8res le 4 d\u00e9cembre 2014
\u00a9 Studio Sebert<\/figcaption><\/figure>\n\n\n\n
\n
\n

The head is of plain maple without figure, as was very often the case in Italy at that time. It retains, in the fluting of the volute\u2019s throat, traces of a blackened chamfer. The drilling of the peg holes is original.<\/p>\n<\/div>\n\n\n\n

\n

The back of the volute is quite wide, straight and with shallow fluting. The gouge marks are still very visible. These details are quite often seen on Giuseppe’s instruments. In general, his scrolls are less neat than those of his father.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n

Internal construction<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n<\/figure>\n\n\n\n
\n
\n

The internal construction was neatly executed, but without excessive fuss.<\/p>\n<\/div>\n\n\n\n

\n

The corner, top and bottom blocks are of willow, with gouge marks left unfinished, whilst the linings are of spruce.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"\"
\u00c9tiquette de Joseph Guarnerius filius Andrea fecit Cremonae Sub titulo S. Teresia 170\u2026<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n

Surprising similarity with the varnish of two Stradivari violins<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n
Violon de Joseph GUARNERIUS dit Joseph Fils d’Andr\u00e9
Instrument mis en vente par Vichy Ench\u00e8res le 4 d\u00e9cembre 2014
\u00a9 Maison VATELOT-RAMPAL<\/figcaption><\/figure>\n\n\n\n
\n
\n

The varnish is in an exceptional state of preservation. Large areas (on the back and sides in particular) have remained intact, without the slightest addition of shellac or other protective varnish. Several comparisons under UV light have revealed a surprising similarity with the varnish of two STRADIVARI violins, dated 1701 and 1708.<\/p>\n<\/div>\n\n\n\n

\n

It is a baked oil varnish mixed with a resin, with a rather dry texture, as evidenced by the way in which the patina on the instrument has developed. The absence of pigment (rarely used at that time) in the varnish gives it a very beautiful transparency.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n

Dendrochronology report<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

Dendrochronology is the science of dating wood based on information contained in tree rings.<\/p>\n\n\n\n

A dendrochronology report has become an important source of information when thoroughly evaluating a musical instrument. It allows to determine precisely the period in which the tree used for the front of an instrument was felled. If successful, this analysis should show that the date of the last ring present of the front of the instrument precedes the death of its attributed maker by at least a few years.<\/p>\n\n\n\n

Statistical analysis, combined with the evaluation of several comparative graphs, has indicated that the first possible date of the felling of the tree used to make the front of this violin is very soon after 1695.<\/p>\n\n\n\n

The difference between the “date of the last ring” (1695) and the probable date of manufacture is clearly a matter of speculation, and this instrument could indeed have been made at any time from 1700 onwards.<\/p>\n\n\n\n

After several dendrochronology analyses on the spruce wood used by Italian makers in general, it was found that the time between the date of the last ring, as determined by the dendrochronology analysis, and the date the instrument was made varied greatly, from less than 5 years in some cases, to up to 25 years in others.<\/p>\n\n\n\n

The results of this dendrochronology analysis are therefore consistent with the attributed date of cira 1705 for its manufacture.<\/strong><\/p>\n\n\n\n

Report by Peter RATCLIFF (October 2014)<\/p>\n<\/div>\n\n\n\n

\n
\n
\"\"<\/a>
Rapport de dendrochronologie<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

Jean-Jacques RAMPAL<\/a> & Jonathan MAROLLE<\/a>, Maison VATELOT-RAMPAL
Bibliographic references:\u00a0“The violon makers of the Guarneri Family (1626-1762)”, William E. HILL & Sons, Londres, 1931<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n

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