ANTONIO GRAGNANI

A close look at the work of great and unusual makers

Not much information has yet come to light on the life of Antonio Gragnani. He was born on 13 February 1728 in Livorno, on the coast of Tuscany, into a family of musicians active in the city. His father was an instrument maker himself, but the quality of Antonio’s craftsmanship suggests the influence of different schools as well as family training.

In Gragnani’s lifetime, Livorno was an important hub for commercial and cultural traffic, thanks to its geographical position and its status as a ‘free port’. This can at least partially explain the various influences found in Gragnani’s work. As with many other Tuscan makers of the time, we can clearly see the influence of Jacob Stainer and Nicolò Amati in his instruments, in both the model and the arching. Gragnani’s work was also partly influenced by the Flemish school.

Gragnani was a prolific maker who gained a high level of skill in instrument construction, developing a personal style that is very distinctive and recognisable. His instruments demonstrate a high level of stylistic research and a strong, confident personality of his own. The year of his death is still unknown, but it was certainly after 1792. The family violin making tradition was carried on, too, by his son Onorato.

MATERIALS

This cello is said to have been made in the late 1770s. Unfortunately the label has been removed. The back, sides and scroll are all made from maple that probably came from the Apennine mountains. The linings are made from beech, the blocks from spruce.

FORM AND CONSTRUCTION

The model is not very long but well proportioned in width, with the long C-bouts in harmony with the f-holes, which are also elongated. The thicknessing is generous on both the top and back. The internal construction suggests the use of an external mould.

EDGEWORK AND PURFLING

The deep fluting, a long way from the purfling, highlights the edges. The purfling is set close to the edge, giving elegance to the outline. The ‘black’ of the purfling is made from whalebone. As with the work of other Tuscan makers, all the bee-stings are directed towards the centre of each corner.

F-HOLES

The long (142mm) and characteristic f-holes are spaced far apart: 112mm between the upper eyes, 234mm between the lower ones.

SCROLL

The real ‘signature’ of this maker can be seen in the model and carving of the head. The characteristically large pegbox, which has an arched profile, develops harmoniously into a fine and elegant scroll with protruding eyes, and a very typical closure of the dorsal fluting. There is a prominent chamfer on the top part of the scroll side:

Valentino De Zorzi (1837–1916) would do the same a century later, probably as a kind of tribute to the Tuscan violin making tradition.

VARNISH

The irregular textures of the slab-cut wood are enhanced by a beautiful, warm amber-coloured varnish. It is not very thick, and is laid upon a deep golden ground.

•

MAKER

ANTONIO GRAGNANI

•

NATIONALITY

ITALIAN

•

BORN

1728

•

DIED

AFTER 1792