EVASIO EMILIO GUERRA

Turin in the late 19th century was a large and significant city, well connected with central Europe and a major economic and political hub. Vibrant and full of culture, it was a perfect crucible for violin makers, respectful of Italian tradition as well as keen to engage with their French neighbours. It is in this world that Evasio Emilio Guerra grew up. He initially studied the violin and moved into the craft of lutherie while still young. It is possible that he may have made instruments for Annibale Fagnola. He also frequented the workshop of Romano Marengo Rinaldi. He received instruction from Carlo Oddone, for whom he constructed instruments for an extended period.

Guerra dedicated himself to construction with great devotion and attention to detail, following the Turin models of Giuseppe Rocca and Francesco Guadagnini. Like Fagnola, he periodically copied the work of Giovanni Francesco Pressenda, but these instruments are less common than his Rocca models. He also made antiqued instruments, mostly following the models of Giovanni Battista Guadagnini. However, his copies of 18th-century makers often have awkwardly antiqued varnishing, impatiently applied and with artificial scratches.

• MAKER

• NATIONALITY

ITALIAN

• BORN

1875

• DIED

1956

• INSTRUMENT

VIOLIN

• DATE

1927

MATERIALS

Made in 1927, this splendid violin is a typical example of the 20th-century Turin school. The wood exhibits a unique beauty, with a one-piece maple back with a beautiful and deep flame. The top is crafted from spruce with a tight grain, which contributes to the instrument’s powerful and balanced sound. Thanks to all these specific elements, it has a deep and dark voice with a surprising ease of sound production.

The scroll is crafted from a piece of maple resembling the back and ribs. It is well carved with the fluting achieved using only gouges, which have left visible toolmarks. The linings and corner-blocks are all made from willow.

FORM AND CONSTRUCTION

From an initial examination, it appears that an external mould (also known as the French mould) was employed. The typical result of this approach is a more pronounced outline of the corners, with a sharper shape. The model used closely resembles those of the Rocca school; the instruments signed by Guerra are in fact generally made on the Rocca (Stradivari) model, distinguished by clear, sharp edges and f-holes that are quite sloping.

EDGEWORK AND PURFLING

The meticulously precise purfling is typical of Guerra’s work, with all three strips made from maple. The ‘white’ is very thick, while the stained ‘black’ strips are very thin and dark.

The edgework and shapes reflect the peculiar style of the Piedmontese school. It takes many aspects from Stradivari’s ‘Messiah’ violin, which Rocca examined and copied accurately while it was still in the hands of Luigi Tarisio. French makers also copied it from the time Vuillaume brought it to Paris in about 1850.

VARNISH

In general, Guerra’s varnishing varies considerably in colour and consistency throughout his career. In this instance, the oil varnish is dark red, not thick but more transparent, without any sign of craquelure.