Guarneri, Pietro

As printed

1. A dictionary of violin makers (1896)

   Guarneri, Pietro, son of Giuseppe Giovan Battista Guarneri, grandson of Andrea, b. April 14, 1695, at Cremona. Worked first in Mantua and …

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   1. brilliant reddish varnish is of excellent quality, the wood well chosen, the tone very full and rich, the work carefully finished; two beautiful instruments were exhibited at South Kensington Museum, 1872, dated respectively 1684 and 1707. Many of his best violins have been given labels of Giuseppe del Jesù, since the latter's name became well known, and some good imitations of Stradivari have been labelled with Stradivari's name. He also made tenors and violoncellos; the latter are very rare, the wood generally plain, workmanship rather careless, but the tone always excellent. A very fine violoncello, with back, sides, and neck of beautiful small-figured wood, belly of fine-grained wood, with rich red varnish, and of good tone, was dated 1713. Label: "Joseph Guarnerius, filius Andreæ fecit Cremonæ, sub titulo S. Teresiæ, 16—"; a similar one dated 1706. On Jan. 4, 1690, he married Barbara Franchi (d. 1738), and had six children. Of his three sons, Pietro was the only one who became a maker.
   3. Guarneri, Pietro, son of Giuseppe Giovan Battista Guarneri, grandson of Andrea, b. April 14, 1695, at Cremona. Worked first in Mantua and then in Venice till about 1760. He followed the patterns of his uncle Pietro, and may have been his pupil while in Mantua. His work is very good; his instruments are rather arched, have splendid varnish, and a fine rich tone. A most beautiful violoncello is known, the sides and back made of maple, beautifully marked, the varnish admirable, a golden amber colour tinted with rose, rather similar to that of Montagnana. In it is the label: "Petrus Guarnerius filius Joseph Cremonensis fecit Venetiis, anno 1739"; a similar label is dated 1755.
   5. Guarneri, Pietro Giovanni, eldest son of Andrea, b. Feb. 18, 1655, at Cremona; d. about 1740. He remained in Cremona till 1680, then went to Mantua; he visited Cremona for a few months in 1698 (the year of his father's death), but returned to Mantua and probably lived there, 1700-40. Said to have been a pupil of Girolamo Amati. His instruments differ from those of his father and brother, but he used their labels for the violins made before he had left Cremona. His work shows great originality; his violins are on a large pattern, very arched, made of good wood, that of the bellies being wide in grain and very even; the breadth between the sound-holes is increased and the corners are delicately worked; the purfling excellent; the scroll very characteristic; the transparent varnish, of beautiful rich quality either warm yellow or pale red colour; the tone is full, but lacks brilliancy. The violoncellos he made when in Mantua are often of exaggerated form, and were intended for use in processions, the performers having them suspended round the neck. His work, generally excellent, had some serious defects. Though quite correctly making the backs and bellies of his violins of equal thicknesses, he made them too thin, which rendered the tone veiled and dull, and also gave too much flexibility to the instrument, so that the tension on the strings is great, it is difficult to keep them up to pitch, and they are liable to break. His instruments, however, are much valued. Labels: "Petrus Guarnerius Cremonensis fecit Mantuae sub. tit. Sanctae Teresiæ, 1695," similar ones are dated 1690 and 1710; and "Revisto e corretto da me Pietro Guarneri Cremonese in Mantova, 1697." In 1677 he married Caterina Sussagni; had one son, Andrea Francesco, b. Jan. 29, 1678, who was not a violin maker.

2. A dictionary of violin makers (n.d.)

   Guarneri, Pietro, son of Giuseppe Giovan Battista Guarneri, grandson of Andrea, b. April 14, 1695, at Cremona. Worked first in Mantua and …

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   1. brilliant reddish varnish is of excellent quality; the wood well chosen, the tone very full and rich, the work carefully finished; two beautiful instruments were exhibited at South Kensington Museum, 1872, dated respectively 1684 and 1707. Many of his best violins have been given labels of Giuseppe del Jesù, since the latter's name became well known, and some good imitations of Stradivari have been labelled with Stradivari's name. He also made tenors and violoncellos; the latter are very rare, the wood generally plain, workmanship rather careless, but the tone always excellent. A very fine violoncello, with back, sides, and neck of beautiful small-figured wood, belly of fine-grained wood, with rich red varnish, and of good tone, was dated 1713. Label: "Joseph Guarnerius, filius Andreæ fecit Cremonæ, sub titulo S. Teresiæ, 16—"; a similar one dated 1706. On Jan. 4, 1690, he married Barbara Franchi (d. 1738), and had six children. Of his three sons, Pietro was the only one who became a maker.
   3. Guarneri, Pietro, son of Giuseppe Giovan Battista Guarneri, grandson of Andrea, b. April 14, 1695, at Cremona. Worked first in Mantua and then in Venice till about 1760. He followed the patterns of his uncle Pietro, and may have been his pupil while in Mantua. His work is very good; his instruments are rather arched, have splendid varnish, and a fine rich tone. A most beautiful violoncello is known, the sides and back made of maple, beautifully marked, the varnish admirable, a golden amber colour tinted with rose, rather similar to that of Montagnana. In it is the label: "Petrus Guarnerius filius Joseph Cremonensis fecit Venetiis, anno 1739"; a similar label is dated 1755.
   5. Guarneri, Pietro Giovanni, eldest son of Andrea, b. Feb. 18, 1655, at Cremona; d. about 1740. He remained in Cremona till 1680, then went to Mantua; he visited Cremona for a few months in 1698 (the year of his father's death), but returned to Mantua and probably lived there, 1700-40. Said to have been a pupil of Girolamo Amati. His instruments differ from those of his father and brother, but he used their labels for the violins made before he had left Cremona. His work shows great originality; his violins are on a large pattern, very arched, made of good wood, that of the bellies being wide in grain and very even; the breadth between the sound-holes is increased and the corners are delicately worked; the purfling excellent; the scroll very characteristic; the transparent varnish, of beautiful rich quality, either warm yellow or pale red colour; the tone is full, but lacks brilliancy. The violoncellos he made when in Mantua are often of exaggerated form, and were intended for use in processions, the performers having them suspended round the neck. His work, generally excellent, had some serious defects. Though quite correctly making the backs and bellies of his violins of equal thicknesses, he made them too thin, which rendered the tone veiled and dull, and also gave too much flexibility to the instrument, so that the tension on the strings is great, it is difficult to keep them up to pitch, and they are liable to break. His instruments, however, are much valued. Labels: "Petrus Guarnerius Cremonensis fecit Mantuæ sub. tit. Sanctæ Teresiæ, 1695," similar ones are dated 1690 and 1710; and "Revisto e corretto da me Pietro Guarneri Cremonese in Mantova, 1697." In 1677 he married Caterina Sussagni; had one son, Andrea Francesco, b. Jan. 29, 1678, who was not a violin maker.