Books › A dictionary of violin makers, 1896 › scan 47
Scan 47
A dictionary of violin makers, 1896
40 lines. Read by computer on 27 September 2026. Printed page 39. See the scan on archive.org.
1yellowish colour, and wood of poor quality; their work was rough, but the tone of their violoncellos and double-basses was fairly good. A violoncello, of fine powerful tone, was made of plain wood, that of the belly only being fine; the light yellow varnish had become darkened with age. Their instruments generally were not beautiful to look at, but had a good tone. Labels: "Gio. e Francesco fratelli de Grancini in contrada larga di Milano, 17—," and "Giov. Battista e Francesco fra. Grancino in contrada largo di Milano, 17—."
3Grancino, Giovanni, son of Paolo Grancino. Worked in Milan about 1690 to 1730. Pupil of his father, and did similar but better work; his instruments are not so arched, with yellow varnish, and the wood was more carefully chosen; they have a powerful tone; the details are not very carefully finished. Many of his violins, violas, and violoncellos are to be met with, usually made on a large flat pattern. Labels: "Giovan Grancino in contrada larga di Milano al segno della Corona, 1692," and "Giovanni Grancino in Contrada Largha di Milano, al segno della Corona, 1721." He had two sons, Francesco and Giam Battista, both makers.
5Grancino, Paolo. Worked at Milan, 1665-90. Pupil of Nicola Amati at Cremona. He made a large number of instruments; the altos and the violoncellos are generally liked. He used poor material, often making the back and sides of poplar tree wood; followed a large pattern, slightly arched, with large sound-holes widely opened, and a dry varnish of an effective golden-yellow colour. The scroll was often roughly cut, and the purfling and corners carelessly worked. His work on the whole was but moderately good. His son Giovanni was also a maker.
7Grand-Gérard. A maker in the Vosges about 1790-1810. Also worked in Paris. Made a great many instruments; the work is inferior, the varnish a dull brown colour. He branded his instruments with his name. Label: "Grand-Gérard à Paris."
9Grandini, Geronimo, sen. One of the well known makers at Mirecourt whose instruments have merit.
11Grandjon, sen. A maker at Mirecourt. Work only moderately good.
13Grandjon, J., son of Grandjon, sen.; also a maker at Mirecourt. Was awarded medal of the 1st class in 1855 (Paris Exhibition), bronze medal in 1867, and a "mention honorable" in 1878.
15Gray, J. A maker in Fochabers, Banffshire, Scotland, in 1870.
17Greffts, Johann. Was working at Fussen, Bavaria, in 1622.
19Gregori. Worked in Bologna about 1793.
21Gregorio, Antoniazzi. See "Antoniazzi."
23Griesser, Matthias. A maker in Innsbrück in 1727. A viola d'amore, with seven strings for bowing and twelve harmonic strings, of which the nineteen pegs are all in the head, which is very long, is in the Collection of the Lyceo filarmonico at Bologna. Label: "Matthias Griesser, Lauten und Geigenmacher in Innsbrugg, anno 1727."
25Grimm, Carl, b. about 1792; d. 1855 at Berlin. A musician who, showing great talent in making violins, started a business in Berlin, and was soon considered one of the best German makers of his time. He made a great many experiments, combined with a serious study of the work of the old Italian makers; and his instruments are celebrated for their powerful tone and for the beautiful quality of their varnish. The firm never made more than thirty instruments per year, thus devoting much time to their construction and finish. A quartet of his instruments was very generally praised at the London Exhibition in 1862 for their rich and full tone.
27Grimm, Ludwig, son of Carl Grimm. In association with his brother-in-law Helmich, continued his father's business in Berlin.
29Griseri, Filippo. A maker in Florence in 1650.
31Grobitz, A. A German who was working in Warsaw in 1750, and made good violins on the Stainer pattern.
33Groll, Matthew. A maker in Meran, Tyrol, in 1800.
35Grosset, Paul François. A maker in Paris, 1747-59. Pupil of Claude Pierray. He made few instruments; the proportions were generally bad, too much arched; he used a good varnish of brilliant yellow colour; the work was fairly good. Two five-stringed viols of his are known, one dated 1749, the other 1752. In a violoncello was the label: "P. F. Grosset, Au dieu Apollon, rue de la Verrerie, à Paris, 1757."
37Grossi, Giuseppe. Worked in Bologna in 1803.
39Grou. A maker about 1752.
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