本資料庫收藏： Violin (1729)
The Tononi family was an important family among the violin makers of Italy. Prior to the establishment of important cities for violin makers in northern Italy, the Tononi family was already working in Bologna. Giovanni Tononi (c.1640-1713) used the Amati style as his standard for making violins, and certain aspects of his violins indicated the establishment of a Venetian style. The f-holes of his instruments were longer and also very elegant, but the scrolls were usually cut off abruptly. The violins look remarkably resplendent with their vermilion shine, and the timbre is usually quite unique.
Carlo Tononi is the son of Giovanni Tononi, who was also an important luthier at that time who taught him the art of making instruments when they were in Bologna. Before Carlo headed to Venice, he took over his father’s shop. Carlo finally arrived in Venice in 1717 and worked at Matteo II Sellas’ workshop in Venice. Although he was mainly a merchant, he was not a member of a guild and did not have his own workshop, and entirely relied on local instrument dealers to sell his instruments.
Most of the instruments Carlo made do not have the year printed on the labels, making it difficult to trace the development of his instruments. Although he did make some minor improvements and changes to his father’s way of making instruments, they are essentially the same as those his father made. Carlo made a lot of violins and violas, but not very many cellos. However, the cellos he did make all followed the unique pattern of the 1615 Amati contralto viola. He moved to Venice in 1717, and the labels on the instruments he made have different characteristics when compared to the labels on instruments he made in Belogna. The f-holes are an important factor in determining the structure of the instruments, and at this time his instruments resembled those of Francesco Gobetti and Domenico Montagnana. The year 1728 can serve as a line of demarcation in his career.
The arch of the upper bouts of Carlo’s instruments are very obvious, and the shape and size is quite large, while the wide spiral shape of the scroll is is also apparent. The quality of the wood he uses is also of exceptional quality. Since the scroll of instruments rarely shows any changes, and if the bout is relatively flat, then the instrument is more popular. The varnish he used in Venice was thicker and not as transparent than the varnish he used in Bologna. Carlo would typically print his name on two different places of the instruments he made, carved once at the bottom of the ribs near the end pin, and once at the lower part of the lower bout, and would sign his name using “in negative.” Like most Venetian luthiers, he also made bows, which are easy to recognize because they all have his name on them.
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