Dublin Instruments – Commentary

Vincenzo Panormo Viola, Dublin

5. VINCENZO PANORMO Viola

Although no firm evidence has fixed the exact dates of Vincenzo’s stay in Ireland, this viola has resided in Dublin for as long as its history has been known, and it displays the distinctive maple that Vincenzo is said to have taken from an old billiard table in Ireland. Compared with the early Amati-model violas this is a little weightier in its overall appearance but is of similar proportions to viola no. 2. The blocks and linings are of spruce and, as would be expected in Vincenzo’s earlier work, the linings are simply butted up to the corner blocks in typical English fashion rather than morticed in. The dendrochronological examination was unable to date the spruce used for the front but discovered a strong relationship between the treble side and the wood used for the front of violin no. 6.

5. VINCENZO PANORMO Viola, Dublin
5. VINCENZO PANORMO Viola, Dublin
5. VINCENZO PANORMO Viola, Dublin
5. VINCENZO PANORMO Viola, Dublin
5. VINCENZO PANORMO Viola, Dublin
5. VINCENZO PANORMO Viola, Dublin
5. VINCENZO PANORMO Viola, Dublin
5. VINCENZO PANORMO Viola, Dublin
5. VINCENZO PANORMO Viola, Dublin
5. VINCENZO PANORMO Viola, Dublin

6. VINCENZO PANORMO Violin

Dublin • Tarisio ID 73270

Closely related in style to the previous Dublin viola and using seemingly related wood for the front, this violin appears to be inspired by Stradivari’s very early work from around 1670. It displays the larger, slightly oval location pins set well inside the purfling frequently seen in Vincenzo’s earlier work. The substantial edges and large overhang are also typical for this period, as is the slightly ‘droopy’ look of the lower back of the pegbox. Spruce has once again been used for the blocks and linings. This violin retains its original neck, which measures 132.5 mm, and a single nail hole is still evident in the upper block. Like many Panormo instruments, the broad grain of the spruce front provides too few rings to make the dendrochronology report conclusive, but the bass side of the front seems to date from 1717 and the treble side to 1756.

6. VINCENZO PANORMO Violin, Dublin
6. VINCENZO PANORMO Violin, Dublin
6. VINCENZO PANORMO Violin, Dublin
6. VINCENZO PANORMO Violin, Dublin
6. VINCENZO PANORMO Violin, Dublin
6. VINCENZO PANORMO Violin, Dublin
6. VINCENZO PANORMO Violin, Dublin
6. VINCENZO PANORMO Violin, Dublin
6. VINCENZO PANORMO Violin, Dublin
6. VINCENZO PANORMO Violin, Dublin
6. VINCENZO PANORMO Violin, Dublin
6. VINCENZO PANORMO Violin, Dublin

7. VINCENZO PANORMO Cello

Dublin-like front • Tarisio ID 73274

This cello bears a copy of the label found inside cello no. 8 and appears to be from the same model, with an identical body length. However, the front, particularly in the sound- holes, bears a striking resemblance to the instruments of the Dublin maker Thomas Perry, for whom Vincenzo is supposed to have worked some time after leaving Paris, while the elegant scroll displays the small extra turn into the eye often paired with his more Amatise violin and viola models. Spruce for the blocks and linings seems to have been abandoned by now and willow is used, although the C-bout linings are still not morticed into the corner blocks. There are no conclusive dendrochronology results.

– Andrew Fairfax

7. VINCENZO PANORMO Cello, Dublin-like front
7. VINCENZO PANORMO Cello, Dublin-like front
7. VINCENZO PANORMO Cello, Dublin-like front
7. VINCENZO PANORMO Cello, Dublin-like front
7. VINCENZO PANORMO Cello, Dublin-like front
7. VINCENZO PANORMO Cello, Dublin-like front
7. VINCENZO PANORMO Cello, Dublin-like front
7. VINCENZO PANORMO Cello, Dublin-like front
7. VINCENZO PANORMO Cello, Dublin-like front
7. VINCENZO PANORMO Cello, Dublin-like front

5. VINCENZO PANORMO Viola

6. VINCENZO PANORMO Violin

7. VINCENZO PANORMO Cello

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