London Instruments – Commentary

Vincenzo Panormo Cello, London 1791

8. VINCENZO PANORMO Cello

The original manuscript label inside this Stradivari model cello states ‘Londra 1791’ and it was therefore made soon after Vincenzo’s return from Paris. The cello displays a much thicker and more textured varnish than seen on earlier instruments, and once again willow is used for the blocks and linings, which are now morticed into the corner blocks. Also unlike the earlier instruments, the edges of the scroll and the rib mitres have been blackened, a feature begun by Stradivari in the 1680s and perhaps taken up by Vincenzo towards the end of his stay in Paris. The dendrochronology report suggests that the latest visible ring for the bass side dates from 1772 and the treble from 1774, but that there may be a couple of further rings unseen.

8. VINCENZO PANORMO Cello, London 1791
8. VINCENZO PANORMO Cello, London 1791
8. VINCENZO PANORMO Cello, London 1791
8. VINCENZO PANORMO Cello, London 1791
8. VINCENZO PANORMO Cello, London 1791
8. VINCENZO PANORMO Cello, London 1791
8. VINCENZO PANORMO Cello, London 1791
8. VINCENZO PANORMO Cello, London 1791
8. VINCENZO PANORMO Cello, London 1791
8. VINCENZO PANORMO Cello, London 1791
8. VINCENZO PANORMO Cello, London 1791

9. VINCENZO PANORMO Violin

London • Tarisio ID 72869

During the 1790s Joseph in particular, but also his brothers George and Louis, were probably all at some time assisting in the workshop and this violin is typical of the Stradivari model made by Vincenzo around this time. The location pins are still quite large and the blocks and linings are also made from willow but it is unclear whether they are morticed in or not. The edges of the scroll and rib mitres continue to be blackened and the sound-hole wings show typically strong fluting. It proved impossible to date the wood used for the front but it was discovered that the treble side is totally unrelated to the bass side, although it does show a possible same-tree relationship with the bass side of a new violin by Nicolas Lupot.

9. VINCENZO PANORMO Violin, London
9. VINCENZO PANORMO Violin, London
9. VINCENZO PANORMO Violin, London
9. VINCENZO PANORMO Violin, London
9. VINCENZO PANORMO Violin, London
9. VINCENZO PANORMO Violin, London
9. VINCENZO PANORMO Violin, London
9. VINCENZO PANORMO Violin, London
9. VINCENZO PANORMO Violin, London
9. VINCENZO PANORMO Violin, London

10. VINCENZO PANORMO Violin

London • Tarisio ID 76596

This violin sees something of a departure from Vincenzo’s instruments of the 1790s. Some of the work has become heavier, particularly in the corners and scroll, which intriguingly has similarities to the cello scroll by Joseph, no. 16. Like the previous violin, the back of the lower pegbox is also now rounder and less ‘droopy’. Another feature typical of these later violins is that the purfling mitres in the lower corners often appear to be shorter than those in the upper corners. Willow has been used for the blocks and linings and the C-bout linings are let into the corner blocks. Once again the broad-grained spruce so often used by Vincenzo for his fronts proved impossible to date.

10. VINCENZO PANORMO Violin, London
10. VINCENZO PANORMO Violin, London
10. VINCENZO PANORMO Violin, London
10. VINCENZO PANORMO Violin, London
10. VINCENZO PANORMO Violin, London
10. VINCENZO PANORMO Violin, London
10. VINCENZO PANORMO Violin, London
10. VINCENZO PANORMO Violin, London
10. VINCENZO PANORMO Violin, London
10. VINCENZO PANORMO Violin, London

11. VINCENZO PANORMO Violin

London • Tarisio ID 73267

Although considered to be by Vincenzo, this violin is signed ‘J.P.’ in ink on the top block, denoting Joseph’s input into the family workshop before he established his own business around 1800. Similar violins have sometimes been signed with his full name on the the top block rather than simple initials. As the hand of Joseph becomes more apparent, the location pins reduce in size to approximately 2 mm and, unlike Vincenzo’s earlier work, they are often partially covered by the pur ing. The blocks and linings are both made of willow with the C-bout linings let into the corner blocks. Once again, the two sides of the front are totally unrelated.

11. VINCENZO PANORMO Violin, London
11. VINCENZO PANORMO Violin, London
11. VINCENZO PANORMO Violin, London
11. VINCENZO PANORMO Violin, London
11. VINCENZO PANORMO Violin, London
11. VINCENZO PANORMO Violin, London
11. VINCENZO PANORMO Violin, London
11. VINCENZO PANORMO Violin, London
11. VINCENZO PANORMO Violin, London
11. VINCENZO PANORMO Violin, London
11. VINCENZO PANORMO Violin, London
11. VINCENZO PANORMO Violin, London

12. VINCENZO PANORMO Violin

London • Tarisio ID 74469

This violin has the same body proportions as no. 10 and also features the larger corners, bolder head and sound- holes with distinctive pointed lower wings. As Joseph was by now established in his own workshop, it seems likely that George had become Vincenzo’s chief assistant, presumably also aided by Louis. The C-bout linings are let into the corner blocks but on this occasion all the internal work is of spruce. The dendrochronology report suggests that once again there is no correlation between the two halves of the front but the latest ring on the the bass side dates from 1799 and the treble side from 1786, with a similarity to a French violin of c. 1800.

12. VINCENZO PANORMO Violin, London
12. VINCENZO PANORMO Violin, London
12. VINCENZO PANORMO Violin, London
12. VINCENZO PANORMO Violin, London
12. VINCENZO PANORMO Violin, London
12. VINCENZO PANORMO Violin, London
12. VINCENZO PANORMO Violin, London
12. VINCENZO PANORMO Violin, London
12. VINCENZO PANORMO Violin, London
12. VINCENZO PANORMO Violin, London

13. VINCENZO PANORMO Violin

London • Tarisio ID 73271

This example is made to the same pattern as the previous violin, with a typically full overhang, larger, well-fluted sound-hole wings, a heavier scroll with blackened bevels and a narrow throat that still show signs of the saw. Once again the location pins are partially covered by the purfling and the blocks and linings are made of the more typical willow with the C-bout linings let into the corner blocks. The dendrochronology report does not give a rm dating but suggests that Vincenzo continued to use well-seasoned spruce as the latest ring on the bass side is dated to 1775, while the treble dates to 1776.

13. VINCENZO PANORMO Violin, London
13. VINCENZO PANORMO Violin, London
13. VINCENZO PANORMO Violin, London
13. VINCENZO PANORMO Violin, London
13. VINCENZO PANORMO Violin, London
13. VINCENZO PANORMO Violin, London
13. VINCENZO PANORMO Violin, London
13. VINCENZO PANORMO Violin, London
13. VINCENZO PANORMO Violin, London
13. VINCENZO PANORMO Violin, London

14. VINCENZO PANORMO

Violin, London • Tarisio ID 73272

Another late example made to the same proportions as
the previous example and featuring a large overhang with even heavier modelling, this violin displays very different characteristics to those signed by Joseph. The full pegbox with blackened bevels and the straight cut into the eye of the scroll are both typical of these later instruments, but the purfling is notably bold. The blocks and particularly high linings are made of willow with the C-bout linings let into the corner blocks. The dendrochronology report was unable to date the wood used for the front, but it appears to have been purchased in France as it is a same-tree match for a violin made by Vincenzo in Paris.

– Andrew Fairfax

14. VINCENZO PANORMO Violin, London
14. VINCENZO PANORMO Violin, London
14. VINCENZO PANORMO Violin, London
14. VINCENZO PANORMO Violin, London
14. VINCENZO PANORMO Violin, London
14. VINCENZO PANORMO Violin, London
14. VINCENZO PANORMO Violin, London
14. VINCENZO PANORMO Violin, London
14. VINCENZO PANORMO Violin, London
14. VINCENZO PANORMO Violin, London

8. VINCENZO PANORMO Cello

9. VINCENZO PANORMO Violin

10. VINCENZO PANORMO Violin

11. VINCENZO PANORMO Violin

12. VINCENZO PANORMO Violin

13. VINCENZO PANORMO Violin

14. VINCENZO PANORMO

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