Paris Instruments – Commentary

Vincenzo Panormo Violin, Paris

3. VINCENZO PANORMO Violin

Early London/Paris • Tarisio ID 68943

Although many of Vincenzo’s early instruments are based on an Amati pattern, this violin, made either in London or perhaps after Vincenzo’s move to Paris in around 1779, is clearly modelled after Stradivari and would have been very advanced for the late 1770s, before the ideas of Stradivari became widely accepted. The sound-holes have been re-cut but there remains a great similarity in style to the early violas, especially the shapes of the corners, the shallow sound-hole fluting and the carving of the scroll. Like the 1774 viola (see p. 6), the lower rib is in one piece. The blocks and linings are made of spruce and there is a large hole in the original top block that would have been the result of a single nail, or perhaps a dowel used to x the neck. The spruce used for the front gave an inconclusive result in the dendrochronology report.

3. VINCENZO PANORMO Violin, Early London/Paris
3. VINCENZO PANORMO Violin, Early London/Paris
3. VINCENZO PANORMO Violin, Early London/Paris
3. VINCENZO PANORMO Violin, Early London/Paris
3. VINCENZO PANORMO Violin, Early London/Paris
3. VINCENZO PANORMO Violin, Early London/Paris
3. VINCENZO PANORMO Violin, Early London/Paris
3. VINCENZO PANORMO Violin, Early London/Paris
3. VINCENZO PANORMO Violin, Early London/Paris
3. VINCENZO PANORMO Violin, Early London/Paris

4. VINCENZO PANORMO Violin

Paris • Tarisio ID 76839

Made in Paris between 1779 and 1789, this violin is firmly based on the Stradivari pattern that was becoming increasingly popular in Paris at this time, even before Viotti’s visit in 1782, and is of very similar proportions to the previous violin. Violins from this period often appear to have the sound-holes set quite high and close to the edge of the C bouts, but the deeper fluting in the wings seen on later Panormo instruments is already becoming apparent. The blocks and linings are once again of spruce. According to the dendrochronological examination, Vincenzo was not yet using wood typical for Paris makers of the period but instead using old stock, a feature common throughout his career. In this case the last ring on the bass side dates from 1706 and on the treble side from 1718.

– Andrew Fairfax

4. VINCENZO PANORMO Violin, Paris
4. VINCENZO PANORMO Violin, Paris
4. VINCENZO PANORMO Violin, Paris
4. VINCENZO PANORMO Violin, Paris
4. VINCENZO PANORMO Violin, Paris
4. VINCENZO PANORMO Violin, Paris
4. VINCENZO PANORMO Violin, Paris
4. VINCENZO PANORMO Violin, Paris
4. VINCENZO PANORMO Violin, Paris
4. VINCENZO PANORMO Violin, Paris

3. VINCENZO PANORMO Violin

4. VINCENZO PANORMO Violin

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