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Pupil of Gofriller, a very skilful and versatile maker. His work is relatively rare, and was probably frequently carried out for other masters. Some inferior Stainer-modelled instruments also ascribed to him.
Born in the south Tyrol, he arrived in Venice in 1658, probably already with some training as a violin maker. Worked in Venice for Martin Kaiser, a luthier of northern Tyrolean origin before taking over his business in 1690.
Probably trained in Florence - some Carcassi instruments show signs of his workmanship- he worked in Livorno in a very neatly crafted and stylised manner.
The founder of the Milanese school, an important early rival to nearby Cremona. The first instruments were jointly labelled 'Francesco and Giovanni de Grancinis'.
Bows branded 'Grimm' in small letters, Roda mentions that Heinrich Knopf is said to have made bows for him.
Eldest son and assistant of Giovanni Baptista, his work is undistinguished and rare.
Traditionally spoken of as a pupil of his father, Lorenzo, or Antonio Stradivari, both these ideas have been discredited by modern research. In all probability largely self-taught, his earliest work dates from Piacenza in the early 1740s.
The son and assistant of Giovanni Baptista, he worked in various towns, including Como, Milan and Pavia. His work is coarsely finished and lacks the best varnish of his father, but excellent in conception and tonal quality.
The founder of the Guarneri dynasty and principal assistant of Nicolo Amati from 1641 to 1654. His own labelled work, dating from around 1640, is true to the principles of Amati's shop, but less well-finished.
Younger son and pupil of Giuseppe ‘filius Andreae’, and the most celebrated maker of the family. Broke with his father around 1720, and produced little until after 1726, when he began to make his way back into the profession.
Younger son and pupil of Andrea, as indicated by the suffix 'filius Andreae' which appears on his label and distinguishes him from his son, also named Giuseppe. His work developed gradually along Stradivarian lines, using a particularly rich varnish.
The elder son and pupil of Andrea. Moved to Mantua around 1680, to an appointment as a court musician. Continued making violins, although less prolifically than other members of the family, and developed a distinctive and attractive model
Elder son and pupil of Giuseppe 'filius Andreae', moved to Venice in about 1717. Worked there initially at the shop of the guitar maker Matteo Sellas. His own labelled work began to appear after 1730, and thereafter became an influential figure in the cit
Commonly referred to as Fiorino or Floriano after his father, who was recorded as the repairer of instruments at the Academia Filarmonica of Bologna.
A contemporary of Contreras in Spain, his work does not have such a high reputation although beautifully executed and varnished.
Franz Gunther was apprenticed in Leipzig to Ludwig Bausch, subsequently working in several German cities, even working from Italy for a period before eventually settling in Zurich.
Apprenticed under Ludwig Bausch, working later for Grimm in Berlin. Later worked from Antwerp.
Learned bow making under Richard Pfretzschner, subsequently working for Albert Nurnberger. In 1919 he set up his own shop.
Part of a larger family of violin makers, Hammig worked for Grimm in Berlin before establishing his own shop in Markneukirchen. In 1875 he moved to Leipzig, before moving his shop to Berlin, which was run by his son Hermann.