Romeo Antoniazzi
Encyclopedia
Romeo Antoniazzi was the eighth son and pupil of Gaetano Antoniazzi
.
Initially he worked with his father and brother and like them made instruments (of the violin family) for Leandro Bisiach
.
However, depending on need or opportunity he worked in many different places. He worked on his own, with his brother, for Bisiach, for Monzino, or in Barlassina’s shop.
The unsettled aspect of his life influenced his work which was highly uneven in quality. His most interesting instruments, like those of his brother Riccardo, are from the late 19th century.
He trained a large number of pupils. Despite the fact that his violin making was less refined than his brother’s (especially during his last period), he made instruments with distinct personality and great spontaneity which today are much admired. His varnish varied in colour and quality depending on the period, going from a light orange-yellow to an orange-brown, sometimes dark brown (often the varnish of his last period faded and his instruments sometimes appear lacklustre). He used various labels.
Later on he used one with ‘fece in Cremona’ and decorated with the Cremonese coat of arms on it even though he never returned to his native city to work (he probably introduced it for business reasons and to distinguish himself from his brother).
Gaetano Antoniazzi
Gaetano Antoniazzi was an Italian violin-maker.Antoniazzi was born in Cremona, where he learned his craft in the Ceruti workshop before establishing himself in Milan in 1870 and bringing with him the Cremonese tradition of his teachers Enrico and Giovanni Battista Ceruti...
.
Initially he worked with his father and brother and like them made instruments (of the violin family) for Leandro Bisiach
Leandro Bisiach
-Biography:Leandro Bisiach was a violin maker born in Casale Monferrato Italy and died in 1945 at Venegono Superiore.Trained as a violinist, he made his first violin on his own and received praise for it. Thus he decided to become a violin maker and moved to Milan to work with the Antoniazzi...
.
However, depending on need or opportunity he worked in many different places. He worked on his own, with his brother, for Bisiach, for Monzino, or in Barlassina’s shop.
The unsettled aspect of his life influenced his work which was highly uneven in quality. His most interesting instruments, like those of his brother Riccardo, are from the late 19th century.
He trained a large number of pupils. Despite the fact that his violin making was less refined than his brother’s (especially during his last period), he made instruments with distinct personality and great spontaneity which today are much admired. His varnish varied in colour and quality depending on the period, going from a light orange-yellow to an orange-brown, sometimes dark brown (often the varnish of his last period faded and his instruments sometimes appear lacklustre). He used various labels.
Later on he used one with ‘fece in Cremona’ and decorated with the Cremonese coat of arms on it even though he never returned to his native city to work (he probably introduced it for business reasons and to distinguish himself from his brother).
External links
- La Liuteria Italiana / Italian Violin Making in the 1800s and 1900s - Umberto Azzolina
- I Maestri Del Novicento - Carlo Vettori
- La Liuteria Lombarda del '900 - Roberto Codazzi, Cinzia Manfredini 2002
- Dictionary of 20th Century Italian Violin Makers - Marlin Brinser 1978
- Walter HammaWalter HammaWalter Hamma was a German violin maker.His father was the violin maker Fridolin Hamma. Walter Hamma was pupil of the violin making school in Mittenwald 1933-1935. He worked with Ferdinand Jaura and later for Caressa & Francais in Paris. During the second world war the workshop in Stuttgart was...
, Meister Italienischer Geigenbaukunst, Wilhelmshaven 1993, ISBN 3-7959-0537-0 - Liuteria Parmense