GUIDANTE, GIOVANNI FLORENO
Worked at Bologna, 1685-1741. Supposed to have worked at Cremona with Nicolò Amati. Modelling closely resembling the Amatese, though perhaps not quite so beautifully perfect in the proportions. ‘Body’ length generally 14 inches. Arching sometimes rather excessive in height, but specimens exist with a reduction approximate to medium. Purfling not always emendately accomplished. Variable workmanship occasioned by a predilection for prolificness which often results in certain little blemishes challenging criticism. Scrolls often somewhat plump, though being well-carved and having pretty wood, heaviness is nicely avoided. Lengthily drawn sound-holes, not always consistent with a fine-flowing sweep, and certainly not such as might be expected from a copyist of the Amati. Grooving of the back slightly deeper than that of the front. Belly wood finely selected and of perfectly even fibre. Frequently one-piece backs of richly flamed material. Varnish of a singular beauty rarely surpassed – a deep succinous shade like a glorious sunset – magnificently transparent and very plentifully applied. Tonal quality of fluctuating excellence, never brilliant, but often of an engaging mellowness. Catalogued at ￡100 (1925). One specimen, dated 1738, realised 1200 dollars at New York (1928). ￡450, 1959.
Produced finely-conceived viol-d’amours, ornamented with delicately worked heads representing a blindfolded Cupid. Also viol-da-gambas whereon his exertions were not confined within a narrow compass.
——————————
Florinus Guidantus fecit
Bononiae Anno 1710
——————————
—————————–
Joannes Guidantus fecit
Bononiae, anno 1715
—————————–
———————————–
Joannes Florenus Guidantus
fecit Bononiae Anno 1731
———————————–
Instruments dated from 1742 to 1760 are the productions of his son (Giovanni Floreno G.) who worked in exactly the same style and used the third label.