\u30ac\u30d6\u30ea\u30a8\u30ea<\/p>\n\n\n\n
Worked at Florence, 1736-1787. <\/p>\n\n\n\n
Variety is the peculiar feature of these violins, and sometimes we cannot altogether admire some of the styles. <\/p>\n\n\n\n
Pattern always just under full normal size Arching, of the different periods, oscillates between the very high and the medium – the former being a phantasy we have no special regard for; ribs often shallow. <\/p>\n\n\n\n
General measurements:<\/p>\n\n\n\n
body length, 34.7 cm.; <\/p>\n\n\n\n
upper bouts, 16.3;<\/p>\n\n\n\n
middle, 11.5;<\/p>\n\n\n\n
lower, 20.2. <\/p>\n\n\n\n
Scrolls not particularly graceful and often appearing too large to be in complete harmony with general build of instrument. <\/p>\n\n\n\n
Sound-holes oddly at variance with true artistry though they frequently have the style of a Stainer. <\/p>\n\n\n\n
Workmanship generally bears the impress of neatness and gives a feeling of something rather good notwithstanding the peculiarities of the modelling.<\/p>\n\n\n\n
Very lucky in choice of wood, the backs and ribs usually of a straightish and close figure, but rather pretty.<\/p>\n\n\n\n
Varnish most often of a transparent and brilliant yellow shade, rather lacking softness occasionally a light brown or orange red of warmer nature. <\/p>\n\n\n\n
Tonal quality never dissatisfies. Not large, certainly, but instead we get a bell-like clarity that penetrates anywhere. <\/p>\n\n\n\n
Some connoisseurs state the tone is somewhat nasal, but we have never heard anything of the kind coming from a Gabrielli.<\/p>\n\n\n\n
Tone of the flatter instruments is of Gagliano timbre.<\/p>\n\n\n\n
Popularity of both types amply furnished by the fact that often we hear of amateurs expending as much as \uffe1100 (1925) for one. <\/p>\n\n\n\n
Violas nearly always of the flatter modelling, and have a rounder, harmonious, and more composite appearance than the violins. <\/p>\n\n\n\n
Body length 15-1\/2 inches; sometimes 14-1\/2. <\/p>\n\n\n\n
Principal characteristics – fine grain spruce, rather plain maple, and dark orange varnish. <\/p>\n\n\n\n
\u2019Cellos pretty well exquisite idealisms in appearance and tone, soloists employ much praise concerning them. Labels – written and printed.<\/p>\n\n\n\n
————————————-<\/p>\n\n\n\n
Joannej Baptistae da Gabrielis<\/p>\n\n\n\n
Florentinuj fecit 1739<\/p>\n\n\n\n
————————————-<\/p>\n\n\n\n
——————————-<\/p>\n\n\n\n
Gio. Batista de Gabriello<\/p>\n\n\n\n
fece in Firenze 1754<\/p>\n\n\n\n
——————————-<\/p>\n\n\n\n
————————————-<\/p>\n\n\n\n
Joannes Baptista de Gabbrielli<\/p>\n\n\n\n
Florentinus fecit 1743<\/p>\n\n\n\n
————————————–<\/p>\n\n\n\n
(sometimes three lined)<\/p>\n\n\n\n
————————<\/p>\n\n\n\n
Gio. Battista.<\/p>\n\n\n\n
Gabbrielli. Firenze<\/p>\n\n\n\n
Ammo 1762<\/p>\n\n\n\n
————————<\/p>\n\n\n\n
————————–<\/p>\n\n\n\n
Giov. Bapt. Gabicelli<\/p>\n\n\n\n
fiorentini fecit 1740<\/p>\n\n\n\n
————————–<\/p>\n\n\n\n
Sometimes branded \u201cG.B.G.\u201d or \u201cI.B.G.\u201d<\/p>\n\n\n\n
Name sometimes given as Garbicelli and Gabbicellis. \uffe1350 (1959).<\/p>\n\t\t","protected":false},"excerpt":{"rendered":"
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