Carlo Tononi was undoubtedly a pupil of his father Giovanni in Bologna, where he worked until after Giovanni’s death in 1713. In 1717 he moved to Venice — coincidentally the same year in which Pietro Guarneri arrived from Cremona, and it is likely that they worked side by side in Matteo Sellas’ workshop.
Many of Carlo’s instruments from around 1720 show the influence of Guarneri, but his work varies enormously, from highly-arched Stainer copies, such as the 1726 violin featured in this archive, to beautifully executed and varnished instruments inspired by the best of Cremona. The latter is clearly the case for the fine 1725 violin featured here, which, but for the scroll, could almost be mistaken for a Stradivari.
Tim Ingles and Paul Hayday will offer an initial evaluation of the authenticity and value of your instrument or bow. At this stage, the assessment is free and without obligation. In the first instance, we suggest submitting good-quality images to us, preferably by email to firstname.lastname@example.org or by completing the valuation form.Read more