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For example, there exists a violin labelled "Francescus Rugerius Alumnus Nicolai Amati fecit Cremonæ 1663". [13] Nicolò Amati was the godfather to Francesco's son, Giacinto, indicating that the two families at least shared a close relationship and close collaboration would seem likely.
Amati (/ ə ˈ m ɑː t i /, Italian:) is the last name of a family of Italian violin makers who lived at Cremona from about 1538 to 1740. Their importance is considered equal to those of the Bergonzi, Guarneri, and Stradivari families. Today, violins created by Nicolò Amati are valued at around $600,000. [1]
The double bass made by Hieronymus II AMATI in 1680 in Cremona, Italy, is known as the only remaining double bass from the early Cremonese school. The double bass bears an original label "Nicolaus . Filei Hieronymi Filius An' (drea) Amatus" "Cremonensis Faciebat Anno 1680", the type of label Hieronymus II (also known as Girolomo II) used while ...
For example, there exists a violin labelled "Francescus Rugerius Alumnus Nicolai Amati fecit Cremonæ 1663". [ 10 ] Nicolò Amati was the godfather to one of Francesco's sons, Giacinto (born in 1658 and lived only a few months), indicating that the two families at least shared a close relationship and close collaboration would seem likely.
(active c. 1730 – c. 1780) Naples, Italy.Nicolò Gagliano (also known as Nicolo, Nicola or the Latinised Nicolaus) was the eldest son of Alessandro and is generally considered the most famous luthier of the Gagliano family (he is known as Nicolò I to differentiate him from his grandson Nicolò II).
Thought to be born in 1626 to Bartolomo Guarneri in the parish of Cremona, Italy, very little is known about Andrea Guarneri's ancestors. [3] There are records of a wood-carver by the name of Giovanni Battista Guerine, which may have been an alternative spelling of Guarneri, who lived near the residence of Nicolò Amati in Cremona in 1632, and it is possible that Andrea Guarneri was a relation ...
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The Rawlins Gallery violin bow, NMM 4882, is attributed to the workshop of Antonio Stradivari, Cremona, c. 1700. This is one of two bows attributed to the workshop of Antonio Stradivari. The other was part of the Amaryllis Fleming Collection, the Paul Rosenbaum Collection, and the Maurice and Marta Clare Collection.