Goffredo Cappa

Highest auction price achieved
£ 111845.00

By George Hart

According to Lancetti—who received his information from Count Cozio di Salabue - Gioffredo Cappa was always regarded in Piedmont as a pupil of Antonio and Girolamo Amati, and therefore worked in Cremona during his early years. He removed to Piedmont, possibly, that he might have greater scope for the exercise of his talents, it being, no doubt, difficult for him to obtain any important patronage, surrounded as he was at Cremona by so many famous men engaged in the same occupation as himself. Count Cozio failed to discover any information relative to the name of Cappa in connexion with the records of the town of Saluzzo, and he concluded that Cappa was a Cremonese, there having existed in Cremona families of the name. The instruments of Cappa are, even now, little known in England, and twenty years since were recognized only by the most intelligent connoisseurs. The greater number of them consist of works of high merit, and, although not prized at present, must ultimately command prices proportionate to their real value. Their likeness to the instruments of the Amatis is in some instances peculiarly striking, but in others there is a marked dissimilarity. Particularly this is the case in the form of the sound-hole and scroll. The sound-hole is sometimes large, and quite out of keeping with the elegant outline of Amati. The points of difference may be summed up as follows :—the sound-hole is larger, and more obliquely set in the instrument; the upper portion of the body has a more contracted appearance; the head, as is the case with most makers, differs most, and, in this instance, in no way resembles Amati. There are few specimens of Cappa that bear their original labels; most of them are counterfeit " Amatis," and hence the great confusion which has arisen concerning their parentage. Lancetti says, " Foreign professors and amateurs, and particularly the English—though connoisseurs of the good and the beautiful—in buying the instruments of Cappa thought they had acquired those of Amati, the out- line and character of the varnish and the quality of the tone resembling in some measure the instruments of the Brothers Amati. It is, however, reserved to a few Italian connoisseurs to distinguish them. Those of large pattern, and even of medium size, that have not been injured by unskilful restorers, are scarce, and realize high prices." These remarks, suggested sixty years since, by so able a connoisseur as Count Cozio, possess a peculiar interest, and cannot fail to interest the reader. As Lancetti remarks, they are of two patterns, one larger than the other. The large one is, of course, the more valuable; it is flatter, and altogether better finished. The Violoncellos of Cappa are among the best of the secondclass Italian instruments, and are well worthy the attention of the professor and amateur. The varnish is frequently of very rich quality, its colour resembling that of Amati in many instances. Lancetti remarks upon the difference between those instruments of this make, as regards wood, made in Cremona, and those made in Piedmont, the firstnamed being made of wood of foreign growth, and the last with that of home growth, which is coarse and plain. The backs are whole, or in two parts, seldom cut on the cross. Cappa —. Confusion has arisen from the dates on the Cappa labels extending, it is said, from 1590 to 1712, some dating from Saluzzo, others from Turin. To credit one maker with this long line of manufacture would—associating mighty names with a subordinate one—dwarf the artistic achievements of Stradivari at the age of ninety-three, and of Titian at ninety-six. Upon turning to the information given by Count Cozio to Lancetti relative to Cappa, we have the following words : " I cannot ascertain the real Christian name of the first nor of the other Cappa, because two at least worked in succession in Piedmont, judging from the difference of style and make."

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Price History

Type Title Sold Price
Violin 36 cm 18th C. [Attributed to] Tue 1st March 11 £ 5625.00
Violin Saluces, 1695-1700 c. (many restorations, head replaced) Tue 1st June 10 £ 111845.00
Violin 35.6 cm Saluzzo, 1700 c. (the head later) Thu 1st October 09 £ 37250.00
Violin 35.6 cm Saluzzo, 1690 c. Sun 1st October 06 £ 71155.00
Violin 35.3 cm 1700 c. [Attributed to] Wed 1st February 06 £ 9840.00
Violin 35.5 cm Saluzzo, 1695 c. Wed 1st February 06 £ 108000.00
Cello Saluzzo, 1690 c. Sat 1st October 05 £ 88250.00
Violin Saluzzo, 1680 c. Tue 1st February 05 £ 26400.00
Violin Saluzzo,1680c. 7/8 size (the head later) Fri 1st October 04 £ 17495.00
Violin 1690 Sat 1st December 01 £ 49172.00
Violin 1680 Fri 1st November 96 £ 29900.00
Violin 1700 c. Thu 1st December 94 £ 21378.00
Violin 1680 Wed 1st June 94 £ 41100.00
Violin 1670 Fri 1st November 91 £ 39600.00
Violin 1700 c. Mon 1st April 91 £ 24200.00
Cello 16-- Thu 1st November 90 £ 19250.00
Violin 1690 c. Wed 1st June 88 £ 20900.00
Cello 1700 c. Sun 1st November 87 £ 15400.00
Violin 1690 Wed 1st April 87 £ 35200.00
Violin 1681 c. Sat 1st June 85 £ 20465.00
Violin 1691 Sun 1st April 84 £ 14300.00
Violin 1680 Fri 1st April 83 £ 20900.00
Violin 1703 Sun 1st November 81 £ 4620.00
Violin 169- Sat 1st March 80 £ 14046.00

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