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9th December 2014

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Hieronymus Amati

Location: Cremona, Italy
Dates: B.1561, d.1631

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Biography of Hieronymus Amati

The Brompton’s Book of Violin & Bow Makers

Author: John Dilworth

AMATI, Hieronymus (I) Born 1561, died 1631 Cremona Italy. Younger son of Andrea Amati, above. After the departure of his brother Antonio in 1588, Hieronymus continued to use the ‘brothers’ formula ‘Fr.[atelli] Amati’ on his labels. Production increased markedly and the city of Cremona quickly became synonymous with the violin throughout Europe in the period when the Amati shop was the only source of violins in the city. From about 1610 he would have been assisted by his son Nicolò in meeting the burgeoning demand. Hieronymus, like Maggini in Brescia, was a victim of the plague which swept northern Italy in 1630. From 1615 he began making a small number of contralto violas which were r

Latest Amati Magazine article

CONCERT OF THE WEEK: OAE/Tognetti, London

Amati Magazine: CONCERT OF THE WEEK: OAE/Tognetti, London Orchestra of the Age of Enlightenment, Richard Tognetti (violin, director)Queen Elizabeth Hall, Southbank Centre, London, Tuesday 25 November After making his Academy of Ancient Music debut in February, Australian violinist and director Richard Tognetti is back in the UK for some more period-instrument action. This time the gut strings belong to the Orchestra of the Age...

Biography of Hieronymus Amati

A Dictionary of Violin Makers

Author: Cecie Stainer

Second son of Andrea Amati, b. about 1562; d. Nov. 2, 1630. Worked with his brother Antonio till 1628. The earliest reliable date in connection with them is 1577. They produced the first form of the instrument known as “Amatise." The pattern first followed, similar to that of Andrea, was more arched than that used later. Their instruments are few in number, but in good preservation, generally small size (the back often in one piece), of accurate proportions, slightly arched towards the middle, with strongly marked grooves at the sides ; the scrolls vary, often richly worked, the corners and the purfling are carefully done, the edges just overlap the sides; the wood generally maple or deal ; the varnish, deeper in colour on the earlier instruments (possibly owing to old age), is later of an orange colour, thinly laid on, and throws up the grain of the wood very distinctly. The tone is far more powerful than in Andrea's instruments. A violin signed by them and dated 1595, which belonged to Henri IV. of France, is of historical value. It is made on a large pattern, the oil varnish a brilliant amber colour, the purfling of tortoiseshell, and on the back are painted the royal arms of France and Navarre, &c. a similar one in a viola dated 1620 : " Antonius et Hieronymus Amatus, Cremonen, Andreae fil. F. 1592 " ; a similar one dated 1624. After 1624, Girolamo worked alone, making both large and small violins ; the former were the finest instruments, much arched, with broad purfling, good scroll, and varnish yellow-brown colour; beautiful tone, but the fourth string was not equal to the others. Girolamo married first Ippolita Zuchielli (d. 1583), then Laura Lazzarini on May 24, 1584; she had nine children, the fifth child being Nicola, who became the most celebrated maker in the family.

Biography of Hieronymus Amati

Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart

Author: Willibald Leo Lütgendorff

Jüngerer Sohn von Andrea A. In erster Ehe (um 1576) vermählt mit Ippolita Zucchielli (f 27. Oct. 1630), von welcher er fünf Töchter hatte. Am 24. Mai 1584 ging er mit Laura Lazzarini eine zweite Ehe ein, von der er neun Kinder bekam; das fünfte davon war Nicola. Hieronymus war ungleich talentvoller und origineller als sein Bruder und wie dieser bedeutender als der Vater. Er arbeitete mit seinem Bruder gemeinsam. Dass sich in den letzten Lebensjahren die Brüder getrennt haben sollen, ist nicht wahrscheinlich, da es noch Violinen mit gemeinsamem Zettel und der Jahreszahl 1630, also dem Todesjahr Girolamo's, giebt. Ein von Grillet veröffentlichter Zettel mit dem Namen »Hieronimus (sic) Amati« tragt die Jahreszahl 1640 und erweist sich dadurch als Fälschung. Wenn man auch mehrfach versucht hat, die Arbeiten der beiden Brüder auseinanderzuhalten, so können sie doch nur gemeinsam beurtheilt werden. Alles an ihren Geigen verdient Lob, und ihre Arbeit weist in allen Einzelheiten einen sichtbaren Fortschritt gegen ihre Vorgänger auf. Sie führten auch die Aushöhlung der Decke zu beiden Seiten des Stegs ein, wodurch der Ton süsser und lieblicher wurde. Die Formen ihrer F-Löcher und der Ecken zeigen die folgenden Abbildungen.