Brothers. Sons of Giovanni (2). Worked together at Milan, 1686-1746.
Giovanni Battista was the elder, and died about 1730, Francesco then worked alone until 1746. Neither of them had any new creative force in violin construction. We may not go so far as to say that the workmanship is rough, but it certainly cannot be called neat. Unevenly laid purfling altogether deserving dis-approbation. Some good intentions about the scroll though not always guided by a sense of pure artistry. Sound-holes fair. Wood invariably void of handsome figure, though the material for top is acoustically excellent. Generally clear, yellow spirit varnish of unattractive tint, now darkened with age makes little appeal to the artistic eye. Fairly powerful and sympathetic tone, but not of exceptional flexibility. Best energies exercised on ’cellos and double basses, and the previously mentioned blemishes are here in mitigated and innocuous form. Tone very healthy and full of vitality.
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Gio e Francesco fratelli de Grancini
in Contrada larga di Milano, 17-
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Giov. Battista e Francesco fra. Grancino
in contrada largo di Milano. 17-
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Each made a few instruments in which are inserted their own one-name label. Early dated violins of Giovanni Battista rather superior to those in which he collaborated with brother. Deeper and a more flexible mellow tone. Shade of varnish darker, nearly approaching a reddish tint. Wood (though plain) of exceptional acoustical properties. Time has, of course, given them an antique appearance, but the maker also contributed a little to it, a practice not very general in those days.
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Gia. Bapt. Grancino in Contrada
Largha di Milano, anno 1699
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Francesco favoured the model of an Amati, modified but slightly. Small tone, but has a delightful silvery quality. £500, 1959.
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Francesco Grancino figlio
Giovanni fecit Mediolani, 17-
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Brothers. Sons of Giovanni (2). Worked together at Milan, 1686-1746.
Giovanni Battista was the elder, and died about 1730, Francesco then worked alone until 1746. Neither of them had any new creative force in violin construction. We may not go so far as to say that the workmanship is rough, but it certainly cannot be called neat. Unevenly laid purfling altogether deserving dis-approbation. Some good intentions about the scroll though not always guided...
Giovanni Battista(2)& Francesco,Grancino
