The Guadagninis of Turin were principally famous for their violins. The most notable among them, Giovanni Battista Guadagnini, sits in the pantheon of the great violin makers with Amati, Stradivari and Guarneri del Gesù.
| Specifications | |
| Date | 1802 |
| Location | Turin, Italy |
| Length of Guitar | 893 mm |
| String Length | 640 mm |
| Upper Bout Width | 210 mm |
| Waist Width | 164 mm |
| Lower Bout Width | 270 mm |
| Side Depth at Waist | 92 mm |
| Soundboard: Spruce | Back: Maple | Sides: Maple | Details: Fitted with fixed bone frets. | |
When Giovanni died in 1786, he was succeeded by his two sons, Gaetano I (1750–1817) and Carlo (1768–1816), who carried on the family tradition of violin making while also crafting guitars. Their workshop focused on string instruments, becoming an important center for the purchase of musical instruments and accessories, and for the restoration and selling of older instruments. Carlo made both five and six-string guitars. The transition from the mid-eighteenth century five-course guitar (which because of the popular chitarra battente, was not as prevalent in Italy) to the five and six single string configurations, happened within a short space of time, and these makers offered both options.
The 1802 guitar in the Austin-Marie Collection is what one might expect from a violin maker of this period: plain looking with a spruce soundboard, maple back and sides, simple inlays, and a Baroque-style tie bridge. It was, however, fitted with fixed bone frets instead of tied gut. It shares commonality with the guitars being produced in Naples at this time, and is very similar in many respects to the first guitars made in London—especially the plantilla and high-set soundhole.
