French Violin / German Violin Pochette

French violin made after the Collin-Mezin Pere

model. These violins are highly regarded though

I presume it is a good copy. Well. in fact I'm

not a violin conaisseur.

Nice woods for neck and back.

As often with older instruments: The inevitable cracks.
This is an example of a stamp crack in the front.
Though repairable it remains a pity.

The sides are done with figured maple as is common on better
quality instruments. The evenness in the soundboard can
be studied here.

The curl, a shot most violin lovers like to study.

German Violin / Pochette

This very well preserved violin lies somewhere between a 

1/4 violin and a 1/8 violin as its' total length is 45,5 cm and the 

length of the corpus is 27,5 cm. The overall craftsmanship is 

very good so it could have been ment therefore as a Pochette.

The nice back though in reality the color tends

to be more orangy.

What really happened with this violin up until now  we simply
do not know. There are hardly any playing marks or marks
to make it look like an aged instrument.

The scroll can be studied here.

And of course the other side. In fact also ment for people who 

are interested and want to study the head wether it is crack free.

The neck angle which is in pristine shape but the bridge 

has to be changed as it is too low.

Ges. Gesch. marked violin / Maller violin (3/4?)

In fact, tis violin bears no label at all but it appears to be

a decently built instrument and crackfree as well. It is

obvious that this violin has been relaquered and the

older varnish (on some spots slightly craqueled) is

still visible possibly due to the reaction of the two

different laquers. A fingerboard with enough flesh, 

ebony tuning pegs and chin rest makes it complete.

A nice picture taken in order to make a meticulous observation

of the wood quality possible. Medium to close grained.

A two piece back of figured maple as has been used for

the neck as well.

A former restorer possibly wanted to keep the original laquer

on this instrument so a new layer has been applied over the

worn spots. A fairly big shaped button to my belief.

Here the action can be studied on this violin. The bridge has been

cut quite fragile which can be the reason this instrument has a loud

and vibrant voice.

The head on this violin

A nice beginners instrument but after some investigations 

no Maller violin as was stated by the company.

This label probably was cut out of an advertising brochure.

Most violin connaisseurs do not even tale a look at the label

when they investigate an instrument at first sight. As in the

violin world a lot of fake instruments keep popping up!

Edmund Paulus Violin

Black violins in fact are not that sought after though

nothing can be said about poor qualities of this one.

This is a nice and loud sounding instrument that

has been neatly built. You must go for the black

colour but that's a personal matter of course.

This violin in its case. Allready clearly visible are the

ornamentations that makes this instrument a stand alone.

Probably made around 1925.

Edmund Paulus, son of Ernst Paulus of Markneukirchen,

This luthier was in business from 1866.

He succeeded his father in law Julius Lemcke.

In the business was taken over in 1899 by Arthur Sprinz.

Of course the black laquer doesn't withstand

a lot of playwear but being played a lot can be

seen as proof that it is a decent instrument.

Nice view from its side.

The abolone inlaid and engraved tailpiece.
All in ebony wood of course.

The tuning pegs are decorated as well though

there are some pieces missing.

Giuseppe Pedrazzini / E.M. Penzel / J.B. Schweitzer

Giuseppe Pedrazzini: 1879 - 1957

Italian violin maker. He was a pupil of Romeo Antoniazzi

in Milan, then began to work on his own there.

He quickly gained recognition and won awards

at various exhibitions, including those in Rome

in 1920 and in Cremona in 1937.

He modelled his instruments after various patterns,

especially those of Stradivari, G.B. Guadagnini and

Amati, all of which he interpreted freely.

Tonally his work is among the best of the early

20th-century Italian makers.

He was a meticulous and elegant craftsman

and used really high quality tonal woods as can be seen

on this two piece back.

There are instruments with a one piece back as well

and as more luthiers, Pedrazzini also made copies of the

old masters like Stradivarius, Guarneri and Amati.

The scrolls of his instruments are always deeply carved,

and the symmetrically rounded curves of the bouts

and flanks provide a distinctive touch.

Note that the fingerboard still has to be worked on:

In fact it is not even glued onto the neck.

Investigations will make clear who can make this most

close to the original fingerboard.

Scroll and neck are original of highly flamed maple

as can be seen on several of his instruments as well.


On the death of Pedrazzini, the shop was left to Novelli who
produced only a few superb violins each year.

The label of this instrument says:
Giuseppe Pedrazzini
Cremonese
fece in Milano l' Anno 19 49 Giuseppe Pedrazzini
(signature on the label below this text.)
By clicking on this pic you will be able to study
this signature quite secure.

More difficult was the photographing of the branded stamp:
G. Pedrazzini.

The year of manufacturing: 19 49.

He used a variety of different labels and, depending on

the period, one of three different brands. A good part of his

output was exported, and he had particularly close ties

with Hawkes & Son (later Boosey & Hawkes) in London.

Even the for the sides very narrow striped maple has been used.

Probably the sides were mirrored in order to achieve

the ultimate result in beauty. Though during his life he

trained various students in building a good violin it

is very hard to say which instrument he entirely built

himself. Maybe it also explains that every instrument

posesses a certain individuality. This instrument has been
examined by different so called experts and they did not
agree with each other this being original work.

E.M. Penzel

Emil Max Penzel 1887 - 1953 learnt the craft of bow making from

H.R. Pfretzschner who was a celebrated bow maker in Markneukirchen

himself. Even now the family tradition of bow making is still there.

The highest quality has been executed in gold or silver parts.

The entrance bows are supplied with nickel. The weight of this bow 

is around 58 / 59 grams which is the weight most bows from his

hand posses. Of course made out of Pernambuco, a very special

wood that is getting even more rare to find nowadays.

The tip of this bow that betrays the octagonal approach

E.M. Penzel was familiar with. Though it is in need of

a rehair job its' condition is good. The specific angles

of the tip is an E.M. Penzel trademark.

What bothered me in the first place was that the branded

name was not accopanied with the two lying music keys.

However recently Matthias Penzel stated that this indeed

could be the case together with the simple Parisian eye on

the frog. Silver winding around the stick as well.

Johann Babtist Schweitzer

This is a 19th century copy of a Johann Babtist Schweitzer

violin. Carefully built and with a nice sound.


Nice, narrow grained (striped) back as can be seen
better by clicking on this picture.


A closer detailed picture of this violin.

The curl of this violin often considered to be an

example of the quality of a particular instrument.

This violin is supposed to be a good copy of the german

celebrated builder Johann Babtist Schweitzer.

A very nice and warm sound produces this one.

S M M Violin (?)

I hope someone will come up with the builder of this 3/4 violin

with a one piece back. Though there are no highly figured woods

used in this violin it appears to be a well built instrument.

By clicking on this picture you are able to see the aging
of this instrument though it is widely known that some
luthiers "aged" their instruments on purpose to make it
look older. 4 finetuners on its' tailpiece though one
must bear in mind that finetuners especially on the lower
strings will influence the sound of the instrument in a
negative way.

As a guitarplayer I do appreciate this one piece back

with its' tasteful figuring and its' outlay.