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.