FERDINANDO GARIMBERTI

A close look at the work of great and unusual makers

Born into a hard-working family in Parma in 1894, Ferdinando Garimberti is today considered one of the most important representatives of the modern Milanese school, and indeed among the most important Italian violin makers of the 20th century. Cremona is indebted to him for the role he played in the city’s acquisition of the 1715 ‘Il Cremonese’ Stradivari and for passing on his knowledge to a new generation of makers at the International School of Violin Making.

After the family’s move to Milan, the young Garimberti began an apprenticeship as a metalworker until an accident in 1912 forced him to look for an alternative occupation. One regular visitor to his parents’ osteria was Romeo Antoniazzi, who introduced Ferdinando to lutherie. Soon he was taken on by Romeo’s brother Riccardo, continuing under his tutelage until the latter’s death. The next years saw him work for Leandro Bisiach and Giuseppe Pedrazzini, complete military service during World War I, marry Maria Zanello, move to Turin to work for Fiat, and open a wine shop. The 1920s marked his return to Milan and violin making.

The instrument shown here was made during a period of change in Garimberti’s life. He resurrected a relationship with the Bisiach and Pedrazzini workshops in the early 1920s. His father committed suicide in 1924. Then in early 1925 Mussolini effectively became dictator of Italy. These events formed the backdrop to the making of this violin.

MODEL

This violin is based on a Stradivari model, a Milanese interpretation of the ‘G’ form, well proportioned with a bold outline. The shape and placement of the f-holes are reminiscent of the Bisiachs’ work. The finish is clean yet never pedantic, and the softness of lines, especially those of the scroll with its rounded chamfers and deep volute, ensure a pleasing appearance overall.

MATERIALS

The front of this violin is made from a lovely piece of spruce of even, narrow grain, which is highlighted by striking medullary rays. The back and ribs are made from a stunning piece of maple cut on the slab, a favourite choice throughout Garimberti’s career. The visual effect of this is especially satisfying on the back. The wood of the head is cut on the quarter. Linings and blocks are made from willow and are neatly finished. The top-block bears the maker’s brand.

EDGEWORK AND PURFLING

Made from ebony and poplar, the purfling is placed close to the edges and is of extraordinary precision. The outer ebony strip sits raised on the edge, while the inner strip is at the bottom of the fluting, thus stylistically forming part of the edgework and framing the instrument beautifully. Garimberti highlighted this effect by rubbing off some of the varnish on the edges. An elegant but simple purfling joint marks the corners, as Garimberti mostly abstained from long bee-stings.

VARNISH

On this violin, the varnish is oil-based and of a reddish-brown colour, richly applied and soft in texture, showcasing beautiful craquelure. It gives the instrument a very warm and harmonious appearance, revealing the maker’s typical yellow ground where it has worn off.