CHARLES FRANCIS ALBERT

IN FOCUS

A close look at the work of great and unusual makers

Even though this article features the work of Charles Francis Albert, it is worth saying a few words about his father. John Albert, like many who came before and after, was a Saxon transplant to America and a product of 19th-century. He brought his family to Philadelphia looking for freedom and prosperity. Because of his scientific/industrial approach to problem solving, he found great success culminating in the American Star Violin Factory.

On this solid foundation in the New World, and his inherited love of the violin, Charles Albert had the opportunity to find his own bearings. Not unlike others in this field (the Wurlitzers come to mind), the next generation took to the artistic side of things. After working with his father for eleven years, Charles set out on his own in 1865. Before his career and life drew to a close in 1901, he became one of the most esteemed violin makers and restorers of his time. His son Charles Francis Albert Jr (1869-1915) then took over the business.

It is worth noting that, between the success of father and son, the logical course of events would require more skilled workers to follow from Saxony. Those that then came to Philadelphia were most notably Henry R. Knopf and Charles A. Voigt.

• MAKER CHARLES FRANCIS ALBERT

• NATIONALITY AMERICAN

• BORN 1842

• DIED 1901

• INSTRUMENT VIOLIN

• DATE 1889

ALL PHOTOS NATHAN TOLZMANN

MATERIALS

This 1889 violin has a one-piece spruce top, showing a very even and consistent spacing of the grain. The back, also of one piece, is exceptional. It shows the maple flame quite prominently, almost like waves in water, ascending ever so slightly from left to right.

F-HOLES

These stand fairly straight and long. The lower eyes were probably cut with a circle cutter. The top wings are shaped in such a way to give the upper eyes a slightly oval appearance. The lower wings have a delicate slight fluting. There are well-marked notches midway along the sides of the holes in the traditional manner.

SCROLL

The wood of the neck and scroll appears to match that of the ribs and back. The head is well carved, with bevelled edges to the volute and both sides of the pegbox. The varnish finishing of the entire head and pegbox work harmoniously with the rest of the instrument, even matching the lower wings of the f’s.

VARNISH

The maker has chosen to shade the violin intentionally, and imitate some slight signs of wear. The imitation technique is most telling in the middle of the back, and the resting area behind the scroll. The varnish is a beautiful rich dark red– orange over a dark amber ground.

LABEL

The prominent label is adorned with ten images of medals (some showing front and back), with small printing of places and dates. There is an elaborate winged logo to the right, and a musical harpist made into the letter C, which frame his name ‘Charles F. Albert’. Below it reads ‘Philadelphia’, and below that ‘Fecit Anno 1889’, with the 89 written in ink.