Giuseppe Pedrazzini Milan 1925
Giuseppe (1879 - 1957)learned woodworking from his father and uncle, who were cabinet makers. He taught himself to make and repair violins with advice from Romeo Antoniazzi. He opened his own shop in 1906 and was appointed luthier to the Conservatoire and Opera House in Milan. He also won medals and prizes in the Rome 1920 and Cremona 1937 violin making competitions.
Pedrazzini made instruments modeled after Amati and Stradivari with personal touches. His wood choice and varnish was of the highest quality. He used four brands and many labels, five of which have color variants. His cellos and basses are especially treasured today.
His pupils included Ferdinand Garimberti, Piero Parravicini, and Natale Novelli.
This cellos exemplifies Pedrazzini's deliberate craftsmanship. The scroll is precise and symmetrical. The arching rises subtly and smoothly from the purfling toward the rounded edges, and the f-holes are robust and cleanly cut. The highly figured maple back is stunning beneath Pedrazzini's orange-brown oil varnish, which has a slight craquelure texture.
Giuseppe (1879 - 1957)learned woodworking from his father and uncle, who were cabinet makers. He taught himself to make and repair violins with advice from Romeo Antoniazzi. He opened his own shop in 1906 and was appointed luthier to the Conservatoire and Opera House in Milan. He also won medals and prizes in the Rome 1920 and Cremona 1937 violin making competitions.
Pedrazzini made instruments modeled after Amati and Stradivari with personal touches. His wood choice and varnish was of the highest quality. He used four brands and many labels, five of which have color variants. His cellos and basses are especially treasured today.
His pupils included Ferdinand Garimberti, Piero Parravicini, and Natale Novelli.
This cellos exemplifies Pedrazzini's deliberate craftsmanship. The scroll is precise and symmetrical. The arching rises subtly and smoothly from the purfling toward the rounded edges, and the f-holes are robust and cleanly cut. The highly figured maple back is stunning beneath Pedrazzini's orange-brown oil varnish, which has a slight craquelure texture.