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Yves Lafontaine

Ferdinando Garimberti

8 posts in this topic

I'd very much appreciate some help in accessing the authenticity of

a putative Garimberti violin that has an Italian label written as

follow "Ferdinando Garimberti da Parma Fece in Milano L'Anno

1925". Moreover this instrument is not branded.

But for the above mentioned, the only Garimberti label I have seen

so far was written in Latin and dated from the 30's, moreover

the instrument was branded both inside and outside. Is it then

possible that Garimberti changed label sometime after 1925 and

started branding his instruments? Ideas anyone?

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I think Garimberti's work is difficult to fake, it's very precise and clean, elegant, and his models and style changed little.

I've never heard of him using an outside brand. According to Blot, "He used a signed label and a brand on the inside (although not always).

He also had a preference for one piece backs. In Blot's book there are 3 instruments dated 1924, 1926 and 1957. One label dated 1926 runs "FERDINANDO GARIMBERTI in MILANO a. 1926" and is signed and numbered 62. There is another label dated 1942 that is in Latin, also signed and with a number.

Some photos would help, do you have photos?

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What a beautiful fiddle Jeffrey's Garimberti is. Goes to show you how striking, in its simplicity and transparency, a straight, non-antiqued varnish can be when the wood and workmanship are splendid. Why would anybody bother antiquing a fiddle when a straight varnish can give such fine results. Makes antiquing look like too much make-up on what otherwise might be a very pretty lady.

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Wish it was mine... I sold a slightly earlier, just as beautiful one a number of years ago, but didn't have a scan of the print handy. I agree. He was quite a maker.

Credit goes to Tarisio's archives for this one (it's the earliest one they list there).

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Yves,

Both Marlin Brinser, Dictionary of 20th Century Italian Violin Makers, and Henley, Universal Dictionary..., gush on and on about how fine a maker Ferdinando Garimberti was. What should be obvious about the instrument, if it is a Garimberti, is that it's a high quality violin.

If you feel that this is a violin of better quality and has more character than the typical commercial fiddle that gets a fake label inserted into it, then it might be worth taking the fiddle to a good shop to be appraised.

If you feel that you can't make that judgement, it would still be worth taking the fiddle to a good shop for appraisal.

I would think that if someone were trying to fake an early 20th century Italian, they'd stick an even better known name in it: Fagnola, Bisiach, Scarampella. But maybe I'm underestimating how well Garimberti is known.

On the other hand, if someone wanted to fake more subtly, then maybe a lesser known name like Garimberti would be the way to go.

None of this helps you at all. There's really no substitute for taking it to knowledgeable shop.

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Hi Jeffrey! This violin is also in Blot's book, along with another 2. Garimberti's scrolls are fantastic too. And what about his celi, made with a one piece highly flamed backs?

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It is said that one often goes to bed with a problem to wake up

with the solution in hand... I am not sure that in the beginning

this applied to violins but, all the same I am very thankful

to you all for the help. The combination of MANFIO's text and

Jeffery's picture got me on the right path. Up to me to make up my

mind now. I do not have any pictures of the Garimberti in question,

but the one sent by Jeffrey added to skiingfiddler's bits from

various sources will tell me lots about its possible

authenticity when I see it. What a great site! Again thank you very

much to all of you.  

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