ALBANESI, SEBASTIANO

Worked at Cremona, 1720-1744. Pupil of Bergonzi.

These scarce instruments have a needle-like touch of detail. Nothing could
exceed the daintiness of the model, yet there is a certain beautifully
proportioned breadth and a nicely full arching, arriving at a happy medium
between the high and the flat - a few specimens being noticeably flatter at the
back than at the front.
Splendidly carved scroll, perfectly balanced - deserving all eloquence - throat
shaped according to the older Italian style, distinctly different from that of a
Stradivarius. Well-marked edging of the purfling shows that he had a complete
comprehension of neatness. Bergonzi type sound-holes symmetrical to the
whole structure. Edges, though rather prominent, are governed by artistic
perception of harmonious design. Magnificently fine-grain pine for the table;
and ideally figured maple for the back - both subjecting us to the temptation of
exaggerated praise. Lovely varnish of Bergonzi-brown to amber.
After feasting eyes on so much finished workmanship keen expectations of a
fine tone are aroused, and here we meet with no disappointment whatsoever,
for it is very, very rich, rather powerfully full, and of magnificently penetrating
quality.
His work has not been blazoned by many connoisseurs. Violinists, in their
search for valuable Italian instruments, frequently overlook the creations of the
lesser-known makers. This furnishes a reason for our desire to prominently
record the conscientious, steady, unwearied, and enthusiastic labour of
Albanesi, who has left to us some of the finest exploits in violin-making,
several specimens realising £350, 1920-25.
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Sebastianus Albanesi cremonensis
Anno Domini. D.G. 1737
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KAREL JALOVEC ITALIAN VIOLIN MAKERS