Giovanni Maria Valenzano

History

Giovanni Maria Valenzano (b. Asti, d. after 1827 Trieste Italy) was an active luthier from 1770, initially in Asti. According to John Dilworth in The Brompton's Book of Violin & Bow Makers, he is considered a significant and somewhat underestimated luthier of the early 19th century. Dilworth notes that Valenzano was one of the first violin makers to explore the Guarneri del Gesù form and model as an alternative to the established Stradivari pattern, a development possibly influenced by his links with Niccolò Paganini, whose origins and early life were in the same region.

Reported labels indicate that Valenzano first worked in Padua (Veneto), subsequently moving around north-east Italy and the Mediterranean coast. In 1804, he was located in 'Valentia' or Valenza (Piedmont), a place that may have been the origin of his family name, as his birthplace of Asti is approximately 40 km from Valenza. In early labels, he identified himself as 'Piedmontese'. From 1809, he established himself in Barcelona, Spain, and from 1813, he worked in Montpellier and Marseille, France, before moving to Nice in 1815. He later returned to Italy, working in Genoa in 1818, Rome around 1825, and finally Trieste. His presence in Trieste was remarked upon by Paganini in 1827, who commented that Valenzano was 'doing very well' there. Karel Jalovec, in Italian violin makers, and Willibald Leo Lütgendorff, in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart, also mention his work in Naples and Padua, with Lütgendorff citing Valdrighi (3268) for the Naples reference.

Craft

• Model & Form: Valenzano's work generally shows a well-judged approach on a fine Stradivari-derived form, though he was also one of the first to explore the Guarneri del Gesù model. Karel Jalovec notes that his instruments are designed on the model of Amati, provided with moderate arching. Willibald Leo Lütgendorff states that his model fluctuates between that of the Milanese and Neapolitan schools.
• Workmanship: Early work is described by John Dilworth as unrefined and somewhat reminiscent of Testore instruments, featuring small finial circles to the soundholes. Even his best work is not highly finished, with a distinctive feature being knife marks fanning out from the purfling points in each corner. Jalovec, however, describes his instruments as carefully finished and endowed with a good tone. Lütgendorff characterizes his work as 'handwerksmässig' (craftsmanlike).
• Scroll: The scroll shows influence of the Genoa school, featuring a straight pegbox and a small upright volute.
• Copies: He produced some Guadagnini copies, as well as rare instruments with strong del Gesù features in the soundholes, scroll, and arching.
• Materials & Varnish: Jalovec notes that he used fine wood. The varnish is typically golden-yellow or a slightly pinkish orange, similar to that used by Spanish makers, according to Dilworth. Jalovec also mentions a good yellow or brown-yellow varnish.

Influence

• Mentorship & Schools: His scroll work shows influence from the Genoa school. His models were also influenced by the Milanese and Neapolitan schools.
• Innovation: Valenzano was notable for being one of the first violin makers to explore the Guarneri del Gesù form and model as an alternative to the established Stradivari pattern.
• Associations: His links with Niccolò Paganini, whose origins were in the same region, may have influenced his exploration of the Guarneri del Gesù model.

Legacy

• Reputation: John Dilworth describes Giovanni Maria Valenzano as a significant and somewhat underestimated luthier of the early 19th century.
• Contemporary Recognition: Niccolò Paganini remarked in 1827 that Valenzano was 'doing very well' in Trieste.

Further Information

• Geographical Identification: In early labels, Valenzano referred to himself as 'Piedmontese'. His birthplace, Asti, is approximately 40 km from Valenza, a location he worked in and which may have been the origin of his family name.
• Label Inscriptions: Examples of his reported labels include: 'Revisum et Correctum da me / Joanne Valenzano / anno 1796', 'Joannes Valentianus / Pédémontanus 1798', 'Johannes Maria Valenzano / in Padova 1800', 'Joannes Maria Valenzano / Astensis in Valentia fecit 1804', 'Johannes Valenzano / in Barcelona 1809', 'Johannes Valenzano, Astensis / Nicea, fecit Domini 1815', 'Johannes Valenzano, Astensis / Genova, fecit 1818', 'Joannes Maria Valenzano / Astensis fecit Romae 1825', and 'Johannes Valenzano, / Trieste 18..'.
• Market Value: According to Karel Jalovec, the price range for his instruments was 20 — 25,000 Kc.

Summary

Giovanni Maria Valenzano was an Italian luthier active from 1770 until after 1827, born in Asti. He is recognized as a significant, though somewhat underestimated, figure of the early 19th century. Valenzano was notable for being among the first to explore the Guarneri del Gesù model as an alternative to Stradivari, possibly influenced by his connection to Niccolò Paganini. His career involved extensive travel, with documented periods of work in Asti, Padua, Valenza, Barcelona, Montpellier, Marseille, Nice, Genoa, Rome, and Trieste. Sources also mention his work in Naples. His craftsmanship, while sometimes described as unrefined in early stages, evolved to produce instruments with a fine Stradivari-derived form, Amati-like models, and influences from the Milanese and Neapolitan schools. He used fine wood and applied a distinctive golden-yellow or pinkish-orange varnish.