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Enrico Marchetti

Turin, Italy

(1855 – 1930)

Enrico Marchetti was one of the most accomplished Italian luthiers of the late 19th and early 20th centuries, and a leading figure of the Turin school. Born in Milan in 1855, he trained under Luigi Bajoni and Gaetano Rossi before moving to Turin in the 1870s, where he worked with Gioffredo Rinaldi and later Antonio Guadagnini. By the early 1880s, Marchetti had opened his own workshop, quickly earning a reputation for instruments that combined refined craftsmanship with powerful tonal quality.

Marchetti’s style was firmly rooted in the Piedmontese tradition, with clear influence from makers such as Pressenda and Guadagnini, though his personal flair is evident in every instrument. His violins are recognized for their bold, elegant outlines, and scrolls that are typically narrow and elongated with a horizontally flattened eye. The purfling is set deep into the corners with precision, often framed by blackened chamfers that emphasize his clean workmanship. In his later work, the f-holes occasionally take on a more tilted or expressive appearance, contributing to the individuality of his mature period.

From around 1890 to 1912, Marchetti worked in the town of Cuorgné, producing a number of award-winning instruments and exhibiting at international fairs in Turin, Paris, Antwerp, and Toulouse. His instruments from this period are widely considered his best, showing strong modeling, careful varnish work, and excellent tonal response. After returning to Turin in 1912, he continued working—sometimes assisted by his son Edoardo—until his death in 1930.

Marchetti’s varnish varies across his career but is typically a rich golden-orange to reddish hue, applied over a lighter ground that enhances the flame and character of the wood. The arching, modeled on Stradivari or Guadagnini patterns, lends his instruments both tonal strength and clarity, making them especially appealing to soloists and professional players. Today, Enrico Marchetti’s instruments are prized for their resonant tone, responsive feel, and sophisticated aesthetic, bridging the tradition of 19th-century Italian making with the emerging demands of the modern concert stage. His work stands as a testament to the elegance and strength of the Piedmontese school, and his best instruments remain in high demand among collectors and performers worldwide.

Cello by Pierre Hel

Viola by Amos Hargrave

Viola by Christopher Dungey

Viola by Georges Chanot

Viola by Johannes Tóth

Viola by Michael Fischer

Viola by Stefan Valcuha

Violin Bow by E.A. Ouchard (1925)

Violin Bow by E.A. Ouchard (1940)

Owen Lee

Jake Jiwon Han

Virginia Morricone

Antonio Gragnani

Enrico Marchetti

Giovanni Battista Grancino

François-Louis Pique

Gustave Bernardel

Spirito Sorsana

Igino Sderci

Giovanni Battista Guadagnini

Lorenzo Ventapane

Pierre Hel

Amos Hargrave

Jean-Baptiste Vuillaume

Michael Fischer

Andrea Caccia

JiHwan Park

M. Neuner & Hornsteiner

Andre Somer

Johannes Tóth

Christopher Dungey

Stefan Valcuha

Georges Chanot I

Bernard Millant

Victor Fétique

Émile Auguste (E.A.) Ouchard

James Tubbs

Roman Teller