A fine violin of the Bologna school early 20th century bearing the label: ANSALDO POGGI ALLIEVO DI G., FIORINI A.P.(signed initials) FECET IN BOLOGNA ANNO 1928 *signed underneath and possibly numbered no other markings or branding. A lovely instrument with a loud projecting tone for for soloists. The top is a finely grained spruce of excellent stock. Some slight ware in the varnish from use. Recently restored to its former glory in perfect and immediate playing condition. The back is a gorgeously book-matched maple of high to medium high figure. Equally flamed sides neck and delicately carved scroll indicative of the makers style during the time period with a darkened outlined scroll and pegbox. With some fading due to it being a high contact point when playing. The fittings are mix of old and new parts original (as I found them) pegs. New tailpiece; tail-gut, Hill “e” fine tuner to minimize damage on the surface a Guarneri style chin rest which fits comfortably. Ebony fingerboard, nut and saddle all original. A newly cut bridge of highly figured spruce for optimal use. AUBERT Á MIRCOURT FRANCE, expertly cut as well as newly fitted sound-post. Newly strung Vision strings complementing the hidden mature sound. The instruments varnish is a dark golden brown huge over a yellow gold grout. Set up and immediately ready to play. The tone is well projected and needs to be played in as it has been dormant for decades. Will undoubtably make any player or collector enthused to have. Biography as per Tarisio. Ansaldo Poggi Violin maker (1893 – 1984) Probably the most renowned of Giuseppe Fiorini's students, Ansaldo Poggi owed his introduction to his teacher to the friendship between Fiorini and Poggi's father, an amateur violin maker. After learning the basics at home, Poggi moved to Zurich to train with Fiorini around 1920, returning to Bologna in the late 1920s. His first known label is dated 1928. The impact of Fiorini's style is especially evident in Poggi's first independent work. Rather than following the construction method used by Bolognese school founder Raffaele Fiorini whereby the external form is the basis, Poggi adopted his teacher Giuseppe Fiorini's classical approach, which uses the internal form. This use of classical techniques sets Poggi apart from other Emilian makers of the period, even those who also employed classical models. Beginning in the 1930s, Poggi began to depart from his teacher's style and develop his own more personal touches, with narrow borders, thin purfling extending to beestung corners, and varnish ranging from reddish-orange to pinkish-yellow, sometimes over a yellow or brown ground. The details of craftsmanship are often superb, and the choice of materials is outstanding. Instruments after the late 1920s often bear one or more brands, in various places. Poggi's instruments are well regarded for their excellent playing qualities in addition to their exquisite precision. No accompanying paperwork included.