FINDING THE CLUES
Despite the potential for unreliability, information can sometimes be gleaned from a label, especially if it says something in English, like “Made in Germany,” or “Bavaria.” This means that the instrument was produced for export to the United States. Exactly how the information is worded can help determine the approximate date of export.

Since 1891 import law has required all products imported to the United States be marked with their country of origin. So, if there is no such mark, the instrument is pre-1891, or not made for the US market. (Remember, the vast majority were.) In 1914 the law was revised to require that the words “Made in” be used as well. So if your label says simply “Saxony law” it’s probably post-McKinley, but before 1914. The act was amended further in 1921 to state that the place of origin must be in English. So, “Made in Nippon” would indicate an instrument manufactured between 1914 and 1921. After 1921 it should be “Made in Japan.”

Post-World War II labels carry further clues. After the partition of Germany, goods were from West or East Germany. Likewise, during the US occupation of Japan goods were marked “Made in Occupied Japan.”

A few words of Latin and Italian are useful, as well. Guarnerius and Stradivarius are the Latinized forms of Guarneri and Stradivari. Giuseppe is the Italian form of Joseph. You can also learn who is related to whom by knowing that filius means son of, nepos means descendant of, alumnus means student of, and frater or Fr. means brother of.

It’s also helpful to know the names of the great historical centers of the trade: Markneukirchen and Mirecourt were the largest centers of production in Germany and France, respectively. Cremona (Cremonae, Cremonensis) is the Italian city where Amati, Stradivari, and other great classical makers worked. Brescia is just to the north and vied with Cremona for supremacy before the 1700s. Brescia’s best-known makers are Maggini and da Salo.

Yet no amount of label reading can replace an experienced eye. When in doubt, take your instrument to a good maker or dealer for evaluation. To the unpracticed eye, it’s hard to tell the age of an instrument. Expect to pay for the expert’s time. The ability to read the signature left by the maker’s hand—the shapes of arching and corners, purfling, varnish, and scroll—takes years to acquire.

And who knows? It could be a real Rocca. Sometimes people do win the lottery… .