Showing 33–48 of 59 results
S360 Unlabelled, “Maggini” copy, Germany, late nineteenth or early twentieth century$ 3,500.00
In the heyday of commercial German violin production, large workshops made many “Maggini”-copy violins, characterised by a broad model and arching, double purfling lines, long, narrow “Brescian”-style ‘f’ holes, and – as with this handsome example – an extra turn on the scroll and “birds eye” maple. The pleasing visual appearance of this violin is matched by a lovely, characterful tone, with a clear, ready response, a bell-like resonance and strength in the lower registers.
B831 Jim Forrest, Auckland 2010$ 4,000.00
This by contemporary New Zealand maker Jim Forrest violin has a narrow-waisted elegancy, amber orange oil varnish and a warm sound.
B912 3/4 size, Chinese, handmade, with hard case$ 4,000.00
This small sized cello is a good example of the better quality student instruments currently made in China. The wood of both back and belly is well selected and the fingerboard is of ebony.
S399 Neuner and Hornsteiner violin, Mittenwald, Germany, 1881$ 5,225.00
From the time that Mathias Neuner, the fourth Mittenwald violin maker of that name, joined in partnership with Cantius Hornsteiner around the start of the nineteenth century, their workshop became an important producer for the violin making trade in Europe. This violin has their characteristic dark red-brown varnish, and uses a model which employs some traits of the Klotz School. The tone is warm, smooth, and even across the strings, with a pleasing, creamy character. The violin comes with a good-quality Paesold bow.
Start sale price: $5,225.00
B934 3/4 size ‘Handarbeit aus Mittenwald’, Germany 1960$ 6,000.00
It is unusual to find smaller cellos of this quality, suitable for either a young but advanced student or someone of small build. The varnish is applied in the French Mirecourt style and the “Stradivari” modelling is slim and elegant. The cello comes with a bow and soft bag.
S128 Peter Madill, Dunedin, New Zealand 2013
Peter Madill has always been attracted by a particular German interpretation of the Amati School, with tapering ‘f’ hole wings and delicate, narrow edges. This recently-made violin has a sweet tone, provided by the scooped Amatese arching, coupled with evenness and clarity.
S353 Unlabelled, European, probably French, mid-late nineteenth century$ 6,500.00
With its crisply-cut edges and neatly-mitred rib corners, this violin has the hallmarks of good Mirecourt hand-work, though with a more transparent, golden varnish than one sees on violins from the large manufacturing workshops. The sound is clear, even and characterful, with quality and projection extending into the higher positions. The back and ribs are of well-chosen, handsomely-flamed maple.
S310 “Peter Madill”, Five-String Violin, Auckland, New Zealand, 1981$ 7,000.00
Five-string violins, especially those custom-made as such, are very rare, and a real delight to play in a non-classical context, once the initial adjustment to having a low C string as well as an E string are made. This violin was made for Cath Newhook, who used it for a number of years in her country band “Gentle Annie”. It has been fitted with a Zeta five-string electric bridge and tailpiece, with a mini-jack plug fitting on the latter. This would be a great fiddle for adventurous explorers of the folk, country, blues or rock soundscapes.
S261 Labelled “Bergonzi”, China, 2007$ 7,750.00
In the decade following the year 2000, a number of well-made violins and cellos were imported into New Zealand from China under the trade name “Bergonzi”. This cello is a typical example, finished with a warm, dark brown, spirit-based varnish, which complements the strikingly-flamed maple back, ribs and neck on the back. The workmanship of the edges and other details is crisp and assured. The instrument is responsive and balanced across all four strings; the A and D strings are particularly resonant.
S362 cello labelled “Stradivarius”, Europe, late nineteenth or early twentieth century$ 8,000.00
This attractive-looking cello with its amber-coloured varnish stands head and shoulders above most of the standard European-manufactured cellos we have seen over the years. The maple ribs in particular have a lovely, vivid flame and the spruce belly wood is well-cut for maximum strength. The tone is bright, clear, and warm, with excellent projection and evenness on all four strings. Each note speaks distinctively, even in extensive string crossing work.
Start sale price: $8,000.00
S351 Johannes Rubner, Markneukirchen, Germany, 1985$ 8,500.00
Johannes Rubner’s workshops in Markneukirchen continued a long family tradition of making good student-quality cellos and double basses, a tradition that dates back to Josef and his son Otto Richard-Rubner, in the mid-late nineteenth and early twentieth centuries.
This instrument is in excellent condition, with a golden orange-red varnish that has developed a fine, attractive craquillure over most surfaces.
S371 “Officina Claudio Monteverde” (oversigned “A Cavalli”) violin, Cremona, 1923$ 9,000.00
The Cremona workshop which produced the “Officina Claudio Monteverde” violins was founded by Aristide Cavalli in 1880, and employed a small group of highly skilled violin makers. This example shows the characteristic, deeply cut lower wings and sharply delineated, hollowed edges shared by most violins from this workshop, particularly those oversigned by Aristide Cavalli himself. The tone is rich, brilliant and even, with a bell-like clarity on the E string. The delicacy of the flamed maple is offset by the robust red-brown of the varnish.
Start sale price: $9000.00
S391 Ch. J. B. Collin-Mézin Fils violin, Mirecourt, France, 1918$ 9,000.00
There were not just two but three violin makers of the name “Charles Jean Baptiste Collin-Mézin”, father, son and grandson. The father is the most famous member of their dynasty, though he periodically worked closely with his son of the same name. While early violins by the father probably came from a relatively small Paris workshop, both father and son established separate workshops in Mirecourt in the early twentieth century, staffed with around half-a-dozen highly-skilled luthiers and producing violins of higher quality than the standard trade models of the major Mirecourt companies. The son took over the father’s workshop after the latter’s death in 1923 and the amalgamated workshop passed into the grandson’s hands in 1934. This violin was made in 1918, around the end of WWI in the son’s workshop, and as a consequence lacks the distinctive, stamped “signature” inside violins made for the father. The tone is clear, warm and characterful, with good resonance in the upper octaves.
Start sale price: $9,000.00
S234, Viola, “Malcolm Collins”, #20, Upper Hutt, New Zealand, 1985
This is a relatively early viola by esteemed Upper Hutt violin maker Malcolm Collins – last year (2014) Malcolm made viola #60. A viola player himself, Malcolm has always been eager to keep his violas within a manageable size while enhancing depth and richness of tone. To this end, he favours a medium body size, broad bouts and deep ribs. The workmanship of this instrument is exquisite, as ever, and the pale gold varnish enhances the wood without hiding any detail.
S223 violin, Zhu Hua Jie, Shanghai, China, 1994$ 10,000.00
Zhu Hua Jie made this strongly-modelled violn, with its bold edges and beautifully flamed maple back, in 1994, two years after winning a silver medal for tone at the 1992 Violin Society of America International Competition in Carlisle, Pennsylvania. The tone of this instrument is strong, brilliant, and would suit an experienced player. The pegs, tailpiece, and endpin are elaborately carved from genuine boxwood.
S236, 4/4 Violin, “Huai Li Ming”, Auckland, NZ, 1996$ 10,000.00
Huai Li Ming came to New Zealand in the early 1990’s, working first for Noel Sweetman before joining the Stringed Instrument Company workshop for two years. This violin was made not long after he established his own workshop, and is typical of his instruments from this period. The violin has an immediate, almost explosive response – playing it is rather like riding a pedigree race horse and can promise an exhilarating experience for those wanting a dynamic, exciting sound. Not for the faint-hearted.