Showing 33–48 of 53 results
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.
B955 “Officina Claudio Monteverde” oversigned “Gio Maria Ceruti”, Cremona 1923$ 12,000.00
The Cremona workshop “Officina Claudio Monteverde” was established by Aristide Cavalli in 1880. “Gio Maria Ceruti” denoted one of their models rather than having any attachment to the famous family of violin makers by that name. The instrument is handmade however, with some attention to detail, though lacking the rather exaggerated delicacy of the “Aristide Cavalli” model. The tone is rich and warm in the lower strings, with a clear, open E string.
S328 Anthony Elmsly viola$ 12,000.00
A 2016 instrument by specialist viola maker Anthony Elmsly. With a body length of 41.3cm (41.6 over the arch) this is a classic, manageably sized instrument, with the design based on some of the most successful alto sized models in history; the much copied “Conte Vitale” and “Primrose” violas by Andrea Guarneri. The sound of this instrument is strong and even across the range.
S381 Harold Walker, Illinois, No.3, 1977$ 12,000.00
Harold Walker was an American violin maker with an association, both formal and informal, with Carl Becker, of the prestigious violin shop “Carl Becker and Son”, in Chicago. He sometimes worked in Becker’s shop and was also a great fishing buddy. While he isn’t noted as a top professional maker, Walker made very playable, well-crafted instruments. This viola has a full, warm lower range and a clear upper register. It was the preferred instrument of a professional player for many years.
S415 Violin by Tobias Widemann, Christchurch, New Zealand, 2008$ 13,500.00
Tobias Widemann graduated from the Mittenwald School for Violinmaking shortly before moving to New Zealand. He has established his own workshop in Christchurch after working for Antonio Strings. His primary focus these days is on new-making though he also does some setting-up work on older instruments. While studying in Europe, he was able to examine first-hand the work of the great Italian violin makers, becoming particularly fond of the violins of Guarneri del Gesu, of which this instrument is a fine copy. The tone is resonant, colourful and even, the wood is handsome without being garish, and the red-gold varnish, applied in the Mittenwald style, is very attractive.
Start sale price: $13,500.00
B918 Adrian Studer, Nelson 1990$ 14,000.00
It isn’t often we feature the owner of an instrument but this viola and its player have played such an important role in Dunedin’s musical life we feel the following biography needs no apology. Jack Speirs studied composition, music history, conducting, violin and viola in Edinburgh and Berlin before taking up a lectureship in music at the University of Otago in 1965. He was well-known as a violin and viola teacher, composer, orchestral and chamber music player, and soloist. He was musical director of the Dunedin Civic orchestra, now the Southern Sinfonia, for 15 years. This viola has a rich, warm, clear sound with a strong, projecting bass. As with all Studer’s instruments it is beautifully made.