Showing 1–16 of 28 results
C421 “Paganini” C 500 violin, China$ 995.00
The Paganini C500 series violins are fully hand-carved, using well-seasoned maple and spruce. Ebony pegs and fingerboard, and our own professional-fitted bridge and soundpost, along with Pirastro “Violino” strings, a carbonfibre adjuster tailpiece, a quality Brazilwood bow and an attractive and strong half-moon case, make this responsive instrument an excellent choice for students in the lower grades.
Start sale price: $995.00
S400 Unlabelled, Mirecourt, France, early twentieth century$ 1,500.00
We mostly view Mirecourt “trade” violins as much of a muchness, despite the plethora of labels, but an examination of the early catalogues of the larger workshops, such as Laberte or Thibouville-Lamy shows that there was an enormous range of quality as well as style. At the lower end are violins such as this one, made for the beginner student market, the back and belly pressed as much as carved and without inlaid purfling or other refinements. This simple violin has now acquired ebony fittings and a professional set-up, and makes a clean, easy-speaking, even and fairly resonant tone.
S365 ¾ European violin, possibly Mirecourt, France, early twentieth century$ 1,800.00
As well as a very attractive and well-preserved appearance, this delightful little three-quarter violin has an open, resonant, expressive sound which is surprisingly full for a fractional-sized instrument. Good quality wood and workmanship are complemented by a professional set up, Dominant strings and an ebony “Putsch” tailpiece.
Start sale price: $1,800.00
S438 “Eberhard Meinel” violin, Markneukirchen, Germany, mid-late twentieth century.$ 1,900.00
The creation of two separate Germanys, one under Communist rule, saw a major exodus of violin making workshops from the now-Eastern German town of Markneukirchen, a traditional centre for German lutherie. Not all workshops departed, however—that of Eberhard Meinel remained and produced many student grade instruments over the following decades. This example has been well-cared for and produces a warm, even tone. Nicely selected wood, ebony fittings and a full professional set up make this violin very suitable for a young player graduating to their first full-sized instrument.
Start sale price: $1,900.00
C394 Unlabelled, “Stradivari” copy, Germany, late nineteenth or early twentieth century.$ 1,950.00
Like all the older violins which find their way, after a varied life, into our showroom, this “Stradivari” copy violin has been through our own workshops, where every aspect of its structure, varnish and set up have been scrutinised and brought into as good a state as we can manage. The result, in this instance, is a sweet-sounding instrument with a well-restored finish. Ebony pegs and fingerboard, Pirastro “Violino” strings and a “Wittner” adjuster tailpiece make this violin both durable and reliable.
S402 “Ling Hua, ALSH”, ¾ violin made for Antonio Strings, Christchurch, New Zealand, 2008$ 2,000.00
Made in China, in the Ling Hua workshops, this cleanly finished violin has an attractive, golden red-brown varnish with rubbed edges in the modern German style. The tone is clear and bright and speaks easily. The violin is accompanied by a Bobelock, hard-shell, shaped case, a German-made Gill bow and a carbon-fibre bow, all in good condition.
Start sale price: $2,000.00
S358 Labelled: “Jacobus Stainer”, Germany, late nineteenth or early twentieth century$ 2,200.00
Unlike many “trade” copies of Jacob Stainer’s work, this violin avoids the excesses in arching height, and the plateau-like profiles we so commonly see. A narrow waist, small, fairly elegant ‘f’ holes and a rounded arching give this violin a clear, smooth, sweet tone which, being slightly on the small side, will encourage more reticent students to play into the string and explore the violin’s potential without being intimidated by too much volume or brightness.
S364 Labelled “Stradivarius”, West Germany, mid-twentieth century$ 2,300.00
This “Stradivari” copy violin has a strong tone to match the boldness of its red-gold varnish. A broad, fairly flat arching gives it that typical Stradivarian brilliance, suitable for a younger player with some confidence who is looking for an instrument that will speak in a forthright way.
Violin labelled “Nicolas Amatus”, Mirecourt, France, early twentieth century$ 2,500.00
Despite the label, this neatly-made, Mirecourt violin is based on a Stradivari model, though interestingly, it has some of the warmth and sweetness one would expect from an Amatese instrument, rather than the brighter tone usually associated with the flatter Stradivari arching. The wood of the back is of a less common species of maple, often associated with the golden brown varnish this violin is finished with, and though relatively plain, has a pleasing iridescence. The tone is even over all four strings, and the violin speaks freely.
C261 German trade, late 19th or early 20th century$ 2,700.00
Although this violin has a commercial, spirit-based varnish, it has been made in the style of the 18th and 19th century hand copyists of Stainer and Amati, with a long, slightly narrow outline and a full, rounded arching which rises from the purfling. The sound is strongly influence by the modelling, with an unusual, deep but clear tone.
C349, Unlabelled “Amati” copy violin, Germany, late 19th or early 20th centuries$ 2,700.00
True to its Amatese modelling – the broad, scooped channels within the purfling and the high, smoothly arched curves of the belly and back – this German violin has a sweet, silvery tone, with clarity and a reasonable volume. The one-piece maple back has a very attractive, narrow flame, and the edge work is delicate, with slender, tapered corners.
S378 Unlabelled, handmade, Chinese, early twenty first century$ 2,700.00
Despite the absence of a label, this violin is readily identifiable as a fairly faithful copy of the “Paganini Il Cannone” violin of 1742 by Guarneri del Gesu, from the long, slender, Brescian-style ‘f’ holes to the chunky scroll with its tightly carved volutes. The varnish, though attractively antiqued, is more generic, with a warm, golden orange-red colour layer and wiped edges. The maple back is in one piece, with an appealing, narrow flame. The tone is even across all four strings, and clear and strong in higher positions as well as in lower registers.
C414 Unlabelled violin, stamped “Pique Paris”, Germany, late nineteenth century$ 2,700.00
This charming but curiously modelled violin has a silvery, sweet tone, which speaks easily and allows for dynamic subtlety. Despite the stamp “PIQUE PARIS” under the button on the back, neither the model nor the varnish bear any resemblance to the work of that maker. The flattish arching rises virtually from the purfling, the middle bout is very broad and the ‘f’ holes owe more to the “Amati” school than to any French Stradivari model, such as the one François Pique used.
Start sale price: $2,700.00
C343, Labelled “Stradivarius”, European, probably German, early 20th century$ 2,800.00
This pleasant-looking, European-manufactured violin has relatively plain-looking wood but a surprisingly attractive tone, open, resonant, warm and characterful. The varnish is a red-gold colour, shaded to simulate wear but without any other antiquing.
C392 Labelled “Stradivarius”, Germany, early-mid twentieth century$ 2,800.00
This rather striking, red-gold coloured German violin, though labelled “Stradivarius”, is something of a hybrid: the outline is Stradivarian; the ‘f’ holes, scroll and arching owe more to Guarneri del Gesu; and the ‘f’ hole nicks follow Andreas Amati. The tone is rich and characterful, with an ease and clarity of production.
S321 Labelled “Michele Deconet… 2005” China, early twenty-first century$ 2,900.00
This is a very attractive-looking violin, with a golden orange-brown, lightly-antiqued varnish that enhances the appearance of the wood below. Michele Deconet was an eighteenth century Venetian maker of French birth, whose output was prolific but quite variable in style. Some small attempts have been made here to imitate the detail of his work, most notably in the narrow, tapering lower wings of the ‘f’ holes, though the upper wings are decidedly Stradivarian. The tone is clear and resonant, and particularly pleasing on the D and A strings.