Violins under $10,000
Showing 17–32 of 32 results
C343, Labelled “Stradivarius”, European, probably German, early 20th century$ 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.
C376 Labelled “Copy of Nikolaus Amati”, Germany, early twentieth century$ 2,800.00
This is an individualistic interpretation of a generic “Amati” style, rather than an accurate copy of a Nicolo Amati violin, with its exaggerated, open nicks, and scooped and rounded arching. The edges are very narrow, with the purfling poised on the highest point, leading into small, delicate corners, the overall effect very similar to instruments made in the Hermann Dölling workshop. The sound is resonant, open and clear, particularly on the outer strings.
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.
S250, 4/4 Violin, Copy of “Stradivari”, Europe, Late 19th or early 20th Century$ 2,900.00
Although its country of origin cannot be determined either from its generic “Stradivarius” copy label or its overall appearance, the construction of the rib corners does point to manufacture in a French workshop, or to a clever take on French construction – a copy of a copy, perhaps. The two-piece back and neck have a strong, handsome flame, and the tone is resonant, with a free-sounding, silvery character, making this violin an appealing choice for a middle-grade student.
S348 Labelled “Joseph Guarnerius” and stamped “Concert violin Guarneri”, Germany, late 19th or early 20th century$ 2,900.00
This is a boldly executed copy of the later style of “Guarneri del Gesu”, with its elongated “Brescian”-influenced ‘f’ holes, broad central bout and long, open ‘C’ bout curves. The tone has a throaty depth on the lower strings and a silvery character on the E string. The varnish is a rich red-brown, antiqued to simulate age and wear.
C339, Jay Haide, “À l’ Ancienne”, “Il Cannone” model, Ifshin violins, USA/China, 2010$ 3,200.00
Jay Haide violins are skilfully handmade in China under the supervision of the prestigious USA violin shop, Ifshin violins. This instrument is closely modelled on violin of 1742, although the scroll has been carved more elegantly than the original. It has a full set-up from our workshops, including Obligato strings. This violin, with its golden red-brown varnish and subtle antiquing, has a clear, resonant, attractive tone over its whole range, and represents very good value for money.
C366 Copy of Sebastian Kloz, Germany 1904$ 3,300.00
Names of old masters inside European-manufactured violins of the late nineteenth and early twentieth centuries are immensely common, and many of these instruments bear little resemblance to the style of the maker they purport to copy. This violin, with a facsimile label of Sebastian Kloz, is a very pleasing exception, employing an outline, arching, scroll and ‘f’ hole style strongly reminiscent of the Kloz family, the premier violin making dynasty of Mittenwald, in the Bavarian Alps. The wood choice and the attractive golden-red varnish complement a clear, sweet, elegant tone.
S226 “Mastri” 3/4 violin$ 3,500.00
“Mastri”, Markneukirchen, Germany 2010.
Mastri violins has produced a wide range of good quality student instruments since 2004, but its training and expertise are rooted in the violin making tradition of the Vogtland. This attractive small violin is varnished in the modern Markneukirchen style with a lightly antiqued, golden red-orange finish. The maple, one-piece back has a narrow, regular flame, and the violin is set up with good quality fittings and strings. The tone is surprisingly rich and resonant, fully justifying its price. The violin is accompanied by a modern case and good-quality pernambuco bow.
S340 Labelled “Michael Seitz in Mittenwald” Germany, mid-late nineteenth century$ 3,500.00
Despite the rather elegantly-written label, the origins of this violin are obscure, with no strong likelihood of a connection with Southern Bavaria. The style is a little reminiscent of the Kloz school, however, though the choice of wood and the construction of the lower rib are not. The tone is clear and silvery, with a reasonable volume and ease of production. The varnish is a dark brown colour, with a lightly scraped finish on the belly.
S142 Carl Sandner “Stradivarius”copy violin, model “Rex”, Mittenwald, Germany$ 3,500.00
Carl Sandner was a good violin maker in his own right, but most of the instruments with this label are from the large violin manufacturing workshop he established in Mittenwald, in the Bavarian Alps. This is one of the workshop’s better models, hand-finished with a soft, amber-coloured spirit varnish, and with a well-selected, one-piece maple back. The tone is clear and resonant.
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.
S344 Labelled “Stradiuarius”, Germany, late nineteenth or early twentieth centuries$ 5,500.00
Although labelled “Stradiuarius” and endowed with the characteristic ‘f’ holes and square-ish ‘C’ bouts common to that generic pattern, this violin has a breadth across the middle bouts more reminiscent of French copies of Guarneri del Gesu. The varnish is a golden red-brown colour, attractively antiqued. The tone is smooth, with a creamy ease and evenness across all four strings.
S289 “Sarasate Artiste”, Jerome Thibouville-Lamy, England, early 20th century$ 6,000.00
Despite Thibouville-Lamy’s origins in Mirecourt, France, this violin is quite probably made in Germany, before being marketed through their London premises on Charterhouse Street. A scooped arching at the edges helps to give this violin a characterful sweet, clear tone, though the arching is a little more squared than a true Amati or Steiner modelling would allow.
S128 Peter Madill, Dunedin, New Zealand 2013$ 7,000.00
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.
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.
S316 “Thomas Warren” #19, New Zealand, 1981$ 9,000.00
For much of the late 20th century, Tom Warren was one of the most prominent and prolific violin makers in New Zealand. His instruments, made with exquisite craftsmanship, have been owned by many professional players, and his copies of Stradivari’s decorated violins, notably the “Hellier”, are stunningly executed. This violin is relatively early but is made with the same precision and elegance as any of his later instruments. It has a clear, even tone, with strength in the upper registers. The varnish is a warm brown-red colour, the scroll edges picked out in black in the French Stradivari style, in keeping with the cleanly cut edge work.