Showing 17–28 of 28 results
S318 Unlabelled, Chinese, early twenty first century$ 2,950.00
This attractive-looking instrument is one of the new breed of handmade violins now emerging from China. The wood of the back and ribs may well be European, and has an attractive, soft, glowing flame. Though unlabelled, the violin is a reasonable copy of the work of Guarneri del Gesu. The tone of the upper strings is particularly appealing, with clarity, resonance but no harshness.
S420 Violin labelled “Stradivarius”, Germany, late nineteenth or early twentieth century$ 3,000.00
This charming violin has a “birds-eye” maple back, ribs, neck and head, an unusual wood figure of which this is a very pretty example. The tone is both warm and clear, with an appealing character and a good balance across all four strings. Though made at a time when Germany’s violin manufacturing workshops were producing hundreds of thousands of violins every year, this violin has retained its own individuality.
Start sale price: $3,000.00
S431 Adam Houtman violin, Wellington, New Zealand, 1988$ 3,200.00
Adam Houtman is a Dutch-New Zealand amateur maker, who produced a number of instruments in the late twentieth and early twenty first century. The wood is generally well-chosen—the back plate on this instrument has a very handsome flame—and the broad-grained belly is cut exactly on the quarter to maximise arching strength. While the edge work is a little bulky, the ‘f’ holes are characterful and have been carved with a sure hand. The tone is pleasing, with an evenness of character throughout.
Start sale price: $3,200.00
S142 Carl Sandner “Stradivarius”copy violin, model “Rex”, Mittenwald, Germany$ 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.
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.
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.
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.
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