We have a wide variety of violins available for sale in our showroom. Every violin has been restored and set up to the best possible playing standard. We encourage you to come and try our instruments, and you can take items away on appraisal to ensure you find the right violin for your playing style and aspirations.
Please note that bows and cases are NOT included with the violin unless indicated.
Showing 1–16 of 18 results
S358 Labelled: “Jacobus Stainer”, Germany, late nineteenth or early twentieth century$ 1,950.00
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.
C482 Labelled “Nikolaus Amati”, Germany, early twentieth century$ 2,650.00
Amati-copy violins are much less common than their Stradivari or Guarneri copy cousins, and provide a pleasing contrast in tonal colours, due to their higher, curved arching. This violin has the characteristic clarity and bell-like resonance of this style, along with a sense of power that many Amati models lack. A one-piece maple back has a wide, soft flame and prominent, ebony pins, which add to its visual attraction.
Start sale price: $2,650.00
S378 Unlabelled, handmade, Chinese, early twenty first century$ 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.
C534 Labelled “Vuillaume” Germany, late 19th or early 20th century$ 3,200.00
Jean Baptiste Vuillaume was arguably the greatest of the nineteenth century French violin makers, owner of the “Messiah” Stradivarius violin, and a master copyist. It is a pleasant irony that he, in turn, was copied particularly by the French manufacturing workshops in Mirecourt and also by the Markneukirchen area in Germany, where this violin was made. The arching follows the broad “Stradavari” model that Vuillaume popularized. The time is warm and clear over all four strings, with a strong lower register. The back has a particularly attractive flame pattern enhanced by a red-gold varnish.
C525 labelled: “Byron E. Beebe, Muskegon, Mich. 1910”, France, early twentieth century$ 3,900.00
Byron Beebe was an early twentieth century US maker based on Michigan, who is credited with up to 300 instruments. Some of them, including this example, appear to have been imported from Europe, and finished and labelled by Beebe, rather than being his own work. Although the violin makers’ dictionaries give Germany as the likely source, the varnish, edge work, modelling and construction methods used on this instrument point to a French origin. The tone is warm, clear and characterful across all registers, with an attractive throatiness on the middle strings.
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.
S510 William Zettwitz #28, New Zealand, 1916$ 4,000.00
William Zettwitz began his violin-making career in Liverpool, UK, and emigrated to New Zealand before re-establishing himself in London. His violins are loosely based on the broad, long-bodied instruments of the late sixteenth and early seventeenth century Brescian School. The wide upper and lower bouts give this violin a distinctively dark, viola-like timbre, enhanced by the choice of cedar for the belly instead of the traditional spruce.
Start sale price: $4,000.00
S458 Chipot-Vuillaume, Mirecourt, France, late nineteenth or early twentieth century$ 5,000.00
Joseph Chipot-Vuillaume is famous in violin circles for having married the daughter of a shoemaker who just happened to be called Vuillaume. Combining this with his own family name of Chipot, he created a spurious connection in people’s minds with the illustrious violin make Jean-Baptiste Vuillaume. Chipot had worked for J.B. Collin-Mézin before setting up his own violin-making workshop, and was a highly skilled violin maker in his own right. This instrument, varnished with a more transparent red finish than classic examples of his output, was probably made under the guidance of his successor, Charles Drouïn. The tone is smooth and characterful across all four strings.
Start sale price: $5,000.00
S500 Unlabelled, German, mid-late nineteenth century$ 5,750.00
This characterful European nineteenth century violin is slender-waisted, with an attractive, narrowly-flamed maple back. Details of the construction indicate it was made in Germany, probably in the Markneukirchen area, but in a smaller, more individualistic workshop. The tone is clear and silvery, with good response in the higher octaves, and strength and warmth in the lower registers.
Start sale price: $5,750.00
S310 “Peter Madill”, Five-String Violin, Auckland, New Zealand, 1981$ 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.
S478 Edward A. Burr violin, Wellington, New Zealand, 1935$ 7,500.00
Edward Burr was New Zealand’s first full-time professional violin maker, establishing his Wellington workshop in 1921, and working until at least 1935, when this, his last recorded violin (#155) was made. During that time, he produced well over 100 violins and six cellos. This violin is typically modelled after the Anglo-French School, with cleanly executed edges and corners, and an evenly-applied, honey-brown oil varnish. The tone is lively and well-balanced, with good clarity and projection in the higher registers of all four strings.
Start sale price: $7,500.00
S468 Sam McLean, Wellington, New Zealand, 1962$ 8,000.00
Sam McLean was Wellington’s principal violin maker and repairer in the mid-twentieth century, with a professional workshop in Island Bay. His instruments are relatively rare and his total output unknown, but this instrument shows the work of a luthier who knew his craft and had a clear conception of what he wished to achieve. The model follows Stradivari, though the narrow edge work is closer to the German School. A golden honey-brown varnish has been applied directly to the wood. The tone is remarkable for an instrument of this price, with a bell-like clarity and resonance and a very attractive character.
Start sale price: $8,000.00
S434 Workshop of Peter Wamsley, London, 1750$ 8,000.00
Both its physical appearance and the date on its label indicate that this charming violin was made in Peter Wamsley’s workshop six years after Wamsley’s death, a period when his son and his pupil Thomas Smith were continuing his business, using their master’s labels. The varnish is typical of English instruments of the time which were constructed for less wealthy clients, as is the choice of wood. Despite the fullness of the arching, the tone is clear, resonant and forthcoming, with plenty of warmth and character.
Start sale price: $8,000.00
S490 Dean Chandler with Ian Sweetman, Hamilton, New Zealand, 1996$ 8,500.00
Ian Sweetman helped several well-known New Zealand violin makers in the early stages of their careers, as well as passing on knowledge to his own family members. One of his grandsons, Dean Chandler, spent time in Ian’s workshop in the mid-1990’s, making this violin and other instruments under Ian’s supervision. The workmanship is not as polished as Ian’s but the tone is lovely, with a particularly characterful warmth on the middle strings, and good clarity and resonance over the whole range.
Start sale price: $8,500.00
S371 “Officina Claudio Monteverde” (oversigned “A Cavalli”) violin, Cremona, 1923$ 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: $9000.00
S499 Malcolm Collins #44, New Zealand, 1998$ 9,000.00
Malcolm Collins is one of New Zealand’s most prolific professional violin makers, and this early mid-period violin, based on a Guarneri model, is a very good example. The tone has a silvery, bell-like quality, with an attractive throatiness in the lower registers and a clear, projecting upper register. An oil-based, golden red-brown varnish is evenly applied over a lightly-scraped finish, giving the instrument visual complexity without any artificial “antiquing” work.
Start sale price: $9,000.00