Violins
From Italy
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Violas
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Violoncelli
Professional-Quality
Contrabasses
The acquisition of an artist-quality stringed instrument can be a frustrating experience. In our opinion, the best means to minimize those frustrations is to try two, even three, instruments side-by-side. Yes, we always have a small selection of late 19th. / early 20th. century violins in our collection and encourage a client to have us send two or three violins, of similar price, to them “on approval”. A small security deposit is required, but full payment for the entire shipment is not required.
Those considering the acquisition of an artist-quality violin, viola, cello or string bass might be interested in our opinion concerning value and pricing.
The value of any stringed instrument depends, in our opinion, on many different factors:
Condition of the instrument. Any stringed instrument that’s sustained damage to the top and especially to the back, will have a lower value than an instrument in pristine condition.
Size is often crucial to determining value. The ideal length of back for violins is exactly 356 mm. A violin that’s too big or too small will often have a lower value.
Cheaper stringed instruments have not had the attention given to the proper voicing of the top and backs of the instruments. Many of today’s “better” violins have tops that are often 5 or 6 mm thick. Instruments that have the best sound are those that have tops and backs that have been hand-carved by the maker to “Stradivarius dimensions”: about 2.5 mm under the bridge, a bit thinner toward the edges and 3 or 3.2 mm where the top and back is glued to the ribs. Proper voicing is time-consuming, but results in a violin that has the finest tone quality.
The actual maker of the instrument is, arguably, the most important factor in determining value. Please remember that 99.99% of the “Stradivarius” violins in the world wear labels that are false. There are NO “unknown” violins by Stradivarius, Guarnerius, Maggini, Amati, or Stainer. There ARE a few quality German and French violins that bear these labels and also those of the maker.
Gary, Beryl and Jonathan Ray are the principals of a small musical instrument emporium located in the center of the USA. In business since 1953, we’ve had the same owner since 1963.
Our specialty is better-quality French violins of the first half of the 20th. century. We’re very particular about items we acquire for our clients and give special consideration to violins that have sustained minimal damage or serious repairs.
We maintain a repair department capable of restoration work of the highest quality. Even though repairs are essentially “free” and part of our warranty for the first two years, after that period has expired, we remain at your service to maintain and repair your musical equipment forever. It’s our “service after the sale” promise and has been since 1953!
Anything we sell can be sent to you for a short approval period without obligation. We collect NO SALES TAX, unless you’re lucky enough to live in Kansas. The customer is responsible for shipping and insurance and must pre-pay back to us any freight and insurance charges on returned equipment.
International shipping is available. Returned items will be refunded within 3 weeks of receiving the item. We’re happy to send any instrument “on approval” for ten days, but ask the prospective buyer to pay shipping both ways on any returned item.
VISA/MASTERCARD/DISCOVER/MONEY ORDER/CHECK/WIRE TRANSFER ACCEPTED. Credit cards not accepted from some countries and we must ship to the credit card billing address with exceptions made at our discretion.
Coming soon... A nice Italian violin by Barozzi, c.1947, Modena, Italy. Please email for more info. Accompanied with certification of authenticity from Colin G. Nicholls.
A superior Italian violin by Fausto Mario Bertucci, made in Rome in 1928.
The violin has come to us in superb original condition, bears the original label: “Liuteria Italiana / F. M. Bertucci / classica brevettata nell ‘anno 1923 / Rome 1928”.
Branded on the table and also on the inner back “F.M.B.”
The back is cut from two pieces of maple of medium figure, with ribs and scroll of similar wood. The two-piece table is of spruce of irregular broad to medium grain. The varnish is of a golden orange-brown color on a yellow base.
Back length is 359 mm and the weight, without chin-rest, is 448 grams. The instrument has come to us in fine original condition, one old and well-repaired table crack about 20 mm in length, now invisible under the chin-rest.
This is not a “modern copy” or a “violin bearing the label of F.M. Bertucci”, but is a totally authentic violin of the Rome school, built by master luthier Fausto Bertucci, in the first three decades of the last century.
From the Henley “Universal Dictionary of Violin and Bow Makers”:
”BERTUCCI, Fausto Mario. Born at Rome, 1897. Descendant of the ancient house L. Bertucci and Son. Stradivarian modeling mostly consistent with good art. Golden-yellow varnish, causing no defamatory remarks to be said against it. Also many excellent bows, fully attested by Italian players…”
M. Vannes’ “Dictionnaire Universel des Luthiers” gives us little more conservative in his report on the work of Bertucci:
”BERTUCCI, Fausto Maria. Fils de Lambert, ne a Rome le 25-6-1897. Eleve de son oncle Constantio Bertucci… De 1927 a 1930, il travailla en collaboration avec Gonzales Aurelis a Rome. Pendant ces 3 annees ils eurent une etiquette collective. Personnellement Bertucci construisit peu de violins. Il fut un des premiers luthiers qui introduisit en 1918 la corde d’acier pour les instruments a archet, qu’il fait construire selon son procede et marquees de ses initiales F.M.B. Depuis 1930, il s’occupe exclusivement de son commerce et de la direction des ateliers de consstrution d’instruments a plectra et archet…”
As with many of the early 20th. century Italian masters, both high-quality guitars and violins were produced in their small ateliers. His uncle was, it seems, a guitar and mandolin specialist and it would make sense that Fausto would have continued to service that lucrative clientele.
But there’s not much guitar influence to our violin, I’m afraid. .
The F-holes have been worked a bit or “slightly fluted” at the bottom, which we see only in better-quality instruments.
The scroll is especially beautiful, a little small, somewhat feminine, showing deep undercutting, some evidence of handwork with a small wood chisel. If you ever see a Guarnerius del Gesu up close, a real one, you’ll observe similar workmanship.
Purfling has a good deal of appeal, as well. Typical “19th. century Italian”, with a squiggle here and there. Not pure perfection of workmanship (like the best Paris masters), but very typical Italian work.
It appears that Signor Bertucci did understand, however, how to graduate the top and back of the few violins me built. The arching is relatively flat and the tone-color is absolutely magnificent.
Over the years we’ve sold a quite a number Italian violins: Pedrazzini, all three of the Antoniazzis, a handful of authentic Gaglianos, a Mariani or two, a few original Gaetano Gaddas, more by Mario Gadda and many other fine Italians.
Our Bertucci violin compares very favorably with the best of them. Top recommendation on this one.
Back length is 359 mm. Weight, without chin-rest, is 448 grams.
The instrument has come to good, but not perfect condition. If perfect is a “10.0” rating, our violin is a “9.9”. There’s an older hair-line crack to the table that’s just to the bass side of the tail-piece. It’s almost, but not totally invisible. Have a look at the photos, please. It appears to be an older issue, has been properly repaired decades ago and is now totally stable.
There are no other cracks or damage anywhere.
We’ve recently submitted the violin to London violin expert Colin G. Nicholls, who has fitted a new bridge, cleaned the instrument and issued his certificate of authenticity for it.
Virtually all the better violins in our collection are sent to Mr. Colin Nicholls. Mr. Nicholls trained for eleven years at W.E.Hill and Sons, establishing his own workshop in London more than twenty-five years ago.
As a result of his association with Hills and with London auctioneers “Sotheby’s”, Mr. Nicholls has seen and examined untold numbers of Italian, French and English violins. And that’s given him a good deal of credibility in the small world of violin collectors. It’s reason enough for us to submit our violins to him for his expertise, advice and certification.
In the event that a European collector might have interest in this superb violin, we can report that our travel schedule calls for three trans-Atlantic journeys between now and the middle of June. And it’s never a problem for us to sling a violin case over our shoulder, to assist a customer in testing a particularly fine instrument.
And if one does an internet search for violins by Bertucci, you’ll find a similar instrument with a much higher price. Perhaps it has a solid gold scroll that would make it so costly; who knows?
PLEASE CALL OR EMAIL FOR PRICE
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K11VN, a good Italian violin, labelled Plinio Michetti, Turin, 1924.
Made by a follower of Michetti about 1930, this instrument has come to
us in good condition with a two piece back of broad figure, the varnish
a rich red-brown color. Certified by Colin G. Nicholls as "an Italian violin
of the Turin school, circa 1930". Back length is 356 mm.
PLEASE CALL OR EMAIL FOR PRICE
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H18VN, Claudio Testoni, Mantova, 1992. After twelve years as
apprentice and worker in the Italian workshop of Mario Gadda, Testoni established
his own one-man firm about a decade ago. He builds ten or twelve instruments
per year. Our violin has a handsome one-piece back of broad figure, the
varnish of a rich red-brown color. Testoni prefers violins of the Scarampella
pattern, including this instrument. The condition is excellent and without
cracks or damage. Length of back is 355 mm. Accompanied by the original
certification from the maker.
$8500
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H19VN, Claudio Testoni, Mantova. A superb artist-quality Italian violin by Claudio Testoni, 1992. We often have artist-quality violins and fine “step up” violins in our collection and this superb Italian instrument is typical of some of our best offerings. Since our first visit to Mantova in 1974, we’ve acquired numerous hand-made violins from the workshop of Mario Gadda. Over the past decades, we’ve been guests in the Gadda residence more than three dozen times and have had a very good relationship with him and his family. Today, Mario is fully retired. Born in 1931, he finally hung up his apron three or four years ago and is now taking a well-deserved rest. We consider Mario a superb violin maker and a good friend. We wish him the very best in his retirement years. Mario’s workshop was always quite small and in the many times we visited, we never saw more than three people engaged there in building violins. Mario, the master and owner of the concern, was always the boss. Franco, his brother-in-law, worked but a few hours a week. And Mario’s only other employee and student was Claudio Testoni. It’s inaccurate to call the workshop a “three man firm”. “Two and one-half” is more like it. There’s some considerable history here, as one might expect. Mantova or Mantua as we say in English, is a sleepy small city that’s about 40 miles down the road from Cremona. It was the home of the Gonzaga family, the dukes of the lower Lombardy region for centuries. Look up Mantegna or Guilio Romano in the art history books and you’ll learn all about the town. Oddly enough, American tourists never go there. Claudio was selected to take over the workshop once Mario retired, but something or other went wrong and Claudio was invited, more than two decades back, to set up his own workshop. It’s just down the street from Mario’s residence. And it’s definitely a “one man shop”. So let’s do the history in reverse, shall we? Claudio Testoni trained with Mario Gadda and worked for him about a dozen years. Mario Gadda, born in 1931, trained with his father Gaetano Gadda, born in 1900. Gaetano Gadda trained with and took over the shop of Stefano Scarampella, who was born in Mantova in 1843. Stefano Scarampella studied with his owner brother Giuseppe, who was born in 1838. Giuseppe Scarampella was born in Brescia, studied violin making with his father Paolo…born in 1805… and also with Nicolo Bianchi in Paris and with Castellini in Florence. Nicolo Bianchi, born in 1796, studied in Italy with Ceruti, Guadagnini and Pressenda, according to the Henley Atlas. Giovanni Battista Ceruti, born in 1755, studied in Cremona with Storioni, as did Giovanni Francesco Pressenda. Nobody seems to quite know with whom Lorenzo Storioni studied, but it’s certain that he was building superb violins in Cremona in the latter quarter of the 18th century. Today there are more than one-hundred violin makers working in Cremona, almost all of them graduates of the violin-making school there. Claudio Testoni is of a different type, not one of the “tomato-soup varnish school”, but a luthier who had one of the finest of all violin making tutors and whose work exhibits the history of the generations of Mantovese masters who came before him. We very much like Claudio’s work and give it our top recommendation. We’ve imported quite a number of his instruments and, for that matter, still do. No two of Claudio’s violins are exactly alike, but those we prefer are based on the models of Gaetano and Mario Gadda. Our Ebay violin dates from 1992 and has come to us in pristine condition, without cracks, checks, scrapes or damage of any kind. The instrument has never been “re-graduated” or “thinned”, nor does it need to be. The back is of one-piece Balkan maple, the table of spruce of narrow and straight grain. The varnish is similar in texture to that used by Mario Gadda, but a bit less opaque and with a bit more gold to the color.
Claudio’s edges have what we call the “Italian lip”, the pronounced rise at the edge that evidences high-quality workmanship. Sound-holes are “fluted”, or worked at the bottom, and the rather wide purfling is absolutely perfect. The scrolls on Claudio’s violins are almost always large, somewhat masculine and are undercut in the manner of his teacher Mario. The original label of our violin reads “Claudio Testoni / Liutaio Allievo di Mario Gadda / Fece in MANTOVA anno 1992” and is signed in black ink, on the label, by the maker. Back length is 355 mm on our violin and it’s offered with the original certificate from the maker. The tone-color and sound…the “S word”, as we call it…is totally subjective with any quality violin, but we can report that our Italian possesses a voice that is clear and bell-like, with considerable power. This violin is not a shrinking violet, for certain, but is rather more suited for a strong player whose demands are for orchestral or solo use. It’s perhaps a simplification, but we would advise “…more warmth than most Modern Italians, with quality to the tone-color…”
$8500
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F-21VN, Emanuele Egildo, 1944. Egildo's violins are rare and
the maker is not recorded in the Henley Violin Atlas. Our instrument appears
to be a copy of a Brescian violin or perhaps that of a 17th. century instrument
by Mariani: it is quite unlike other Eglido violins seen by us. One-piece
back of almost plain figure, deep red-brown semi-opaque varnish and a superb
voice. This is not a terribly handsome instrument, but possesses a rich
tonal quality. Accompanied with certification from Dario D'Attili. Back
length = 357 mm. The condition is superb.
$5500
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ITALIAN VIOLINS RECENTLY SOLD BY US
A-16VN, Oreste Candi, Genoa, 1918. The one-piece back of broad
figure is cut on the slab, the varnish is of a red-orange color. Although
not uncommon, the violins of Oreste Candi are fewer in number than those
of his younger brother Cesare. Our violin is in superb original condition,
without damage or cracks of any kind. As with many instruments from the
brothers, the model is large and masculine, the sound bright and with considerable
carrying power. Certified by Dario D'Attili, this violin is suitable for
the most demanding orchestra player.
SOLD
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N15VN, A superb violin by Luigi Azzola , Turin, 1927. Two-piece back of medium figure, the varnish of a deep red color. The instrument has come to us in excellent condition, with no cracks or damage to the top, back or ribs. Instruments from this Turin maker are rare, his work often compared with that of the Fagnolas. This is a fine violin, suitable for the most demanding artist. Centified by Colin G. Nichols as the work of Luiga Azzola of Turino. SOLD.
O-12VN, a superior Italian violin by Natale Novelli of Milan, 1963. Nephew of the master Cremonese luthier Giuseppe Pedrazzini, Novelli's early years were occupied in working side-by-side with his uncle. Appointed "official violin maker to the Milan Conservatorio and to the LaScala opera house", the small workshop gained the reputation of being the best maker of violins of the first half of this century. On the death of Pedrazzini, the shop was left to Novelli who produced only a few superb violins each year. The Henley Atlas says it very well: "...Strad modelling, flawless workmanship, reddish-golden varnish." Our violin has come to us in pristine condition, without cracks or damage of any sort. The back length is 355 mm. Recommended for the most particular player, the rich tone will continue to improve like the finest vintage wine. SOLD.
D03VN, Rodolfo Tramonti, Forli, 1968. With two-piece back of narrow
flame, the oil varnish of golden brown color, this violin has come to us
in superb condition, without cracks or damage anywhere. Tramonti produced
about 200 violins during his lifetime, each of them of high quality and
with rich and full voice. Our instrument is of a unique pattern, with single-line
purfling, the button branded with number 125 and with pronounced edges
and corners. Recommended to the serious violinist or the dedicated collector.
Length of back is 356 mm. Accompanied by certification from Dario D'Attili.
SOLD
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K-13VN, Colin G. Nicholls, Northolt, 1993, marked "CGN". Only
a few miles from Heathrow airport, Colin Nicholls builds but a handful
of superb violins each year. His eleven years as violin maker and restorer
with W.E. Hill and Sons show clearly in this instrument. The two-piece
back is of pronounced medium flame, the varnish is a dark red-brown color.
Spending much of his time with the restoration of old Italian instruments,
Mr. Nicholls has the unique opportunity to study the Cremona masters and
to learn their secrets. Instrument "CGN" has a back length of 355 mm. We
consider Colin Nicholls to be the best of the modern British makers.
$10,500
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P-01VN, An English violin by Colin G. Nicholls, London, 1999. One piece back
of medium flame, the varnish an antiqued amber to reddish brown color. Modeled after the work of
Francesco Ruggieri.
$10,500
G-10VN, Arnold Voigt, London, 1890. The first of the Voigt family
to settle in England, Arnold Voigt quickly gained the reputation of skillful
violin maker. Our violin shows expert workmanship, an attractive two-piece
back of medium figure and a golden varnish. This is not a typical German
fiddle, but rather a quality English violin from the last decade of the
19th. century. Condition is very fine, without cracks or damage anywhere.
Length of back is 360 mm. Certification from Dario D'Attili.
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G-13VN, Charles Adin, Manchester, 1886. This maker gets an absolutely
terrible write-up in the Henley Atlas and we can't understand it. Our violin
shows attractive wood to the two-piece back, a good red-brown varnish and
purfling and scroll that are actually well-done and attractive. And the
sound is resonant, being that which you would expect in a more expensive
instrument. The condition of our violin is very good, with but one small
F-hole crack, old and well-repaired. Back length is 360 mm. Ignore the
Henley Atlas, this is a quite decent violin!
$3500
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ENGLISH VIOLINS RECENTLY SOLD BY US
N21VN, An English violin by Colin G. Nicholls, London, 1997,
copy of an original by Ferdinando Gagliano of Naples. Two-piece back
of narrow figure, the varnish a chestnut orange color on a golden ground.
Length of back is 356 mm. This is a superb modern instrument
by England's premier violin maker. SOLD
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A good French violin by Charles Resuche, bearing the original label “F. MEYNIEU, Luthier, BORDEAUX / Charles Resuche / Eleve de Gand et Bernardel / Fecit Anno 1902 , No. 124”. Signed on the inner table “A Meynieu / Ch. Resuche / Bordeaux 24 Juilliot / 1901.”
Born in Mirecourt in 1858, Resuche studied in Mirecourt with Gabriel Didion, later in Paris with Gand and Bernardel.
The Henley Atlas gives the maker a sterling report, with value shown in 1960 of 65 English pounds. A Gand and Bernardel violin in the same year was given Henley’s value of 80 English pounds. Today’s value for a Gand & Bernardel violin in good condition can be as high as thirty thousand dollars. With a price of $9250, it makes our Resuche violin quite a best buy, we believe.
Also from the Henley, “…Expert copyist of the Stradivarian, Guarnerian and Amatese. Designs comprising the two essential properties, grandeur and grace, the whole representing all the constructional fitness to captivate players and connoisseurs. Fine quality red varnish…”
The two-piece back is of birds-eye maple, ribs of similar wood. The scroll is of maple of medium flame, is outlined in black. The table is of spruce of medium grain. The varnish is red-brown color on a golden base, lightly craqueled and of oil base.
The instrument has come to us in pristine original condition, without cracks or damage of any kind. Back length is 358 mm. It’s a handsome and unique French instrument embodies all the characteristics we expect of high-quality turn of the century Paris school violin.
The instrument has recently been fitted with new bridge and soundpost, then adjusted for quality of sound by London luthier Colin G. Nicholls. Certification of authenticity from Mr. Nicholls accompanies the instrument.
We have no hesitation in recommending this fine instrument to the most discriminating violinist.
French violins are our specialty, from the best workshops of Paris, Lyon, Bordeaux and Mirecourt.
The acquisition of a violin can be a complicated and frustrating experience. We recommend a buyer select two instruments of similar price and one additional that’s just a few dollars higher. We’re happy to send three instruments to you “on approval”, to give you the best opportunity to find a soloist instrument that will give you decades of satisfaction.
It’s what we’ve done for more than half a century and our commitment is to continue the tradition until the sun burns out.
NOTE NOTE: I should stress the fact that the instrument is totally original and authentic. Certified on March 3, 2007 by London luthier and expert Colin G. Nicholls. We note also that the instrument is signed on the inner table by the maker.
Over the years we've found homes for several Paris instruments from the Gand and Bernardel workshop. Our Bordeaux violin by Charles Resuche is of the same school, showing superb workmanship, top quality varnish and a ringing tone-color that we associate with Vuillaume, Gand and Bernardel and the best of the Parisian masters. Accompanied with certification of authenticity from Colin G. Nicholls.
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A superior French violin from the workshop of Lucien Schmitt, bearing the original label: “ LS (logo) Lucien Schmitt / luthier a Grenoble 1929 / no. 102” The two-piece back is of maple of wide flame, the top of spruce of medium and straight grain, widening slightly to the flanks. The oil varnish is of quality, a rich red-brown color. Back length is 354 mm. Weight, without chin-rest, is 414 grams. Colin Nicholls certification. $9250.
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A superior French violin by Georges Cherpitel, bearing the original label: “Georges Cherpitel / Paris – Mirecourt (Vosges) / annee 1935 , No. 7516”, the date and number plus the signature of the maker signed on the label in brown ink. One-piece back is of maple of medium flame, the top of spruce of narrow and straight grain. The varnish is of orange / amber color on a golden base. Back length is 356 mm. Weight, without chin-rest, is 422 grams. The instrument has come to us in pristine original condition, without damage of any kind. Colin Nicholls certification. Apprenticed and employed by his father, ex Gand luthier Nicolas Emile, Georges Cherpitel left the family workshop three years after his father’s demise. In 1896 he joined the Couesnon firm where he was in charge of their Paris workshop. Both the Henley Atlas and the Vannes Dictionnaire give him and his father glowing reports. $6350.
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A good French violin from the workshop of Amadee Dieudonne, bearing the original label: “Fait a Mirecourt / par le Maitre-Luthier / Amedee Dieudonne / en 1949”, and signed on the label in brown ink “No. 428A”and “D’après Antonius Stradivarius ”. Brandstamped “Amadee Dieudonne just above the label and signed by the maker in ink on the back, just below the label. Dieudonne violins are often in our collection and this one is a very good example that’s come to us in pristine condition. The two-piece back is of maple of wide flame, the top of spruce of narrow and straight grain, widening slightly to the flanks. The varnish is of quality, a rich golden amber color. Back length is 356 mm. Weight, without chin-rest, is 414 grams. Colin Nicholls certification. $6150.
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An artist-quality French violin from the workshop of Joseph Aubry, made in Le Havre, 1936.
The violin has come to us in superb original condition, signed by the maker on the inner back “J.H. Aubry fils / Le Havre / 1936”.
The back is cut from one piece of Vosges maple of wide figure, with ribs of similar wood. The two-piece table is of spruce of straight and very narrow grain. The oil varnish is of a golden red-brown color.
Back length is 355 mm and the weight, without chin-rest, is 408 grams. The instrument has come to us in fine original condition, no cracks or damage, anywhere.
This is not a “modern copy” or a “violin bearing the label Aubry”, but is a totally authentic violin of the French school, made in the Aubry’s Le Havre workshop, a few years before the advent of the Second World War.
The Henley “Universal Dictionary of Violin and Bow Makers” has almost a full page on the violins of Joseph Aubry, Senior.
”Born at Mirecourt, 1873. Son of a guitar maker…in 1921 gained the first-class diploma at Paris for the perfect tonal sonority of his instruments. Also recipient of the ‘highest honors’ at the Metz Exposition, 1922. Removed to Le Havre, 1927.
“…Aubry, in researches, arrived at the conclusion that to successfully interfere with the principles imposed by the glorious builders was an impossibility. This afforded satisfaction to adhere most minutely to measurements of certain chefs-d’oeuver, leave nothing to chance, or included in any problematical innovations which almost invariably lead to futility.”
“In his workshops at Mirecourt we may picture him sitting there without assistants (as did some old masters) making instruments entirely with his own hands, giving every detail the benefit of a long experience, and trying with the greatest acumen to arrive at that tonal sonority which will satisfy the empirical demands of soloists and connoisseurs.
“…Magnificent designs, flawless workmanship, and oil varnish of warm transparency. Splendid tonal quality---sonorous richness united to delicacy, strength with sweetness, penetrating as silvery darts, and one that impels the animations of the bow…”
In spite of Mr. Henley’s glowing report about Aubry’s working entirely on his own, he also notes:
”Victor Aubry, Born at Mirecourt, 1912. Son of Joseph. Worked with father at Le Havre. Went to St. Philibert (Orne), 1941. Died suddenly 1944. Produced a good number of violins---some of remarkably free tone, and highly prized by possessors.”
Well, Les Havre’s the main port of northern France, so who would want to live there during the war years? Moved in 1941? Who could blame him!
In any event, Joseph Aubry, Senior is reputed to have died on December 22, 1937, so that might explain the signature inside our violin. We believe the instrument was begun by the father, finished by the son. The word “fils”, just to the right of the maker’s name appears to have been added later.
Interesting violin, that’s come to us in pristine original condition. And the top has never been removed (for repairs, re-graduating or for any other reason). The instrument is totally original.
The F-holes have been worked a bit or “slightly fluted” at the bottom, which we see only in better-quality instruments.
The scroll is especially beautiful, a little small, somewhat feminine, showing deep undercutting, worked very nicely.
Purfling has a good deal of appeal, as well. Typical “19th. century French”. Pure perfection of workmanship (like the best Paris masters), done with a firm hand.
Back length is 355 mm. Weight, without chin-rest, is 408 grams.
The instrument has come to us in perfect condition, without cracks or damage of any kind.
We’ve recently submitted the violin to London violin expert Colin G. Nicholls, who has fitted a new bridge, cleaned the instrument and issued his certificate of authenticity for it.
Virtually all the better violins in our collection are sent to Mr. Colin Nicholls. Mr. Nicholls trained for eleven years at W.E.Hill and Sons, establishing his own workshop in London more than twenty-five years ago.
As a result of his association with Hills and with London auctioneers “Sotheby’s”, Mr. Nicholls has seen and examined untold numbers of Italian, French and English violins. And that’s given him a good deal of credibility in the small world of violin collectors. It’s reason enough for us to submit our violins to him for his expertise, advice and certification.
In the event that a European collector might have interest in this superb violin, we can report that our travel schedule calls for trans-Atlantic travel between now and the middle of June. And it’s never a problem for us to sling a violin case over our shoulder, to assist a customer in testing a particularly fine instrument.
And if one does an internet search for violins by Joseph Aubry, you’ll find a similar instrument with a much higher price. $5250.
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A good French violin from the Paris workshop of Caressa and Francais, bearing the original label: “Fait sous la Direction de / Caressa & Francais / Luthiers du Conservatoire / 12 Rue de Madrid a Paris ”, and signed on the label in brown ink “1919”.
One-piece back is of maple of wide flame, the top of spruce of narrow and straight grain, widening slightly to the flanks. The varnish is of chestnut amber color.
Back length is 356 mm. Weight, without chin-rest, is 416 grams.
The instrument has come to us in pristine original condition, without damage of any kind.
This is not a “modern copy” or a “violin bearing the label of Caressa and Francais”, but is a totally authentic violin of the Paris school, built in the workshop of master luthiers Felix Albert Caressa and Henri Francais, in the first quarter of the last century.
From the Henley “Universal Dictionary of Violin and Bow Makers”:
"CARESSA and FRANCAIS. Successors to the business of Gustave Bernardel, 1901, now situated in the rue de Madrid, Paris. Felix Albert Caressa, born at Nice, 1866. Pupil of Gand and Brenardel. Decorated Chevalier de la Legion d'Honneur, 1910. Offeicer of the Academy, 1922. Died 1930. Violins modelled after the Lupot style, many bearing the label of Gustave Bernardel. Henri Francais, born at Mirecourt, 18861. Pupil of Darte, Gand and Bernardel. Officer of Public Instruction, 1911. Producers of all classes of stringed instruments which do justice to the traditions of their predecessors---Lupot, Gand and Bernardel. Makers to the Consesrvatoire, Opera orchestra, etc. Mdelas gained at St. Louis Exhibition, Liege, 1905, etc. Members of the Jury at the Milan Exhibition, 1906. London, 1908, Brussels 1910 and TDurin 1911. Experts at the Civil Tribunal of the Seine."
The Caressa and Francais workshop continued in business after the Second World War, but the successor to the firm, Jacques Francais, emigrated to the United States and established a firm in New York City that was, in our opinion, one of the finest violin shops in America.
The F-holes on our violin have been worked a bit or “slightly fluted” at the bottom, which we see only in better-quality instruments.
The scroll is especially beautiful, a little small, somewhat feminine, showing moderate undercutting, typical of "Paris school" violins of the last century.
The Caressa and Francais firm well understood how to graduate the top and back of the few violins me built. The arching is relatively flat and the tone-color is absolutely magnificent, bright and clear, but not brassy....perfect for an advanced violinist or even for the .
The instrument has come to nearly perfect condition. If perfect is a “10.0” rating, our violin is a “9.99”. There’s an older scratch to the varnish, under the chin-rest area. With chin-rest in place It’s totally invisible. Have a look at the photos, please.
There are no cracks or damage anywhere.
We’ve recently submitted the violin to London violin expert Colin G. Nicholls, who has fitted a new bridge, cleaned the instrument and issued his certificate of authenticity for it.
$5150
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Fine French violin by Jenny Bailly, Paris, 1920? Daugther and pupil of more well known Paul Bailly, signed and numbered #169 on the inside back. 353mm back length, a nice light-brown/amber color. $4995
A superior French violin by Henri Wagner, made in Paris in 1919.
The violin has come to us in fine to superb condition, bears the original label: “Exposition de Bruxelles 1910 medaille d’argent / fait le 9 Mai, 1919 avec les principes et le / vernis de la antique ecole de Cremone / retrouve par / He. WAGNER, 16 Rue de la Tour-D’Auvergne, PARIS”.
Violins from this particular luthier are somewhat rare; this is the first example we’ve had in our collection. The quality of the workmanship is high, typical of the best Paris makers of the late 19th and early 20th century.
Wagner seems to have enjoyed a sterling reputation in the early part of the 20th. century. Both the Henley and the Vannes Atlases have good reports on him.
From the Henley “Universal Dictionary of Violin and Bow Makers”:
”WAGNER, Henri. Born at Paris, 1879. Distinguished violinist. Spent several years in pursuit of the reconstitution of Italian varnish and made a profound study of it. Announced himself (in 1909) as the ‘modern Stradivarius’ and discoverer of the varnish secrets. Engaged Marsick (magnificent violin virtuoso) to give recitals at Paris and other French cities to show off the ‘wonderful’ tone of the ‘reincarnated’ violins. Awarded gold medal at the Brussels Exhibition, 1910. We believe that the principles and varnish have never been lost, but that many violin makers have too long occupied themselves with copying without understanding or reasoning about them. Ostentations verbiage of these principles is not wanted or believed; results only have true value. Wagner’s instruments (darkish red varnish) have not, nor can possibly have, the ethereal tonal quality of the old Cremonese, but has certainly imparted a tone remarkably silvery, of refreshing responsiveness, clear and substantial…”
Or if we might paraphrase…”Not as good as a Stradivarius, but ‘remarkable silvery’ tonal qualities ‘clear and substantial”.
M. Vannes is a little more conservative in his report on the work of Henri Wagner:
”WAGNER, Henri. Violoniste distingue. Ne en 1879, etait etabli luthier avant 1914 a Paris, rue de Rome, ensuite rue de la Tour-D’Auvergne, 16. Il obtint, en 1910, une medaille d’argent a l’Exposition de Bruxelles.”
The quality of wood on this particular instrument is striking: the one-piece back is of maple of medium-wide flame, the top of spruce of narrow and straight grain.
The varnish is of quality, a rich “Paris red” color, similar, even identical to that used by the best 19th. century luthiers.
We’re also impressed with the workmanship of the purfling, which is of absolute perfection.
The F-holes have been worked or “fluted” at the bottom, which we see only in top-quality French instruments.
Back length is 357 mm. Weight, without chin-rest, is 418 grams.
The instrument has come to good, but not perfect condition. If perfect is a “10.0” rating, our violin is a “9.9”. There’s a hair-line crack to the table that’s just to the treble side of the tail-piece. It’s almost, but not totally invisible. Have a look at the photos, please. It appears to be an older issue, has been properly repaired decades ago and is now totally stable.
There are no other cracks or damage anywhere.
We’ve recently submitted the violin to London violin expert Colin G. Nicholls, who has fitted a new bridge, cleaned the instrument and issued his certificate of authenticity for it.
Virtually all the better violins in our collection are sent to Mr. Colin Nicholls. Mr. Nicholls trained for eleven years at W.E.Hill and Sons, establishing his own workshop in London more than twenty-five years ago.
As a result of his association with Hills and with London auctioneers “Sotheby’s”, Mr. Nicholls has seen and examined untold numbers of Italian, French and English violins. And that’s given him a good deal of credibility in the small world of violin collectors. It’s reason enough for us to submit our violins to him for his expertise, advice and certification.
The bottom line is that our Henri Wagner is a superb instrument that’s of similar quality to the violins of Gand & Bernardel, Caressa & Francais or even some of the instruments from the workshop of Jean-Baptiste Vuillaume. We give it our enthusiastic recommendation! $4550
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O-24VN, a French violin of quality, workshop of Auguste Delivet, bearing
the label "sous la direction de A. Delivet, Luthier, Ex-Ouvrier de H.C.
Silvestre, Paris, 1910". Two-piece back of medium figure, the varnish
lightly antiqued and of a red-brown color. No cracks or damage,
good Stradivarian model with a strong voice. Back length is 358mm.
$4650.
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Q-06VN, A superior French violin by Jean Striebig, bearing the label "Jean Striebig , Maitre-Luthier, 8 rue Estivant, Mirecourt (Vosges), No. 920, annee 1948". The two-piece back is of medium to broad figure, the varnish of a slightly opaque red-brown color. Back length is 359mm. Upper bouts = 170mm; center fitted with the original bridge of the maker. From the Henley Atlas ".....Established in Mirecourt 1935. Splendid individualistic models, in addition to admirable copies of standard types..." This instrument: $4250
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A good French violin from the workshop of Laberte-Humbert Brothers, bearing the original label: “Fait sous la Direction / de / Marc LaBerte / Maitre Luthier / Mirecourt (Vosges) France / No. 488” also bearing a second label “Grand Prix / Paris, 1931 / exposition coloniale” plus a third label “Copie de / Antonius Stradivarius Cremonensis faciebat anno, 1721”. Two-piece back is of maple of medium flame, the top of spruce of narrow grain. The varnish is of bright red-orange color. Back length is 352 mm. Weight, without chin-rest, is 408 grams. The instrument has come to us in pristine original condition, without damage of any kind. Colin Nicholls certification. $4150.
A good French violin bearing the label “Georges CONE et fils GC / a Lyon l’An 1932, No. 53“. The one-piece back is of maple of broad figure, the scroll and ribs of wood of plain figure. The table is of spruce of very narrow grain. The slightly opaque varnish is of a red-brown color on a golden base. The instrument has come to us in fine condition, without cracks or damage of any kind. Back length is 353 mm. $3950.
A good French violin from the workshop of Jean Striebig, bearing the original label: “Jean Striebig, Maitre-Luthier / 8 Rue Estivant, MIRECOURT (Vosges) / No. 1040 , annee 1950”, the numbers written in black ink. Also a repair inscription “rep par GC, 1980”. Striebig’s instruments are occasionally in our collection and this one is a very good example that’s come to us in fine condition, no cracks or damage anywhere. The two-piece back is of maple of medium flame, the top of spruce of irregular straight grain. The varnish is of a red-brown color. Back length is 357 mm. Weight, without chin-rest, is 408 grams. Colin Nicholls certification. $3850.
A good violin of the Bordeaux school, made in the workshop of Marcellus Pierre Robin, bearing the original label “Fait sous la Direction de / Marcellus ROBIN / a BORDEAUX / Annee 1923 Numero 174”. Written in brown ink on the label “Vernis Neapolitain”. The two-piece back is of maple of narrow figure, the ribs of slightly wider flame, the scroll of slightly plainer wood. The table is of two pieces of spruce of fine figure, widening slightly to the flanks. The varnish is a rich Naples golden yellow. Back length is 357 mm. The instrument has been played very little, still wears the original bridge from Robin’s workshop. $3550.
P-09VN A SUPERB FRENCH VIOLIN BY THEODORE HUSSON, CIRCA 1890.
A recent acquisition to our collection, this particular instrument has
come to us in virtually pristine original condition. The label reads
“Medailles d’or & d’argent, E. BONNEL, luthier, Rennes”.
Made during the period that Theodore Husson was working for Bonnel’s
shop in Rennes, our violin is signed on the upper inside table by the name
of the maker. The brandstamp of the maker is just under
the tailpiece button, but is nearly illegible. Our violin has a two-piece
back of broad Vosges mountains maple and the one-piece top is of of narrow
grained spruce. The varnish is the typical French red-brown
that is usually associated with the best Paris luthiers.
The scroll is particularly well cut and is outlined in black, as are
many of the better French instruments of the late 19th. Century.
The violin is totally without cracks or any sort of damage to the wood
and wears new bridge, pegs, fingerboard and bass bar. The work was
recently performed by our English associate and ex W.E. Hill violinmaker,
Colin G. Nicholls. The back measures 358 mm. For those considering
the purchase of a superb violin that has a bright and clear tone-color,
we give this particular instrument our highest recommendation.
It is suitable for use by the most demanding advanced student, adult amateur
or semi-professional violinist. The “Universal Dictionary of Violin
and Bow Makers” by William Henley gives the maker quite a good report:
“HUSSON, Theodore. Born 1858. Pupil of Mougenot. Associated with
Bonnel at Rennes, 1887. Died 1907. Made 100 violins and
10 ‘cellos----nearly all having the label of Bonnel. Splendid modelling
and refined workmanship. Yellow red varnish.“ and:
“BONNEL, Emile. Established at Rennes, 1860-1899. Fine
flat modelling after Stradivarian style. Particularly handsome wood
for slab backs. Lustrous red varnish. Fine full tone...”
The “Dictionnaire Universel des Luthiers” of Rene Vannes also gives the
shop a glowing report: “HUSSON, Theodore. Ne a Mirecourt en 1858.
Eleve de Mougenot et plus tard, son premier ouvrier. Le 14-3-1887,
il fut appele par Emile Bonnel de Rennes comme premier ouvrier egalement.
A la mort de son patron, il prit la direction de l’atelier pour la Veuve
Bossard, l’associee de Bonnel. Il mourut a la tache,
le 13-10-1907 apres avoir, pour une grande part contribue au succes et
a la fortune de cette maison. Une centaine de violons, 10 cellos
et 2 altos portant l’etiquette Bonnel, sont sortis de ses mains.
Tres peu d’instruments sont signes Th. Husson. Belle lutherie d’apres les
models italiens, vernis jaune rouge.” and: “BONNEL, Emile.
Fils et eleve de Joseph Bonnel. Ne a Domvallier (Vosges) en 1835;
reprit en 1879 la maison de son pere qui avait ete vendue deux ans auparavant.
Il eut son neveu Bossard comme associe et la maison passa sous la raison
sociale: Bonnel et Neveu. A la mort de Ch. Claudot, san
1er. ouvrier (1887) il fait appel a Th. Husson. Emile B. mourut a
Rennes le 17-7-1891. Son neveu lui succede, mais ce dernier mourut 5 ans
plus tard; sa femme prend la succession en 1907 aven son fils Marius
Bossard. Bonne lutherie tres estimee. La plupart de ses instrumetns
furent contruits par son premier ouvrier Husson.” $3500
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A fine French violin by Jean Larcher, bearing the label “LUTHERIE D’ART / Jean LARCHER, Maitre-Luthier / ingenieur des arts & métiers / No. d’ordre:173, annee 1928” plus a second label “Manufacture Francaise / d’armes et cycles de Saint-Etienne / SAN STEFANO / violons d’artistique / fabrication Francaise”. The one-piece back is of narrow irregular figure, the top of spruce of narrow grain widening to the flanks. The varnish is a clear red-brown color. Back length is 359 mm and the instrument weighs 442 grams without chin-rest. This particular example has come to us in pristine condition, without damage or cracks of any kind. Accompanied with certification of authenticity from Colin G. Nicholls. $3250.
A rare small-sized violin by Seraphin Bourgeois, made in France in 1884.
It’s a violin from master luthier Seraphin Bourgeois, bearing his label “BOURGEOIS Luthier, Chalon-sur-Saone, 1884”.
The two-piece back is of beechwood of plain figure, the top of spruce of irregular grain. The varnish is a red-brown color. Back length is 336 mm and the instrument weighs 340 grams without chin-rest.
Not for everybody, but for the very particular violinist who isn’t six feet tall or perhaps for a young player who prefers a small violin that’s of superior quality, this fine instrument will be of interest.
The violin has come to us in fine condition and bears the original label.
Violins from this particular luthier are somewhat rare; this is the first example we’ve had in our collection.
From the Henley “Universal Dictionary of Violin and Bow Makers”:
”BOURGEOIS, Seraphin. Worked at Geneva, 1820 – 1865, then at Chalon-Sur-Saone. Died 1885. Stradivarian and Guarnerian modelling rather massively represented---occasionally one with slight originalities. Conceptions realized in the French style of imitation, not altogether unworthy of being classed with certain specimens of Lupot and Pique, and superior to some of Vuillaume’s. Workmanship absolutely indefectible. Wide purfling. Finely carved and audaciously posed scroll. Handsome wood and superb two-piece backs, reddish-yellow varnish.”
Well, our violin doesn’t have “handsome wood”, and that means it was undoubtedly made for a young player…as a student instrument. That would also explain the back and sides of beech, rather than the normal flamed maple.
We’ve recently submitted the violin to London violin expert Colin G. Nicholls, who has fitted a new bridge, cleaned the instrument and issued his certificate of authenticity for it.
The bottom line is that our Seraphin Bourgeois small violin (only a shade bigger than today’s ¾ instruments), is today best suited for use by a very advanced student or by a semi-pro or amateur player who prefers a small instrument.
We must admit that the sound of this particular violin is extraordinary, however. Even the G string sings beautifully and if you didn’t know better, you’d swear it was a fine 19th. century French full-sized violin!
$3250.
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A good French violin from the Jerome Thibouville-Lamy workshop in Mirecourt, circa 1950, bearing the labels “d’ après / Nicolaus Amatius Cremoniea Heroni - / mi Filius Antoni Nepos fecit 1676 / (JTL logo) / trade mark / deposee” and “d/après N. Amati / J. Thibouville-Lamy / Made in France “. The bridge is stamped “C. Bayon a Rennes”. The back is of two pieces of Vosges maple of medium figure, the table of narrow grained spruce, widening slightly to the edges. The varnish is of a red-orange color on a golden base. Back length is 359 mm. Weight, without chin-rest, is 458 grams. One of the last of the JTL violins from Mirecourt, this instrument has come to us in pristine original condition. $2650.
S-14VN: A good French violin from the Deblaye workshop in Mirecourt, bearing the label “fait sous la direction de / Albert Deblaye / Luthier a Mirecourt 1949 A.D.” Two piece back of narrow figure, the top of spruce of irregular narrow and wide grain. The varnish is of an orange-brown color. It’s a good “workshop” French violin that’s come to us in superb original condition, without cracks or damage. Back length is 357 mm. This one’s $2250.
S-15VN: A good French violin of the Mirecourt school, made about 1930, bearing two labels: “Laurent Bernier / Luthier / Avenue Charles Duchene / Mirecourt, Vosges “ and “F. Espagnet / Luthier, Bordeaux “. The two-piece back is of maple of faint and narrow figure, the top of Vosges-mountain maple of narrow figure. The varnish is a dark red-brown color. The violin has come to us in very good original condition, without cracks or damage of any kind. Back length is 357 mm. This one’s $1750.
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R-03VN, Leon Bernardel, Mirecourt, France, c.1920, $1250.
R-07VN. A good French violin of small size, bearing the label: “Modele d’apres: Antonius Stradivarius Cremonensis faciebat anno 1721”. Two-piece back of faint wide figure, the varnish of a golden orange color, two-piece table of medium grain. The instrument is in pristine original condition. Back length is 336 mm. Made in Mirecourt about 1925, this is a superior ¾ size violin of some quality. $1250.
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A small French violin, circa 1925, from the Jerome Thibouville-Lamy workshop in Mirecourt, bearing the original label “MEDIO FINO, made in France”. The two-piece back is of plain figure, the table of spruce of irregular medium figure. The original varnish is of a red-brown color. The medio-fino violins were the “entry level” instruments from J.T.L., always with plain wood, red-brown varnish and scribed (rather than inlaid) purfling. Even though the workmanship is simple, the instruments were totally hand-made. Proper graduation of the backs and tables meant the violins had good tonal qualities. This instrument has come to us in very good condition, with no cracks or damage. New pegs have been fitted and a small piece of wood has been added to a broken corner. Back length is 330 mm on this one, making it a ¾ size violin. $895.
A small French violin, circa 1925, probably from the Jerome Thibouville-Lamy workshop in Mirecourt, bearing the original label “CAREL”. The two-piece back is of narrow figure, the table of spruce of irregular medium figure. The original varnish is of a red-brown color. This instrument has come to us in very good condition, with no cracks or damage. New pegs have been fitted. Back length is 336 mm on this one, making it a ¾ size violin. $995.
A small French violin, circa 1925, from the Jerome Thibouville-Lamy workshop in Mirecourt, bearing the original label “MEDIO FINO, made in France / J.T.L.”. The one-piece back is of plain figure, the table of spruce of irregular medium figure. The original varnish is of a red-brown color. The medio-fino violins were the “entry level” instruments from J.T.L., always with plain wood, red-brown varnish and scribed (rather than inlaid) purfling. Even though the workmanship is simple, the instruments were totally hand-made. Proper graduation of the backs and tables meant the violins had good tonal qualities. This instrument has come to us in very good condition, with no cracks or damage. A small piece of wood has been added to a broken corner. Back length is 301 mm on this one, making it a ½ size violin. $895.
FRENCH VIOLINS RECENTLY SOLD BY US
A good French violin of the Mirecourt school bearing the label “Georges CONE et fils GC / a Lyon l’An 1943, No. 94“. The one-piece back is of maple of medium figure, the scroll and ribs of similar wood. The table is of spruce of very narrow grain. The lightly craquelled varnish is of a red-brown color on a golden base. The instrument has come to us in fine condition, without cracks or damage of any kind. Back length is 353 mm. $3995. SOLD
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An interesting violin of quality, by Paul Bisch, Mirecourt, 1943. The two-piece back is of medium figure, descending from the center with ribs and scroll of similar wood. The table is of spruce of very narrow figure, widening slightly to the flanks. The oil varnish is of a dark red-brown color. The instrument wears no paper label, is signed / branded on the inner back by the maker, to the left of which is the year 1943 and to right of which is “N. 330”. After study in Mirecourt with Mougenot, Bisch was employed for a time in Paris by Caressa and Francais. The Henley Atlas gives the maker quite a good report and notes his having received the “Grand Prize at the Exposition de l’Artisanat, Paris, 1927”. Our instrument has come to us in pristine original condition, with no cracks or damage of any kind. The varnish is somewhat dark, a bit opaque and of high quality. Back length is 356 mm. $5650. Colin G. Nicholls certification. SOLD 06/07
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A good French violin from the workshop of Amadee Dieudonne, bearing the original label: “fait a Mirecourt / par le Maitre-Luthier / Amedee Dieudonne / en 1946”, and signed on the label in brown ink “No. 688B”and “Del Jesu Guarnerius”. Also signed by the maker in ink on the back, just below the label. Dieudonne violins are often in our collection and this one is a very good example that’s come to us in pristine condition. The two-piece back is of maple of wide flame, the top of spruce of medium and straight grain, widening slightly to the flanks. The varnish is of quality, a rich red-brown color. Back length is 357 mm. Weight, without chin-rest, is 414 grams. SOLD
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A superior French violin from the workshop of Amadee Dieudonne, bearing the original label: “Amedee Dieudonne / Mirecourt, anno 1936”, and signed on the label in brown ink “No. 542” and “après Andrea Amati “. Dieudonne violins are often in our collection and this one is a superb example that’s come to us in pristine condition. The two piece back is of maple of narrow flame, the top of spruce of medium and straight grain, widening slightly to the flanks. The varnish is of quality, a rich red-brown color. Back length is 355 mm. Weight, without chin-rest, is 389 grams. $5650. SOLD 08/07
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A good French violin from the workshop of Amadee Dieudonne, bearing the original label: “Amedee Dieudonne / Mirecourt, anno 1933”, and signed on the label in brown ink “No. 736” and in brown ink with the signature of the maker. Dieudonne violins are often in our collection and this one is a superb example that’s come to us in pristine condition. The two piece back is of maple of narrow flame, the top of spruce of medium and straight grain, widening to the flanks. The varnish is of an orange-brown color. Back length is 356 mm. Weight, without chin-rest, is 422 grams. $4850. SOLD 08/07
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A good French violin from the Mirecourt workshop of Charles Collin-Mezin, bearing the original label “Ch J.B. Collin-Mezin / Luther / Grand Prix, Exposition Universelle, 1900 / PARIS ” and written on the label in ink “1947” and “30 extra” and “No. 58”. Also bearing a second label “ARTISANS / Lutherie Artistique / 140 Francaise”. The two-piece back is of French maple of narrow figure, the varnish of an orange-brown color. The violin has come to us in pristine original condition, without cracks or damage of any kind. Back length is 357 mm, weight without chin-rest is 430 grams. The violin shows high-quality workmanship, with very narrow purfling and well cut and worked sound-holes. The scroll is particularly handsome. Accompanied with certification of authenticity from Colin G. Nicholls. SOLD
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A good French violin by Gustave Villaume (b. 1899), bearing the original label “Trois premier prix, Mirecourt 1911-12-13 aux cours professionals / Gustave VILLAUME / Nancy / Annee 1938 , No. 833“ and signed in black ink on the label by the maker. The one-piece back is of maple of medium figure, the scroll and ribs of maple of more pronounced figure. The table is of spruce of medium grain, widening to the flanks. The slightly opaque spirit varnish is of an orange-brown color. The instrument has come to us in pristine original condition. Back length is 356 mm. Weight, without chin-rest, is 416 grams. SOLD
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A good French violin from the workshop of Georges Apparut, bearing the label “Fait sous la direction / de G. Apparut en 1936”. The two-piece back is of medium irregular figure, the top of spruce of very narrow grain. The clear varnish is a red-brown color. Back length is 355 mm and the instrument weighs 420 grams without chin-rest. This particular example has come to us in pristine condition, without damage or cracks of any kind. Accompanied with certification of authenticity from Colin G. Nicholls. $4250. SOLD
A fine French violin by Georges Apparut, bearing the label “Fait par G. Apparut / en 1944 No. 34”, the label signed in brown ink by the maker. The one-piece back is of narrow irregular figure, the top of spruce of very narrow grain. The varnish is a red-brown color, slightly opaque. Back length is 356 mm and the instrument weighs 398 grams without chin-rest. This particular example has come to us in pristine condition, without damage or cracks of any kind. $4250. SOLD 08/07
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A good French violin by Leon Victor Somny (b. 1903) and Gustave Villaume (b. 1899), bearing the original label “Lutherie d’Art / SOMNY & VILLAUME / Maitres-Luthiers / 24, Faubourg Saint Vincent - MIRECOURT / Annee 1943 , No. L.A. “ The back is of maple of faint figure, the scroll of matching wood, the ribs of maple of more pronounced figure. The table is of spruce of medium grain. The slightly opaque spirit varnish is of a dark red-brown color. Back length is 359 mm. $2850. SOLD 06/07
A superb violin by Hugues Emile Blondelet, made in France in 1924..
It’s a rather special French violin bearing the original label reading “H. Emile BLONDELET / luthier a Paris / president du jury / hors concours Gand 1923, Rio de Janeiro 1922, Barcelone 1923, Strasbourg 1924 ”
The violin also bears Blondelet’s brandstamp, visable through the treble F-hole and under the varnish, below the tailpiece, on the lower rib.
The two-piece back is of maple of narrow figure, the top of spruce of narrow grain widening slightly to the flanks. The varnish is of a red-orange color.
Back length is exactly 358 mm.
The instrument has come to us in absolutely pristine condition, without cracks or damage of any kind. Length of back is 358 mm. The violin appears to have never been played. The top has never been removed from the instrument.
The violin is accompanied by the original Certificate of Guarantee, dated 1924 and signed by Blondelet.
The Henley “Universal Dictionary of Violin and Bow Makers” has a good report on the maker:
“BLONDELET, Hugues Emile. Born 1875. Joined the firm of Thibouville-Lamy at Mirecourt, 1890. Became co-director with Acoulon, 1908. Died 1928. Contributed much to the prosperity of the firm. Officer of Public Instruction, Chevalier of the Legion of Honour, 1923. Two grades of violins bear his name---Amati and Stradivarius models…Excellent workmanship…red oil varnish, thick and tending to slight transparency. Tonal quality of considerable sonority and reasonable homogeneity…”
Thibouville-Lamy’s violin workshop in the small town of Mirecourt was, for several decades, one of the leading makers of French violins. The firm produced stringed instruments under many different names, with various models, sizes and qualities.
Blondelet’s tenure with the firm was not only as violin-maker, but also as one of the big bosses. And ONLY THE BEST violins from the shop were given his label and brand-stamp.
Our violin is a good example of the instruments emanating from this good pre WWII French workshop. Over the years, we’ve had a handful violins bearing Blondelet’s label in our collection and are pleased to give them our highest recommendation. The workmanship is always superb, the tone-color bright and clear and the prices are always reasonable.
We have no hesitation in recommending this fine instrument to any particular amateur or semi-professional musician.
We’ve learned a very small bit of history about the violin’s previous owner. According to what we’ve been told, the violin has been in the possession of the owner’s family since his death in 1932.
The original owner was a Mr. R. Allais, a French amateur violinist who was somehow associated with the Hospice in Chateaudun. M. Allais retired, it seems, in the spring of 1929 and resolved to spend his remaining years as a musician. We’ve come into possession of his musical diary, with notes beginning on April 10, 1929 and ending on July 20, 1932.
The booklet contains hand-written notes about what he needed to practice. For instance, “Mercredi, 4 Dec. 1929: 2e. partie des duos de Pleyel. 1er. Duo jusqua l’Andante. De la MESURE (underlined twice)”
The final page of the booklet records exactly how much practice time he’d put in, month by month. For instance “1930---Oct. 5 + 5 = 10 X 5 = 50 (underlined)”. If Mr. Allais was giving fifty hours a month to violin practice, he surely must have made some progress.
But that’s all we know about the fellow. There are no further entries after July 20 of 1932. Did our amateur violinist meet his demise shortly after or did he decide violin playing was too much for him? Was he employed by the Hospice or was he a patient there?
We’ll never know, I’m afraid. But whoever is the next owner of this superb French instrument will be also given the booklet, the original guarantee certificate from the maker and the original case, which has also come to us in pristine condition.
Condition is a good “9.99” on this one. One small scratch to the table, but otherwise it’s perfect. It even wears the original bridge from Blondelet’s workshop.
No, it’s not a twenty million dollar Stradivarius, but it is a superb French “top of the line workshop violin” that’s perfect, perfect, perfect. We give it our enthusiastic recommendation! $4650 SOLD
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A superb violin from the Georges Apparut workshop, made in France in 1933.. A good French violin bearing the original label reading “Copie d’apres / A. Nicolo AMATI / annee 1933” Apparut’s “cross of Lorraine” logo (Apparut name very small and “marque deposee” under the logo). The two-piece back is of maple of narrow figure, the top of spruce of narrow grain widening slightly to the flanks. The varnish is of an orange-brown color. The instrument has come to us in pristine condition, without cracks or damage of any kind. Length of back is 356 mm. This particular instrument has come to us in fine original condition, without damage or cracks of any kind. I visited the Apparut workshop in France in the early 1970’s. At that time, Paul Hilaire was the owner of the firm and he retired only a year later. When I was there, the master was responsible for the set-up and varnish work and three apprentices did the carving of the scrolls, ribs and plates. Our violin would have been one of Georges Apparut’s “mid range” instruments, copied after the work of the Italian master Nicolo Amati.
The Jalovec “Encyclopedia of Violin Makers” has quite a nice write-up on the maker:
“…born in Mirecort in 1877, died in 1948. Son and pupil of Leon Apparut, associated with Paul Francois Blanchard in Lyons and G. Mougenot in Brussels. In 1925 he took over the establishment of V.J. Charotte in Mirecourt and continued in the tradition of the house, which had been established for two centuries. Good imitation of the old Italian makers.” We note also that the Jalovec shows three labels used by Apparut, including one that’s virtually identical to the label in our violin.
The Henley “Universal Dicitionary of Violin and Bow Makers” also has a long and superb report on the maker:
“…born at Juraincourt (near Mirecourt) 1877. Son and pupil of Leon. Worked at the ateliers of Blanchard at Lyons, 1896-1899 and with Mougenot at Brussels, 1900-1903. Succeeded to the business of Charotte at Mirecourt, 1925. Obtrained gold medals at Nancy, Brussels, Metz, Gand, and Paris. Diplomas of honour at other exhibitions.
“…Interesting and high finished productions of thoroughly good art. Established considerable fame in France, Belgium and America, soloists having been a powerful auxiliary in propoganding his name. Several French virtuosi acknowledge the brilliant tone which enables them to excite astonishment and delight from an audience.
“…Models of Stradivarius and other Italians faithfully delineated. Outline and arching show all the care and knowledge that can only be obtained by long and matured experience. Grading, according to the model, done to a nicety, not a deviation of a hair’s breadth can be found. Everything as beautifully correct as the model. Faithful copies, but also having a tone almost like the mature Italian. Beautiful wood. Grandly transparent oil varnish, difficult, at a short distance, to distinguish it from the Cremonese….”
Our violin is a good example of the instruments emanating from this good pre WWII French workshop. Over the years, we’ve had perhaps two dozen violins from Georges Apparut or Paul Hilaire in our collection and are pleased to give them our highest recommendation. The workmanship is always superb, the tone-color bright and clear and the prices are always reasonable. We have no hesitation in recommending this fine instrument to any particular amateur or semi-professional musician. $3250.00 SOLD
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O-26VN, a superior French violin by Georges Louis DuPuy (Paris),
1929. Student of Marcel Vatelot and Charles Brugere, DuPuy
established a superb reputation in the period between the first and second
world wars. His specialty was the production of quartets, many
of which were made as special order for wealthy clients. Our
violin has come to us in superb original condition, without damage or cracks
anywhere. The varnish is a rich orange-red, the sound full and of
considerable quality, typical of the best "Paris School" makers of the
time. Back length 358 mm. $8500 SOLD
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O-09VN. A fine French violin by Amedee Dominique Dieudonne,
bearing the label "Fait par A. Dieudonne, Luthier, Revu et mis au point
par Ch. Enel, Paris, 1924". An early example of
the work of this prolific Mirecourt master, produced in his thirty-fourth
year and made for a dealer in Paris. One of the first
from his own workshop, the violin has come to us in almost pristine original
condtion. The two-piece back is of strong narrow figure, the varnish
a rich golden-yellow. We are particularly pleased with
the workmanship shown on the scroll and sound-holes.
Early violins from Dieudonne are, in our opinion, superior to the "workshop"
instruments of his later years. The sound is rich and bright,
perfectly suited to the needs of the most demanding orchestral performer.
Back length is 358 mm. Recommended! $7500. SOLD
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A circa 1925 French violin of the Mircourt school, bearing the label “Antonius Stradivarius Cremonensis / Faciebat Anno 1714”. The two-piece back is of Vosges maple of narrow and faint figure, the table of spruce of narrow grain, widening to the flanks. The instrument has come to us in very good original condition, with no cracks or damage of any kind. The varnish is of a golden yellow color. Typical of the good student violins from the Leon Bernardel / Couesnon workshop in Mirecourt, the instrument shows evidence of good workmanship in a student violin. Back length is 357 mm. Weight, without chin-rest, is 422 grams. $1650. SOLD
R-19VN. A superior French violin from the Paris workshop of Daniel Moinel, dated 1966. Two-piece back of broad figure, the golden-orange varnish showing light craquel figure. The instrument has come to us in nearly pristine condition, without damage of any kind. The violin is also brand-stamped with the name of the maker, just above the label. Born in 1901, Daniel Moinel established his own workshop near the St. Lazare train station in 1934, where he soon gained the reputation of being among the finest luthiers of his time. Back length is 357 mm.We’re proud to offer this superb example of his work for $6,500. SOLD
A circa 1925 French violin of the Mirecourt school, bearing the label “Antonius Stradivarius Cremonensis / Faciebat Anno 1714”. The two-piece back is of Vosges maple of narrow and faint figure, the table of spruce of narrow grain, widening to the flanks. The instrument has come to us in very good original condition, with no cracks or damage of any kind. The varnish is of a golden yellow color. Typical of the good student violins from the Leon Bernardel / Couesnon workshop in Mirecourt, the instrument shows evidence of good workmanship in a student violin. Back length is 357 mm. Weight, without chin-rest, is 422 grams. $1650. SOLD
VIOLINS FROM OTHER EUROPEAN COUNTRIES
R-22VN. A superior violin by Martin Stoss of Vienna, bearing the label “MARTIN STOSS, Kaiserliche Koeninglicher Hof-Geigen und Lautenmacher in Wien, 1835”The two-piece back is of faint medium figure, the top of narrow grained spruce widening to the flanks. The varnish is a dark red-brown color. The length of back is 358 mm. Stoss had the reputation of being the leading Viennese luthier of his time. This particular instrument has come to us in good condition, with an ancient well-repaired crack to the bass side of the tailpiece saddle. $4500. SOLD
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New G. Calimani violin (Romania), solid wood, solid spruce top, solid maple back, sides and neck. Real ebony fingerboard, pegs and tailpiece. Antique style oil varnish. With hard case, and fiberglass bow with horsehair. Strung up with Dominant or Pro-Arte strings, these viola represent an excellent value. 1/2, 3/4 and 4/4 size: $403.99
VIOLINS FROM GERMANY
E.H. Roth, c. 1939, model 1R (Stradivarius 1714) , Markneukirchen, Germany. Length of back is 358mm. Condition is excellent. Appearance of the wood and varnish is excellent. There is a little finger wear on the treble side upper bout, next to the fingerboard. $5500
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I-08, Klaus Deimer, Wuerzburg, 1990. The one-piece back of slab-cut
maple is of broad figure, the varnish a golden-orange color. This is a
fine violin from one of Germany's young masters, built entirely by hand,
in a two-man workshop. The model is Amati, the length of back is 356 mm.
Sold with the original certificate from the maker.
$3500
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A good German violin of the Schoenbach school, from the workshop of Franz Poetzel, bearing the original label “Franz Poeschel / 1937 / Hand made copy of / Antonius Stradivarius” and stamped in purple ink on the label “Germany”. The one-piece back is of maple of broad flame, the top of spruce of very narrow and straight grain. The varnish is of quality, red-brown color on golden base. Back length is 359 mm. Weight, without chin-rest, is 422 grams. A number of members of the Schoenbach Poetzel family are documented in the Jalovec atlas. By 1937, the village was part of Germany, to whom it belonged until 1945. Our violin is typical of the better workshop instruments of the Markneukirchen-Schoenbach area, similar to the better instruments from the Ernst Heinrich Roth firm. The instrument has come to us in fine original condition, without cracks or damage of any kind. The table is original, has never been removed from the violin. $2650.
S-07VN A good German violin imported by the William Lewis Company of Chicago and bearing the label "Lewis Solo Violin / No. 3 / Amati Model / espressly made for / Wm. Lewis & Son, Chicago / by / William Duerer in Eisleben / anno 1911". The one piece back is of wide figure, the table of narrow grain. The varnish is of a red-brown color. The instrument has come to us in good original condition. Back length is 358 mm. $2250
A good German violin from the workshop of C.G. Glier, bearing the original label “C.G. Glier & Sohn, Markneukirchen, Sa.” and “made in Germany”. The two-piece back is of maple of medium figure, the top is of spruce of medium grain, widening slightly to the flanks. The varnish is of an orange-amber color on golden base. The instrument has come to us in fine original condition, with no cracks, no damage of any kind. One of a large family of musical instrument makers, the C. G. Glier firm produced, until 1930, a variety of violin-related merchandise. Back length is 358 mm and the weight, without chin-rest is 418 grams. $2150.
R-17VN. A fine German violin from the E.H. Roth workshops, made in Bubenreuth-Erlangen in 1990. “Stradivarius 1700” model, with two-piece back of medium figure, the varnish a rich red-brown. The violin has come to us in pristine original condition. Back length is 353 mm. $1975.
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A good German violin made about 1950 by Bruno Franz Paulus, bearing the label “Bruno Franz Paulus / Mittenwald, Karwendelgebirge / made in Germany”. With the division of post-war Germany, many luthiers of the Markneukirchen school resettled in the West German village of Mittenwald. Our violin dates from a few years after the end of the war, but just before the wall went up. The two-piece back is of Alpine maple of narrow flame, the table of spruce of narrow figure. The varnish is of an orange-brown color on golden base. Condition is “9.9 on a scale of ten”, with a minor “ding” to the lower treble side of the table. Purchased by and owned since 1954 by a Wichita violinist from Kansas City dealer Willy Hofmann. Original letter and approval invoice, dated October 28, 1954, are available. Back length is 358 mm and the instrument weighs, without chin-rest, 422 grams. Good example, not expensive. $1850.00.
S-17VN. A very fine German violin labelled "Paul Meinl, Basel, Switzerland, c. 1914. $1750
J-10VN, J.A.Baader, Mittenwald (Germany), circa 1935. The handsome
two-piece back is of narrow horizontal figure, the table of narrow grain
spruce. The varnish is a golden brown color and the condition is excellent,
with no cracks or damage anywhere. Built to the Amati pattern, with flatter
arching and typical Amati F-holes. Back length is 357 mm.
$1600
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M20VN, a good German violin of the Dresden school, without label.
Two piece back of narrow flame, red-brown spirit varnish. The table has
a crack near the tail-piece, well repaired. Back length is 361 mm.
$975
F-30VN, William Lewis "David" violin, made in Erlangen about
1980. The two-piece back is of narrow and faint figure, the varnish is
golden-orange. The instrument is in "like new" condition, showing no cracks
or damage anywhere. Back length is 356 mm.
$725
N-20VN, A good 3/4 size Saxon violin of some quality,
probably made in Markneukirchen about 1870. The two-piece back
is of broad figure, the top of wide and not parallel grain. The varnish
is a chestnut brown color on a golden base and the instrument has been
made with double purfling and unique sound-holes remininscent of the Mariani
school. The instrument has come to us in fine condition, with
one small check at the top of the bass-side F hole. Back length
is 329 mm. $1850.
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S-08VN. A good German violin from Markneukirchen bearing the label "reproduction of Antonius Stradivarius / Jos. Bartoni / Germany USSR occupied". The two-piece back is of irregular broad flame, the table of spruce of fine grain widening to the flanks. The varnish is of a red-brown color on golden base. The end of the fingerboard is stamped "1098". Back length is 356 mm. The violin dates from 1945 to 1953, has come to us in fine original condition, without cracks or damage of any kind. $1450
G-24VN, a good 3/4 German violin, circa 1925, probably from Markneukirchen,
with two-piece back of narrow figure, orange-brown varnish. Old table crack
to the right flank, well-repaired. Back length = 337 mm.
$650
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GERMAN VIOLINS RECENTLY SOLD BY US
A superb artist-quality violin by Karl Herrman “Andreas Morelli”, made in Germany before 1940.
The original label reads “Exposition Model (written in script) / Andreas Morelli / hand-made reproduction / Franciso Gagliano (written in script) / anno 1741 (written in script) / trade mark registered “. Franciso Gagliano is not a documented maker, but we do know that Karl Herrmann used the Italian name “Andreas Morelli” in many of his violins.
This particular instrument has come to us in fine original condition, without damage or cracks of any kind.
The two-piece back is of highly flamed maple of narrow horizontal figure, the varnish an orange-brown color on a golden base. The spruce top is of narrow and irregular grain. Back length is 356 mm.
The varnish is a clear orange-brown color and of high quality.
Herrmann’s violins are often compared to those of his better-known contemporary, Ernst Heinrich Roth. His violins are underestimated, in our opinion.
The Morelli name is still found on the occasional modern German factory-made instruments of lesser quality, even though Karl Herrmann’s workshop has not been in existence for more than sixty years.
There are only a few words in the Henley Atlas about the maker, but the Jalovec “Encyclopedia of Violin Makers” and Rene Vannes’ “Dictionaire Universel” have a bit more. Both the Jalovec and the Vannes Dictionaire confirm that the Morelli violins were made by Karl Herrmann.
Morelli violins made for the American market were fitted with labels written in English: there’s never any indication that Herrmann was the actual maker. It was, of course, the maker’s attempt to sell good German instruments that just might have been considered by the buyer as Italian.
Those considering the acquisition of an artist-quality violin might be interested in our opinion concerning value and pricing.
The value of any violin depends, in our opinion, on many different factors:
a) Condition of the instrument. Any violin that’s sustained damage to the top and especially to the back, will be worth a small fraction of an instrument in pristine condition.
b) All violin makers produced instruments of varying model. An authentic “plain vanilla” instrument, even if it’s in fine condition, will never be worth as much as a “top of the line” item. The Ernst Heinrich Roth violins are good examples: the cheapest “Stradivarius” model cannot compare in value to one of Roth’s top quality historical copies.
c) Size is crucial to determining value. The ideal length of back is exactly 356 mm. A violin that’s too big or too small will usually have a much lower value.
d) Cheaper violins have not had the attention given to the proper voicing of the top and backs of the instruments. Many of today’s “better” violins have tops that are often 5 or 6 mm thick. Instruments that have the best sound are those that have tops and backs that have been hand-carved by the maker to “Stradivarius dimensions”: about 2.5 mm under the bridge, a bit thinner toward the edges and 3 or 3.2 mm where the top and back is glued to the ribs. Proper voicing is time-consuming, but results in a violin that has the finest tone quality.
e) The actual maker of the instrument is, arguably, the most important factor in determining value. Please remember that 99.999% of the “Stradivarius” violins in the world wear labels that are false. There are NO “unknown” violins by Stradivarius, Guarnerius, Maggini, Amati, or Stainer. There ARE a few quality German and French violins that bear these labels and also those of the maker.
Our violin is an exceptional example of the instruments emanating from this good pre WWII German workshop. The fact that the maker wrote on his label “Exposition DeLuxe Model” puts it in a higher category than other violins of the time-period.
We have no hesitation in recommending this fine instrument to any particular amateur or semi-professional musician.
Price on this superb violin is $3250. SOLD
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P-03VN, a superior violin, made in 1926 by the Ernst Heinrich Roth
workshops in Markneukirchen, "Stradivarius 1724" copy, two piece back of
broad flame, the varnish a high-quality Saxon red-brown. No damage to the
back, small tailpiece crack repair, now invisible. Back length is 357mm.
SOLD
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L-08VN, Steven Kujawa, Saint Paul, Minnesota, 1964, number 47.
The violin shows good arching and a superior varnish, but rather crude
inlay to the purfling. The maker is unrecorded in the Henley Atlas, but
does have a good report in the Wenberg book on American violin makers.
Born in 1886, therefore this violin was made in his 78th. year, perhaps
explaining the questionable purfling. Good tonal quality, the length of
back is 354 mm.
$1450
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F-04VA, Claudio Testoni, Mantova, 1990. After a dozen years making
stringed instruments for the Italian master Mario Gadda, Claudio Testoni
established his own shop in a farm village near Mantova. Today, he makes
ten or twelve instruments per year in his one-man workshop. We consider
Testoni to be among the best of the modern Italian makers. The back of
our instrument is of handsome two-piece maple of medium figure, the varnish
a rich red-brown color. The condition of the instrument is "like new".
Back length is 410 mm (16 1/8 inch). With certificate from the maker.
$9,000
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N01VA, An English viola by Colin G. Nicholls, London, 1998, bearing the label of the maker and also that of the instrument after which it was patterned, Giovanni Paolo Maggini of Brescia. The one-piece back is of medium to broad figure, descending from left to right. The varnish is of an orange-brown color. Both the back and the front are double-purfled, in the manner of Maggini. Back length is 413 mm (16 1/4 inches). Mr. Nicholls has informed us that a book on the violin makers of the Hill family is in preperation, that a section of it will be concerned with Mr. Nicholls and that this particular instrument will be pictured therein. This excellent modern viola shows top-quality workmanship from England's finest master. SOLD
R-01VA. A modern English viola by Colin G. Nicholls, bearing the label "Colin G. Nicholls, maker, London K.Z. anno 1992" with the signature of the maker on the label. The instrument has two-piece back of medium to narrow figure, the varnish of an orange-red color. Back length is 414 mm (16 1/4 inches). The instrument has come to us in pristine condition, with the exception of its having a small round scratch to the lower table. The original owner purchased the instrument from the maker, played it a dozen years, then asked Mr. Nichols to build an identical viola of slightly smaller size. Our viola was constructed on the "Grand Amati" pattern and is sold with photo certification from the maker. $13,500
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H-03VA, A SUPERB ENGLISH VIOLIN BY W.E. HILL AND SONS, CIRCA 1975
This viola has come to us in pristine original condition. It has never been played.
The label reads “William S. Hill and Sons / Makers, 140 New Bond Street / London, 1975 No. (abbreviation for number) 553 “
The instrument wears the original bridge from Hills, stamped “W.E. Hill and Sons”.
Back length of the instrument is 16 ½ inches (419 mm )
Top bouts measure 6 ½ inches (165 mm)
Middle bouts measure 7 ¾ inches (196 mm)
Lower bouts measure 9 11/16 inches (246 mm)
It was crafted in the Hanwell workshops of W.E. Hill and Sons by master violin maker Colin G. Nicholls. Mr. Nicholls trained at Hills in the 1960’s and was employed by them for eleven years as a violin maker and restorer.
While at Hills, about one hundred instruments were built by him that bear the W.E. Hill and Sons label. Since establishing his own workshop in London, he’s produced another two hundred under his own name.
He now works entirely on his own, without co-workers or apprentices. His stringed instruments are found in the major symphony orchestras of London and other cities.
Our instrument is offered with a letter from Mr. Nicholls, attesting to the fact that the viola was built by him during his tenure as violin maker for the W.E. Hill firm. It was based on an original instrument by the sixteenth century Brescian master Gaspar da Salo.
The one-piece back is of maple of very narrow figure, the ribs and scroll of similar wood. The table is of fine-grained spruce widening just slightly to the flanks. The varnish is of red-brown color on a golden base, applied in an reproduction antique style.
For those considering the purchase of a superb viola that has a full and clear tone-color, we give this particular instrument our highest recommendation. It is suitable for use by the most demanding advanced student, adult amateur or professional violist.
$12,500
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C-05VA, John Walker, Solihull (near Birmingham) 1949. The Henley
Violin Atlas correctly characterizes the instruments from Walker as having
"...splendid amber oil varnish. Tone equal to any contemporary." Our viola
is in fine condition, with a handsome two-piece back of medium figure.
Certification from Colin G. Nicholls. Back length is 421 mm (16 9/16 inches).
$7,500
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P-01VA, Timothy Clapham, London, 2000. Timothy has worked side-by-side with Colin G. Nicholls (ex. W.E. Hill & Sons) for the last three years, has made 5-6 violins, a few celli, and this viola. Superb workmanship, this viola is modeled on a J.B. Vuillaume viola which was in Colin’s shop recently. Very nice reddish-brown spirit varnish. Back length is 15-3/4 inches. Superb, big sound.
$6,500
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E09VA, William T. McCool, Newport (Wales), 1985, number 48. McCool
has been an instructor at the Welsh School of Violin Making for over a
decade, during which time he's won a number of contests for his excellent
violas. E-09VA has a one-piece back of medium figured English sycamore
and superior oil varnish of a dark red-brown color. Back length is 416
mm (16 3/8 inches). Certified by the maker.
$6,000
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F-06VA, William T. McCool, Newport (Wales), 1990, number 69.
Since accepting the position as instructor at the Welsh School of Violin
Making, McCool has won a number of awards for his instruments. F-06VA has
an attractive one-piece back of narrow flamed English sycamore and a good
oil varnish of orange-brown color. Back length is 411 mm (16 3/16 inches).
Accompanied by certification from the maker.
$6,000
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A-21VA, J.H. Stevens, Yeovil, 1979, number 10. Stevens has done
a considerable amount of research into violin acoustics and has contributed
four or five articles to the "Strad" magazine. The viola in our collection
is his own model, has an attractive one-piece back of narrow figure and
a good golden-brown varnish. The condition of the instrument is excellent,
without cracks or damage. Back length is 410 mm (16 1/8 inches). With maker's
certificate.
$2,850
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VIOLAS FROM GERMANY
R-02VA, a viola by the Lothar Semmlinger workshops near Nuernberg. Two-piece back of nice figure, the varnish of a red-brown color. $1950.
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VIOLAS FROM ROMANIA
New G. Calimani viola(Romania), solid wood, solid spruce top, solid maple back, sides and neck. Real ebony fingerboard, pegs and tailpiece. Antique style oil varnish. With hard case, and fiberglass bow with horsehair. Strung up with Dominant or Pro-Arte strings, these viola represent an excellent value. 13" & 14": $403.99 15" & Larger: $525.46
SOME FINE VIOLONCELLI FROM OUR COLLECTION......
C0lVC, John MORRISON, London, l770. Morrison's instruments are
not uncommon, as we've had several in our collection in recent years. The
quality varies considerably and it's speculated that many were made for
the "trade" in London. This particular instrument shows evidence of older
high-quality restoration work, with simple wood to the back and a dark
brown varish of good texture. The tone is full and mellow and will satisfy
the most demanding performer . Certicates from Dario D'Attili and Collin
G. Nichols accompany this good cello.
$15,000.00
GO4VC, John Knowles HEAPS, Leeds (England), l843. We've not seen
another cello by this good English maker, but we rather like the robust
quality of his work. Our cello is flat and broad, with a rich red-brown
varnish, typical of the better Yorkshire makers. The two piece back of
pronounced narrow figured maple is especially attractive. Old repairs to
the table, well-done but visible. Certification from Colin G. Nicholls.
$9,500
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I07VC, James OMOND, Stromness (Scotland), l898. Robust workmanship
and a rich Scottish varnish characterize this particular instrument. There's
little evidence of repair, and the instrument has been "set up" properly,
giving it a velvet-like tone quality. Colin Nicholls certificate.
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C03VC, Franz DIENER, Graslitz (Bohemia), l826. Owned by a retired
Kansas musician for 50 years, our Diener cello shows signs of considerable
restoration. Yet this instrument possesses a voice that will amaze. With
love and care, our elderly Bohemian will give good service for another
century!
$8,500
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A superb artist-quality cello by Benjamin Patocka, made in Bohemia in 1894.
We often have artist-quality violins and cellos in our collection and this superb instrument is typical of some of our best offerings.
From the Henley “Universal Dictionary of Violin and Bow Makers”: “…Born at Passek-on-Isar (Bohemia), 1864. Pupil of Josef Metelka in the same town, 1879. Worked at Glasersdorf, Prague and Shumburg. Returned to birthplace, 1888. Established at Jicin (Bohemia) 1894. Produced finely modeled violins, ‘cellos and double-basses, mostly after Stradivarius, Guarnerius and Stainer. Used own prepared spirit varnish which is of an unusually soft texture, yellow-brown shade. Possessed several medals and diplomas…”
From the Jalovec “The Violin Makers of Bohemia”: “…born Aug. 31, 1864; died Apr. 25, 1931, in Jicin. Son of Josef Patocka, cottager in Paseky No. 27, and Marie, daughter of Jachym Saidl of Paseky… Pupil of Josef Metelka in Paseky. He was associated with Frantisek Vitacek in Sklenarice (Aug. 1882 – Nov. 1883), with Volf and Bina in Prague, and with Jos. Cermak in Cesky Sumburk. Independent afer Oct. 18, 1888, when he took over Matelka’s workhop (Metelka had died eight years before). In 1894, he moved to Jicin. He followed Stradivari and Guarneri del Gesu and was soon acknowledged as a good master. His instruments found their way abroad and are quoted in American price-lists with good prices. During forty years of his activity he made what seems an incredible number of instruments, even if we consider that he was aided by his son Josef….His varnish is brown-red.”
Our instrument bears the original hand-written label which reads “Benjamin Patocka, Louslar, Jicin, 1894”.
The instrument has come to us in fine original condition with two-piece back of narrow figured maple, ribs and scroll of similar wood. The top is very narrow grain, widening only slightly to the flanks. The varnish is a dark, semi-opaque red-brown and is of quality.
There are no cracks to the back.
The bass side upper rib shows an ancient crack that’s well-repaired and almost invisible. There are no other cracks to the ribs.
The top is in remarkably fine condition for a cello of this age, the only issue being an ancient two-inch well-repaired crack from just to the bass side of the tailpiece.
The instrument has recently been in the London workshop of Colin G. Nicholls, who fitted it with a new bass-bar, bridge, tail-piece and end-pin. Mr. Nicholls was previously with W.E. Hill and Sons, the English stringed instrument experts.
Written certification of the authenticity of the instrument is available both from our workshop in Wichita and also from Mr. Nicholls. There is no charge for the certification.
The fact that Patocka’s atelier produced more than 5,000 instruments of the violin family leads us to the conclusion that the firm would have employed several assistants, such as does Ernst Heinrich Roth, Lothar Semmlinger and other of today’s better “workshop” masters.
The back length is 765 mm; the upper bouts measure 358 mm; the center bouts are 114 mm and the lower bouts measure 450 mm.
The tone-color and sound ( the “S word”, as we call it) is totally subjective with any quality cello, but we can report that our instrument possesses a voice that is clear and bell-like, with considerable power. This cello is not a shrinking violet, for certain, but is rather more suited for a strong player whose demands are for orchestral or solo use.
Our cello was recently play-tested by a member of our Wichita Symphony Orchestra, who performed on it for several orchestral rehearsals. For those who would like more information about the tonal characteristics and the voice of this superb instrument, we’re happy to have our cello expert telephone any prospective client.
We often have fine cellos in our collection that are priced from $1500 to more than twenty thousand.
Price is $5850. We consider it a “best buy” and note that if it were Italian of the turn of the century, the price would be five times as high.
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Il2VC, Anton DIETL
A superb artist-quality cello by master luthier Anton Dietl, made in Mittenwald in 1957.
We often have artist-quality violins and cellos in our collection and this superb instrument is typical of some of our better offerings.
Our instrument bears the original label: “ANTON DIETL / Geigenbaumeister / Mittenwald – Karwendel / Made in Germany “ and “1957”.
The instrument has come to us in superb original condition with two-piece back of narrow figured maple, ribs and scroll of similar wood. The top is very narrow grain, widening only slightly to the flanks. The varnish is a golden amber color and is of high quality.
There are no cracks to the back, front or anywhere else on the instrument. The condition is “9.99 on a scale of ten”. Aside from a couple of tiny scratches, this one could pass for new.
The back length is 754 mm ( 29.7 inches).
The tone-color and sound ( the “S word”, as we call it) are totally subjective with any quality cello, but we can report that our instrument possesses a voice that is clear and bell-like, with considerable power. This cello is not a shrinking violet, for certain, but is rather more suited for a strong player whose demands are for orchestral or solo use.
To learn more about the instruments of the Dietl family, we recommend your doing an internet search for “Anton Dietl”, also other members of the family “Franz Dietl” and “Gustav Dietl”.
For a number of generations, the Dietl family worked in Schoenbach, in Bohemia. Today the town is still noted for violin making, has been renamed “Luby” and is a few feet inside the Czech Republic, just south of today’s German border.
Born in Schoenbach in 1906, Anton Dietl’s Bohemian violin workshop was established in 1926.
After the Second World War, Anton Dietl re-established his workshop in Mittenwald, a pleasant town that’s halfway between Munich and Innsbrueck. The firm is actually still in business; the current owner of the company is Rainer Leonhardt, whose father was Anton Dietl’s son-in-law.
Chicago violin expert Fritz Reiner worked, we have learned, for Anton Dietl in the early 1950’s, before he emigrated to America.
We have examined the celli of the Rainer Leonhardt workshop and note (from his web site) that instruments made by his hand now have a retail price of “5,000 Euros to 20,000 Euros”.
Our instrument is a “Meister” cello. That means it was hand-built by a master violin maker who trained for seven years or more, then passed the extensive examination that’s required of any Bavarian luthier who aspires to set up his own workshop.
It makes our starting price of $5250 look like a “best buy”, doesn’t it?
Keep in mind, if you would, that this beautiful stringed instrument was hand-made in Mittenwald half a century ago and has come to us in superb original condition. It’s not made of laminated wood, nor is it plywood, nor does it have anything to do with China or other third-world lands. It is a true “Master” cello that gets our top recommendation.
$5,250
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F05VC, A superb cello by GIBSON , made in Kalamazoo, Michigan about 1940
There’s absolutely nothing in the Henley “Universal Dictionary of Violin and Bow Makers” about Gibson…
Nor is there anything in the Jalovec Dictionary nor in the Vannes Atlas.
But Thomas Wenberg’s “The Violin Makers of the United States” does have a short report on Gibson stringed instruments.
”Gibson, Inc.;Kalamazoo, MI. Established in 1902 by Orville H. Gibson. Primarily known for their guitars and mandolins. Introduced the Gibson Violin Family in 1937. Production of these instruments ceased in 1941 and never was resumed…Often used domestic wood. Made violins, violas, cellos, and double basses.”
That’s right, folks. The SAME Gibson company that produced guitars of the very highest quality, made a few violins, violas and cellos. Figures, doesn’t it? The vast majority of violins in the late thirties came to the States from Germany. And once the fellow with the funny mustache assumed power, the Luthiers of Deutschland were suddenly busy making other products.
And that’s why Gibson decided to go into the violin business. Production ceased in late 1941 because our American buddies in Gibson were given more important jobs to do.
Our instrument bears the original hand-written label which reads “Gibson CELLO / Genuine Gibson made / Model G110-342 / Kalamazoo, Mich. U.S.A.”
The instrument has come to us in fine original condition with no cracks or damage other than two very old edge repairs to the treble and bass sides of the table and two ancient and matching 25 mm f-hole cracks, well repaired and almost invisible.
There are no cracks to the back, ribs, neck or scroll.
Interestingly, the rib linings are made exactly like those found on 1930’s Gibson guitars.
Back length is 741 mm (29 1/8 inches) and the varnish original, 99% intact.
Written certification of the authenticity of the instrument is available both from our workshop in Wichita. There is no charge for the certification.
Mind you, this one’s not a million dollar Stradivarius, but it IS a solid vintage American-made cello that’s suitable for advanced student or adult amateur use.
The tone-color and sound ( the “S word”, as we call it) is totally subjective with any quality cello, but we can report that our instrument possesses a voice that is clear and bell-like, with considerable power. This cello is not a shrinking violet, for certain.
$2500
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Lothar SEMMLINGER, Baiersdorf, (Bavaria), 2007.
A GOOD SEMI-PROFESSIONAL VIOLONCELLO FROM THE WORKSHOP OF LOTHAR SEMMLINGER.
Interesting fellow, Semmlinger…
After studying violin making for several years with luthier Albert Lang, Semmlinger was employed by several of Germany’s best violin workshops.
A seven year tenure as a journeyman violin maker gave him the opportunity to apply for and receive the coveted title of “Master Violin Maker”. “Geigenbaumeister”, if you prefer. There are hundreds of violin makers in Germany, but very few “Meisters”. It means Lothar is among the very best…
In 1980, convinced that not every facet of violin making needed to be performed as it was centuries ago, he established a small workshop some miles northeast of Nuernberg. Semmlinger’s idea was to do the “donkey work” of cutting out the basic shape of instruments with machines. And the final graduation of the top and back, the set-up and varnish work, were all to be done by himself, by hand.
It means his superb instruments have tonal characteristics that compare with the very finest modern cellos. But because labor costs have been minimized, they’re never expensive. Smart fellow, Lothar…
We’ve offered Semmlinger’s instruments to our customers for nearly two decades and we have a very good relationship with his small firm. Over the years, his workshop has grown and today there are exactly FOUR workers employed by the firm. Lothar, his two sons and two other workers. That’s it…nothing like a “factory” by any stretch of the imagination.
This cello has come to us in pristine original condition. It’s never been sold by us and has no cracks, scratches, dings, damage or any other defect.
You can, of course, buy a cheaper cello. Korean, Chinese, Rumanian, Czech…all priced lower than Semmlinger’s Meister instruments. We even sell some of the Rumanian instruments ourselves. Nothing wrong with them…good for student use. But they don’t compare with the Meister cellos from Lothar Semmlinger.
From our first dealings with Semmlinger’s shop, we were greatly impressed with the quality of his workmanship. The back, ribs and scroll of our cello have been constructed of Carpathian maple of faint and narrow figure. The two-piece top is of narrow-grained spruce, widening very slightly to the edges. The quality varnish is of a typical Mittenwald red-brown color, on golden base.
Semmlinger makes cellos ONLY of carved wood. He’s never produced cellos of laminated construction or of plywood. It’s the reason his instruments have the tonal-characteristics that approach “old Italian”.
The length of our cello is exactly twenty-nine and one-half inches (750 mm).
The label reads “Lothar Semmlinger / Geigenbaumeister / Baiersdorf / Mittelfranken “. It’s signed and dated, by the maker, in black ink.
For those considering the purchase of a superb cello that has a full and clear tone-color, we give this particular instrument our highest recommendation. It is suitable for use by the most demanding advanced student, adult amateur or semi-professional cellist.
Photos are of least expensive model.
Prices range from $2145 to $2545.
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New G. Calimani cello (Romania), solid wood, solid spruce top, solid maple back, sides and neck. Real ebony fingerboard, pegs and tailpiece. Antique style oil varnish. With hard case, and fiberglass bow with horsehair. Strung up with Dominant or Pro-Arte strings, these celli represent an excellent value for solid wood instruments. $1250.00
New M. Calimani cello (Romania), solid wood, solid spruce top, solid maple back, sides and neck. Real ebony fingerboard, pegs and tailpiece. Glossy spirit varnish. With hard case, and fiberglass bow with horsehair. These celli represent an excellent value for solid wood instruments. $995.00
Used Adler (Czech Republic) student cello, laminate construction, with synthetic bow with horsehair, and bag. PLEASE CALL FOR PRICE.
PROFESSIONAL-QUALITY CONTRABASSES
F-01CB, Dragonetti Workshop, London, England, 1990. A combined
venture of English violin makers Bharat Khandekar and Collin G. Nicholls,
the Dragonetti total output was but five basses and three celli. Our instrument,
named "Victoria", was bases on an instrument by Antonio Bagatella of Padua
which was in our collection some years ago. This is a high quality instrument
fully hand-made, the back of maple of faint figure, the varnish a dark
red-brown. Five string model, with back length 111 cm (43 11/16 inches),
string length 106.4 cm (41 7/8 inches). Accompanied by certicate from the
maker. This instrument is in mint condition.
$15,000
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O-01CB, Colin-Mezin, Mirecourt, France, c.1932. four string model.
Violins and other stringed instruments from the Collin-Mezin workshops
are not uncommon, but often represent superb "value for the money", especially
in cellos and upright basses. Charles Jean Baptiste Collin-Mezin was born
in Mirecourt (in the Vosges mountain district of eastern France) in 1841.
He learned violin making from his father. By 1900, he was the owner of
a large workshop in his home town, producing stringed Instruments of all
sorts. His instruments won numerous silver and gold medals at various competitions
and had the reputation of producing violins that would equal those of Stradivarius
for "flexibility of sound". The Henley Atlas of Violin Makers gives him
a long and glowing report. Charles Jean Baptiste died in 1923 and the family's
Mirecourt workshop was taken over by his son. Charles Collin-Mezin (Jr.)
was born in 1870 and was still producing good violins, violas, cellos and
basses until his death in 1934. Our bass was acquired some months ago from
a musician in the Gascony region of France. We usually stay away from upright
basses as the vast majority of the antique and used basses out there are
beat to death. We have a good repair department and the time required to
do a proper restoration on an upright bass can run into the hundreds of
hours. The "normal" bass restoration can tie up our guys for months and
that means we give "thumbs down" to 99% of the basses that we see. This
instrument is different. It's not "mint", but it's come to us very close
to being perfect. We've fitted it with a new bass bar and bridge, have
done a little minor varnish touch-up and that's it: nothing more was needed.
There's a small older well-repaired crack to the edge of the back, about
one inch from the purfling, but there's no other damage anywhere. Even
the ribs are damage-free. It's dated 1932, still has the original machines
and has a tone-color that's bright and singing, not at all muddy. Think
of the contrabass solo in Mahler's Symphony Number One: this instrument
would be absolutely perfect for it! Back length is 112 mm., but the shoulders
are narrow enough that it's really quite easy to play. Upper bouts are
46 mm; center bouts are 34 mm and the lower ones measure 65 mm. String
length is 105 mm. This is a really superb upright bass, suitable for the
most demanding musician. It's not cheap, but is definitely in superb condition,
especially when you consider that it's seventy years old. Those who might
have some interest in the instrument are encouraged to visit our shop in
Wichita, as it's within driving distance of almost anywhere in the USA.
We're happy to ship "on approval" for ten days, just like we do anything
else, but shipping costs can be a little pricey for an upright bass. All-in-all,
we give this one our highest recomendation. If you're after a premium "vintage"
bass from one of the best makers of the early twentieth century, this one's
for you! $11,995
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string basses made in Romania, with basically three different models. We've had a couple of these recently, and must admit that the quality is the best of anything in the price range.
string bass, fully carved construction. Please call for price
string bass, fully carved top, laminate back and sides. Please call for price
string bass, laminate top, back and sides. Please call for price
Professional and student quality European and American Bows are available also for all of the string family from makers such as Milliant, W.E. Hill & Sons, Hel, Alvey, Morizot, Serdet, Taylor, Bazin, Clutterbuck, Laberte, Doe, Gruenke, Mettal, etc...
Baroque style stringed instruments are available as well.
SINCE 1976, Wichita Band Instrument Company has had a separate division within our firm which specializes in fine violins. Today, we have two full-time luthiers on our staff to offer expert advice and "service after the sale". We invite your enquiries!
Please FAX, e-mail or call if you would like any additional information.
Wichita Band Instrument Co./Wichita Violin Shop
800-835-3006
FAX 316-684-6858
wbic@wichitaband.com