Previous Instrument Highlights
The following collection of instruments are not currently available at our shop. These are instruments which we had offered for sale or had serviced in previous years. Many of these instruments are fine and rare antiques of historical significance. Some of these instruments we considered especially fine, interesting, charming and sometimes even mysterious examples of their maker's work. All of these instruments we consider of great artistic, technical and tonal merit.
Note: Many of the following photographs often are not professional but are taken with an inclination toward interesting aspects of each instrument.
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A Fine Italian Violin by: Leandro Bisiach I, Milan 1904
Featured Instrument Leandro Bisiach I (b.1864, d.1946) was one of the finest violinmakers around the turn of the last century and is largely responsible for revitalizing the art of traditional violinmaking in Italy. Today he is regarded in a somewhat analogous fashion to J.B. Vuillaume in so much as he employed many of the most talented makers of their time and founded one of the most important violin businesses in Europe. Although Bisiach was an exceptionally fine violin maker in his own right, he was also able to get the best work out of the makers he employed. Bisiach studied violin making with Riccardo Antoniazzi who, along with Riccardo’s father and brother (Gaetano and Romeo), he went on to employ. Through the Antoniazzis, Bisiach is connected to the old Cremonese tradition. Among the makers he employed were the Garimbertis, Giuseppe Ornati, Rocchi Sesto and Igino Sderci (to name a few). Notably, Gaetano Sgarabotto worked for Bisiach at this time this instrument was made. This particular example is a rare copy of a 1696 Stradivari with a rich, dark red varnish and striking one-piece back. It has an exceptionally pure and sweet upper register. Although the sound is very subtle under the ear, it carries extraordinarily well in the concert hall and boasts what so many violinists refer to as the classic “Italian sound”. The legendary violin virtuoso, Nathan Milstein, is known to have owned at least one Bisiach. Leandro Bisiach himself was a professional violinist who maintained a full concert schedule with the finest quartets and orchestras in Italy and counted Sarasate, Joachim, Piatti, Puccini and others among his friends. We sold this fine example but we frequently offer other fine instruments made by the great makers associated with the Bisiach shop. For more information on this maker, please visit our featured article, "Leandro Bisiach - His Life & Art" |
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A Fine Italian Violin by Stefano Scarampella Mantua, c.1920
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Despite coming to violinmaking rather late, Scarampella was hugely prolific. Like Guarneri del Gesu, he coalesced elements of other makers to synthesize a unique and original body of work. Both maker's seemed to have an innate genius for working with whatever materials were available to them. Both makers were focused primarily with producing tonally superb instruments. They worked fast and left plenty of toolmarks and asymmetries which add to the character of the work. In Scarampella's case, we can see incorporated into a single instrument, influences of the great Mantuan violin maker, Tammaso Balestreri, as well as G.B. Guadagnini, and not least, Guarneri del Gesu himself (who infused characteristics of the ancient Brescian instruments such as those of Giovanni Paolo Maggini). We muse that perhaps Scampella's tendency to leave the eye of the scroll slightly under-turned might be a subtle nod to Maggini, the great maker from Scarampella's native Brescia. This late-period Scarampella shows a hint of assistance from Scarampella sole apprentice and heir, Gaetano Gadda. Gadda had increasingly put his own creative energies into Scarampella's later instruments and inherited the shop, woods, tools, varnish recipes, labels and more upon his master's death in 1925. He continued using his master's name after his death, blurring the lines between the two maker's work and distorting the actual count of genuine Scarampella examples. This, combined with a good number of fakes and the high-value placed on genuine examples, makes expertise especially important in the authentication process for this great maker. We obtained third-party certification for this instrument and cross-refferenced is with numerous established examples (mainly dating to around 1918. Scarampella's instruments are tonally comparable to many of the best Guadagnini's. This violin has a fantastic red varnish and bright, powerful tone. We sold this instrument during the pandemic and are gratified to know that it is much loved by the owner.
A Fine British Violin by John Frederick Lott II, London, c. 1855
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Inspired craftsmanship and easily one of the finest varnishes we have ever laid eyes on, this violin seemed to glow. It would reflect and scatter light in a variety of ways. One of the most celebrated and notorious copyists (and at times, forgers), John Frederich Lott often incorporated parts from old Italian instruments making his instruments extremely difficult to authenticate and evaluate. He is said to have employed the use of a special gum called, 'dragon's blood' in his varnish. His life story is the stuff of legend. We recently sold this instrument.
A Fine Italian Violin by Vincenzo Postiglione, Naples
Beautiful button detail, monogram and Neapolitan purfling is unique.
A wonderfully original maker who fortified the general principles of Stainer into his own personal model. Very round upper bouts made getting into the high positions very manageable for players. Beautiful, powerful and sunny tone. De Zorzi had a tendency to brand his instruments... a lot. The brand in the button (pictured above) is just one of many. After offering this violin back in 2019, we subsequently were able to recognize a violin by his pupil, Silvio Vezio Paoletti, when it came into our shop for maintenence. Like G. Gadda, Paoletti inherited his master's shop upon his death. The Paoletti violin was carrying an original handwritten label of De Zorzi's.
Violin by Nestor Audinot, Paris, c. 1889
Gorgeous trichromatic effect of the flame. This two-piece back is the product of a wonderful piece of maple and cutting directly on the quarter. Audinot found great success after taking over the Vuillaume shops when both Sebastien and Jean-Baptiste Vuillaume died in 1875. Later Vuillaume instruments are thought to have been made, in whole or in part, by Audinot.
A Fine Violin by Leopold Widhalm I, Nuremberg, c.1770
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The last time we sold this instrument to a member of a major symphony orchestra, we happened to have another Widhalm for sale. The Widhalm family produced fine instruments influenced largely by Stainer, blending some characteristics of the Amatis at times. We are pleased to be able to offer this instrument for sale again since the owner has retired.
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An Interesting German Violin attributed to Johann Gottlob Pfretzschner c.1810
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The mysterious motif on the back of the head seams to represent a timpani. The edges of the pegbox are partially lined with ivory.
A Fine Violin Bow by James Tubbs, London, c.1880
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Inarguably the greatest of the English bow makers, James Tubbs is sometimes referred to as the 'English Tourte'. Tubbs was appointed bowmaker to the Duke of Edenborough. He was hugely prolific but most of his work was done to make ends meet and is too soft for many players today. His best work however, ranks among the finest bows ever made. Consequently, most of these much-loved musicians' tools have been thoroughly played and it's rare to find one that isn't worn down or altered in some way. This gold mounted bow dates to around Tubbs' best period. Notice the eye (a purely decorative characteristic which Tubbs later abandoned) as well as the elongated ferrel and adjuster. Virtuoso violinist, Hilary Hahn currently performs with a similar Tubbs bow.
A Fine W.E. Hill & Sons Violin Bow by Sydney Yeoman c. 1914
The gold/tortoiseshell-mounted 'Fleur de lys' bow is the apotheosis of the W.E. Hill & Sons house-model bow. The prestigious firm hired skilled workers from varies trades and backgrounds and trained them in the art of bowmaking. Many of these makers went on to become some the top "archetiers" (bowmakkers) of their day. We have sold numerous 'fleur de lys' bows but this pre-WWI bow by Sydney Yeoman stood out. When we sold it, it was in an exceptionally good state of preservation and played like a dream. Yeoman had volunteered for service during the war. He was badly injured and though he survived, his mind and body would never fully recover. Although the war took had taken its toll on his work, the great William Charles Retford (who quite literally wrote the book on, "Bows & Bow Makers"), is said to have stepped in to oversee the finishing Yeoman's post-war bows.
A Fine and Rare Violin Bow by Nicolas Maline, Paris c.1850
One of the finest playing bows we have ever offered for sale, this bow by Nicolas Maline gripped the string like no other and pulled undiscovered colors out of the depths of each instrument we put it to. A stunning bow. Vuillaume-style seating of the channel (pictured here).
An Exceptional Violin by Francesco Ruggeri, Cremona 1672
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A Fine Violin by Carlo Tononi, Venice, 1721
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An Interesting Violin by G.B Rogeri, Brescia c. 1695
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A Definitive Violin by Pierre Pacherele, Nice 1845
This instrument was featured in the "Strad Magazine" in 2007 |
A Fine Violin by Carl G. Becker, Chicago 1946
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Carl G. Becker is generally considered the greatest American maker. His instruments feature extraordinarily clean work and generally produce a very even, powerful and sweet sound. No gimmicks, just great, honest craftsmanship. Many players with the CSO use his instruments. They have appreciated steadily over the years. This instrument is probably now worth roughly double what we sold it for some years back.
An Extraordinary Italian Violin by Giovanni Battista Guadagnini, Parma
