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Nicolas Darche, Aix-la-Chapelle 1843
Featured Instrument This fine violin is by a maker whose work is little known and very rare but who, nevertheless, produced some extraordinary instruments. Darche (b. 1815, d.1873) came from a family of French violin makers. He worked for N.F. Vuillaume in Brussels before opening his shop in Aix-la-Chapelle, France (now Aachen, Germany). Though a difficult life prevented him from succeeding in business into his later years, he left us with some extraordinary examples of French violinmaking such as this Guarneri model which draws much inspiration from his master, N.F. Vuillaume and from the great Nicolas Lupot as we see in the exquisite varnish and materials. The workmanship is superfine, crisp and clean throughout. This instrument is modeled on a Guarnerius and is of very comfortable dimensions. An interesting detail, and tribute to Darche's meticulous craftsmanship, is the square-shaped locating pin in the back which is bisected diagonally and made of two separate woods. This violin has incredible response, power and directness. |
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Charles W Liu, Salt Lake City, 1990
Featured Instrument This violin made personally by Charles W. Liu is modeled after Stradivari. It possesses a clear, sweet sound with excellent balance. Charles Liu began his career at the age of 16 at the Beijing Technical School of Instrument Making. He earned his degree of Luthier from the Violin Making School of America in 1997 and worked for several years restoring instruments at Peter Paul Prier & Sons Violins. In 2002, he opened his first violin shop in Salt Lake City, UT and in 2012, he opened his Los Angeles, CA location. Charles W. Liu Fine Violins has an international professional clientele. Charles Liu is also the founder of the Stradivarius International Violin Competition. This example is one of Charles' earlier instruments, made before his studies with Peter Prier (and is offered at a lower price than his later instruments). Still, the instrument is finely crafted and well-rounded, suitable to a wide variety of genres and playing styles. Its tone is open, flexible and sweet. |
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Lawrence Furse, Salt Lake City c.1990
This beautiful contemporary American viola was made by Lawrence Furse around the 1980's. This viola possesses a rich, sonorous tone and beautiful workmanship, materials and 'antiqued' varnish. Furse has been making wonderful instruments of the violin family for over four decades and it’s surprising that his work is not more well known outside of the Salt Lake area. |
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Jan Szlachtowski, Poland, 2022
Featured Instrument Jan Szlachtowski (b.1951, present) was born and raised in Nowy Targ, Poland. He had furthered his skills in the workshop of William H. Lee in Chicago and went back to his hometown where he continues to operate his shop today. Modern polish instruments offer substantial rewards for players as they often perform far better than many of their more expensive counterparts (new and old) from other regions. This handcrafted cello was made entirely in Szlachtowski’s workshop and finished by him personally. It has a tremendous sound and would best fit the conservatory-level to professional player. |
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John Frederick Lott II, London c. 1850
Regarded by many as one of the greatest copyists of his trade, John Frederick Lott II (AKA Jack Lott, b.1804,d.1870) is one of the most interesting and enigmatic personalities in the history of the violin. His life was the subject of the book, Jack of All Trades by famed author, Charles Reade. The son of a violin maker, having at various times left the profession to be employed first as a gunsmith and later as an elephant trainer for a travelling circus, he returned to violin making after the sensational and tragic death of his elephant, Madem Djeck. His violins are amongst the most dubious of copies and even outright forgeries, sometimes incorporating various parts of instruments made by the Italian masters as well as lesser Italian makers. His instruments often blur the lines of authenticity making it difficult to assess them as composites, copies or forgeries. Indeed, it might be difficult to call some of his violins “British” when some of these are reworked Italian instruments. Violin virtuoso, Ida Haendel played on a particularly fine Lott violin which, for many years, was thought to be a Guarneri ‘Del Gesu’. Although difficult to categorize, Lott’s violins are tonally sublime. His ‘Del Gesu’ copies in particular, have much of the depth associated with the master. As per the label (which is thought to be original), this violin is a superb imitation of a Giuseppe (Joseph) Rocca, which in turn, is a purported copy of a Guarneri ‘Del Gesu’. As an Italian contemporary of Lott whose work was extremely popular in England in the mid-nineteenth century, it is probable that this violin was intended to deceive the prospective buyer as being the genuine work of Giuseppe Rocca. It has a convincingly deep and breathy tone and the wood selection is impeccable. The attention to detail is so neat that even the pegbox and interior corner blocks (which few people would ever see) are stamped “GR”. We can say without reservation that this is amongst the most interesting and compelling violins we have ever been privileged to offer. This violin is a slightly compact full-size instrument and would be ideal for a concert artist. |
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Nicolas Vuillaume - 'Stentor', Mirecourt & Paris 1868 3/4 Size
Nicolas was the brother of the famed Jean-Baptiste Vuillaume. The Stentor models were made "in the white" at the Mirecourt-based shop of Nicolas Vuillaume and sent to J.B. Vuillaume's Paris shop for completion. The “Stentor”model was named for a herald of the Greeks in the Trojan War whose voice was as powerful as 50 other men, according to Homer. This violin is in splendid condition. This is especially remarkable considering that these models were intended as "player's instruments" and this one in particular is made for a younger player. This is easily one of the finest sounding fractional sized violins we have ever handled. |
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Ernst Heinrich Roth, Markneukirchen, 1927 'IX-R' 'Reproduction of 1736 Guarnerius'
One of the greatest German makers of his generation, Ernst Heinrich Roth (b.1877,d.1948) was something of a genius. He was said be fluent in eight or nine languages and played violin, viola, cello, piano and trumpet. Having first learned the craft of violinmaking from his father, he traveled to Italy, France, Austria, Hungary, Russia and England to further his knowledge. He studied many of the great Cremonese masterworks including the "Duke of Cambridge" Stradivarius of 1725 which he reproduced extensively. An astute businessman, his shop produced different model instruments at various price points primarily for export. Each instrument carried a label, branded serial number and certificate. His best period was from 1920 and ended in 1933 with the rise of nazism. Though there are still some stand out examples after this period, they are very few and far between. Roth is said to have finished, varnish and played each instrument before it left his shop. His highest level instruments have a soft oil varnish similar to that of the great Cremonese instruments, the XI-R model being made entire by his own hand (often being custom-made or commissioned instruments). This IX-R model violin came has a deep, open tone not unlike a real Guarnerius and is the among the highest-level Roths. We sold this Roth to the first customer we showed it to. |
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Ernst Heinrich Roth, Markneukirchen, 1928 'VIII-R' 'Reproduction of 1724 Stradivarius'
One of the greatest German makers of his generation, Ernst Heinrich Roth (b.1877,d.1948) was something of a genius. He was said be fluent in eight or nine languages and played violin, viola, cello, piano and trumpet. Having first learned the craft of violinmaking from his father, he traveled to Italy, France, Austria, Hungary, Russia and England to further his knowledge. He studied many of the great Cremonese masterworks including the "Duke of Cambridge" Stradivarius of 1725 which he reproduced extensively. An astute businessman, his shop produced different model instruments at various price points primarily for export. Each instrument carried a label, branded serial number and certificate. His best period was from 1920 and ended in 1933 with the rise of nazism. Though there are still some stand out examples after this period, they are very few and far between. Roth is said to have finished, varnish and played each instrument before it left his shop. His highest-level instruments have a soft oil varnish similar to that of the great Cremonese instruments, the XI-R model being made entire by his own hand (often being custom-made or commissioned instruments). This violin came to us in virtually mint condition, complete with the original pegs. It has a particularly sweet and lovely tone. |
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Silvestre et Maucotel, Paris 1905
The firm of Hippolyte Chretien Silvestre & Ernest Maucotel lasted only from 1900 to 1913. Upon the death of Silvestre that year, Maucotel formed a partnership with Paul Deschamp. In the short span of their association Silvestre & Maucotel produced many fine instruments which we consider undervalued for their level of craftsmanship and tone. This beautiful French violin built on a 1690's Stradivarius pattern (image slightly elongated from wide lens) exhibits choice materials, crisp workmanship and is covered in lush, transparent wine-red varnish. It has a sweet and balanced tone and makes an elegant choice in almost any musical setting. |
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