Vincenzo Postiglione (1831-1916) completed 278 violins in his lifetime and this instrument, numbered 177, was made in Naples in 1888. A handwritten addition to the printed label indicates that it was copied from a violin by Guarnerius del Gesu.

The table is of medium-grained spruce and the ribs and two-piece back are of mildly-flamed maple. The varnish is an orange-brown. The violin is virtually in mint condition with no cracks or repairs apparent. Length of back: 35.9cm.

Recently discovered in Spain, this instrument has been largely unplayed for the past period of time. It has an exceptionally beautiful tone, unusually clear and big, with the kind of penetration and nobility that one would expect of a fine concert instrument.

Price Withheld: This violin was sold to a leading violin dealer in Cremona, Italy.

This splendid instrument bears Vuillaume's serial number 1792, which places it around 1850. It is a copy of Stradivarius' Il Cremonese of 1715. It has a certificate issued by Tibbalds & Son of Brighton, undated, but probably from 1920 – 1930 (See photograph).

The one-piece back is of unusually attractive finely-curled maple. The selection of materials for the rest of the instrument is consistent with J-B Vuillaume's standard of excellence. The neck and fingerboard were replaced in 1962 by Werro in Berne, but the original scroll was grafted on. (The original neck is still available.) The reason for replacing the neck was that it had been thinned down by the previous owner, who had extremely small hands.

A C-bout and two corners were expertly restored by William Luff in London in 1952. A well-executed repair to a sound-post crack dates from earlier, and according to Luff is was an exceptionally professional repair. Luff viewed this violin as being in near perfect condition.

Albert Sammons, the great teacher and violinist, saw this violin in the early 1950's and was most impressed by it, feeling that it was equal to any of the Strads he had played on.

This violin comes with a case, previously owned by Richard Strauss, who presented it to Leopold Premyslav. The latter gave it to an elderly collector who left it to the present owner in his will. The case was in a very poor condition and was restored in 1990, using the original parts with new leather and velvet.

Please direct enquiries to Johan Grobbelaar. (This violin was eventually sold by auction in London.)

This violin was recently loaned as instrument of choice to the Russian violinist, Elena Kerimova, for her performance of the Tschaikovsky Violin Concerto with the KZN Philharmonic Orchestra. It is a superb concert violin.

Based on the Stradivari pattern it is made of unusually fine materials – the two-piece back and sides are of well-flamed maple with a distinct medium curl. The top is of superb finely grained tone spruce (in one piece!). Other than a small wingcrack at the bottom of the left f-hole (which has been repaired) the violin is totally free from cracks. The most striking feature of this instrument's appeal is the beautiful and unusually rich golden-red amber colour of the oil-based varnish, which shows the wood off to great advantage. By all standards this is a beautiful violin.

The top corner of the left inner bout (front) has been replaced, but the graft is unobtrusive (see photo). The neck and scroll are certainly not original and the neck itself was recently reworked in Italy by the violinmaker, Peter Pots. A handwritten inscription inside on the back indicates that this violin was repaired in 1926 in Cape Town by the respected English violinmaker and repairer, H H Saby, and it’s likely that the repairs and neck replacement was carried out by him.

The violin’s tone sets it in a class of its own, which makes it imminently suitable for solo work. It is a big tone, full and rich in the low register, and has clarity and brilliance in the high register. It is even across the strings and speaks easily throughout the range, with lots of carrying power.

Price: Withheld (This violin was eventually sold in New York.)

Despite his reknown as maker, very little is known about Galea, and I have spent considerable time to find out more about him. I learnt the following:

Galea was born on 2 October 1909 in Cairo, of Italian parents. The German researcher, Lütgendorff notes in his authoritative volume, Die Geigen- und Lautenmacher vom Mittelalter bis zu Gegenwart, that Galea made his first violin at the age of 11 and at the age of 15 had completed 15 violins. His teacher at that time was the Italian violinmaker, Ami care Coschiera, who had a workshop in Alexandria. Following his apprenticeship with Coschiera, he opened his own workshop in Cairo.

After the Second World he moved to Durban, in South Africa for a position as first violinist in what was then, and still is, Africa’s leading Symphony Orchestra, in Durban. At that time Durban was home to Amon Bilmark (1894-1961), whose studio and business dominated the entire country. Bilmark (born in Denmark) had been apprenticed to Simone Sacconi (1895-1973) in Rome before Sacconi moved to the USA in 1931. Bilmark’s apprentice, Pragasen Reddy (b. 1932), knew Galea well and told me the following:

It appears that soon after his arrival in Durban in about 1946, Galea entered a business partnership with Bilmark which lasted only briefly, until 1950. Galea did much of the routine repair work in Bilmark’s studio while pursuing his own violinmaking. (Sacconi – hence also Bilmark – was famous for his expertise and method in restoration and difficult repairs, and later Galea also became known for the same skills as restorer and repairer – something he undoubtedly picked up from Bilmark).

Galea’s talent as maker and ambitions in business was bound to lead to conflict with Bilmark and it seems furthermore that his partnership with the latter was more at Galea’s insistence than otherwise. (I recently found a string envelope in a discarded violin case – the envelope bore Bilmark’s printed details, but Galea had added his name and “partner” in his own hand – an interesting relic that tells its own story (see photo)). The two men had a serious confrontation in 1950 and their ways parted. Until 1961 Galea repeated invited the young Reddy to work for him, but Reddy always declined.

Galea set up his own workshop. By the late 50s he was firmly established as a violinmaker of high order. It was over that time, during one of his concert tours to South Africa, that Yehudi Menuhin met Galea. Menuhin was impressed by Galea’s work and suggested that Galea should move to the United States. Menuhin eventually assisted him in emigrating to the US in 1962. Galea settled in Longbeach Ca. where he opened a violinmaking studio and shop. This studio was soon to dominate the violin community in that area and became noted for excellent repairs and restorations. Galea remained there for the rest of his life until his death on 28 July 1994, aged 84.

Galea commanded respect through is work. Ruggiero Ricci commissioned a violin from him in 1970. By 1979 Galea had made around 200 instruments and his life's work amounted to around 240 instruments.

Whatever controversy surrounded Galea was based on some ill-considered and maverick comments he made about violin varnish. However, in the bigger picture this shrinks into insignificance when you handle his violins and play on them. He made only two to four violins per year, and they are in the hands of professionals all over the world. So far I have not come across one that showed work of inferior quality or of poor tone. Being a good violinist, Galea knew what violinists wanted and didn’t sell an instrument until it conformed to the tonal properties he expected and became known for. All his violins sound really good.

This violin was made in 1961 in Durban and is probably one of the last instruments he made before leaving for the US. The one-piece back, sides and scroll are of matching wood with a distinct flame of medium curl. The top is of fine tone spruce. The tracing of the purfling, the corner work and the beautifully balanced scroll truly impress. The varnish shows why Galea had reason to boast – the golden honey colour with a tinge of red amber in the back, makes this violin really attractive. The violin bears Galea’s handwritten label and is also branded inside in the back. It is in impeccable condition.

This violin is characterised by a powerful and rich tone. It speaks easily and is well balanced in all registers - eminently suited for big solo work and concertos. It has had only one owner who bought it directly from Galea and was used extensively for recitals, recordings and concerto performances.

LOB: 35.6 cm. Bouts: 16.7, 11.1, 20.9 cm.

Price: Withheld

William Henley, in his famous reference book, describes Zanoli’s work in terms that exactly fit this instrument: “Although Italian, he shows distinct traces of German influence; workmanship is not very careful. The oval scroll is crushed and squeezed and the f-holes small and widely positioned; accuracy and regularity in the purfling is violated. However, his instruments are built with especially fine material and treated to a golden tinted varnish, somewhat velvety – and gleams of rich tonal quality emerge from these improperly curvatured instruments.” Photographic representations of G B Zanoli’s work bear out that this violin could be from his studio. French authority, René Vannes, adds two other characteristics of Zanoli’s which fit this violin – a flat, low arching and low ribs – and a rich tone.

The neck graft is well-done. Whatever the origin of this instrument might be, however, it has had several repairs done to it - apparently a long time ago - notably to some cracks in the top, which appear to have been the result of a blow on the edge of the lower right bout. The top has no soundpost or bassbar cracks, but the back has a soundpost crack. All these repairs appear to have been expertly done and are stable.

All the wear and use this violin has seen through the centuries has contributed to its marvelous character. It has a beautiful, rich and mature tone. The G-string is responsive and open and the high register is clear, which body and nobility. It is really a pleasure to play on and fully suitable for professional use.

Price witheld.

Price: Withheld

Henley’s Dictionary describes Lewis’ work thus: “Rare violins having mighty superiority over many by native contemporaries, all having the essentials of real beauty. […] Finely carved scroll, also splendidly conceived. All intricate paths, externally and those hidden from general view, traversed with confidence. Varnish light yellow, or more frequently red with a golden ground, superbly transparent and elastic.” In this Henley may have been describing this violin.

This instrument is a superb example of English violinmaking peaking at a time when Stradivari was producing his finest work in Italy. It has come across some 306 years with very little restoration having been required. Langonet set up the period tailpiece (as can be seen in the photos), but this has since been replaced by a modern boxwood tailpiece and Guarneri-type chinrest, to match the yellowwood baroque pegs. Langonet also set up the present bridge (1950) which is still perfectly good and remains on the violin. The baroque tailpiece (with gut tailgut) will accompany the violin and can be refitted easily.

The two-piece back, ribs and scroll are of matching wood – a well-flamed maple with medium curl. The top is of very finely grained spruce. The scroll is magnificent and the neckgraft one of the finest I’ve seen. Purfling is beautifully traced. The number 454 is punced into the righthand side of the scroll – a catalogue number probably by Hills. A crack in the table from the bottom of the right f-hole to the bottom edge is so well repaired as to be virutally invisible, along with a wingcrack in each f-hole. These repairs appears to have been executed by Langolet himself.

Dimensions in cm: L o b. 35.6; Upper bout 16.8; Lower bout 20.8; Inner bout 11.1.

The violin has been in professional use for many years. The tone is golden, mature and has the nobility that comes only with great age. As much as this instrument is perfect playing order, it should also been regarded as serious collector’s piece for a musician or investor who would concern himself with the appreciation and preservation of a very rare and valuable instrument.

Price: Withheld

This violin was only recently discovered in a bad state of neglect and was rescued from obscurity. It is a truly beautiful instrument which has seduced all who have seen it or played it.

The one-piece maple back is quite plain, cut on the slab, with almost no curl or flame. Purfling and corners show a clean steady tracing without elaborate finishes, which is exactly what adds to the general feel of simplistic elegance that is the dominating characteristic of the instrument. The f-holes are straight and quite strong and broad; with the extremely narrow waist of the violin, they appear almost too close to the inner bouts, but again the overall feel is one of balance and elegance. The top is of medium to broad-grained tone spruce. As for the neck – all agree that it is unlikely that the scroll is the original: although elegant, it lacks the balance and combination of strength and elegance that is evident in the rest of the violin, and doesn’t reflect the same technical skill shown in the corners, purfling and other aspects of the violin. It simply is not by the same hand. Also, whereas materials chosen for the violin were excellent, the scroll is of somewhat plain wood. The neck graft is masterfully done, probably by the Hills studio, as is evidenced by the ebony crown on the button. The instrument has been the subject of several repairs. All the evident cracks have been professionally repaired and a thorough recent examination of the violin has shown it to be structurally secure. It is a smallish instrument with a LOB of only 35.4 cm.

What sets this violin apart from most other instruments I have encountered in recent times, is its tone. It is rich and sonorous with a distinctly Italian sound. The top is somewhat “woody” (meaning thick), resulting in a richness of overtones that adds to a sonority that is rich, rather than big or fat. It projects with power in a hall. The violin was on loan to the Russian violinist, Elena Kerimova, who used it in various solo performances. In comparison with various other high-profile concert violins which were tried out primarily for solo purposes, there was no doubting the quality of this violin as a solo instrument.

Price: Available on request. (This violin was sold in New York>)

Note: High resolution photos can be sent on request.

This superb violin by Franco Albanelli was for many years the principal instrument of the Concert Master of a leading Symphony Orchestra in Italy. It has superb tonal properties and is well-suited for solo work. Albanelli was a student of the eminent Italian violinmaker, Gaetano Pollastri, and lives and works in Bologna where this instrument was made in 1971.

The top is of medium grained spruce and the one-piece back and ribs of broadly flamed maple. Everything about this violin shows a fine hand – the purfling is superbly traced and the scroll is beautifully cut, preserving Italian traditions. The varnish is an attractive amber combined with black ebony fittings. The violin is free of cracks or repairs and was set up by the Italian violin maker, Odino Puntin.

The tone is very strong and open with a lot of penetration and is very even throughout the register, right into high positions where it speaks easily and with clarity. This violin is ultimately suitable for solo work.

Price witheld on request of the new owner.

This violin, made in 1993, was in extensive professional use until recent. It was the principal instrument of the outstanding South African violinist, Stephan Schoeman, who recently died tragically at the prime of his career. It was used for all his professional work during the 20 years he lived and worked in the USA – as lecturer and as Concert Master for various orchestras in the US and South Africa. It was also his instrument of choice for his participation in the Paganini Violin Competition in Italy, and in all his concerto and recital performances.

This violin is made of superb materials. The two-piece back, ribs and scroll are of mildly flamed maple of medium curl. The top is of a broad-grained spruce, but with very even configuration. The pegs are ebony, but the rest of the fittings are of rosewood. The purfling is very finely traced.

Recently, after learning of Schoeman's death, the maker, Michael Darnton, sent this information: "I was shocked and saddened to learn, via your web page, of Stephan's death. As I remember, his violin, which is on the same 1715 ex-Baron Knoop Stradivari model I still favor, was a particularly nice one, though I haven't seen it since 1993. The maple it's made of was cut several miles from where Stephan was working at the time he bought it, in Michigan's Upper Peninsula, near Houghton - a tree I bought as a huge trunk at the mill and sawed into violin backs myself with a chain saw, in about 1981. - Michael Darnton, Chicago."

The violin is in superb condition. The only repair that is evident is to a wing crack in the right f-hole, which was expertly repaired in 1999 by Dale Walton. The light-golden varnish is oil-based and in this case quite well-worn as a result of constant use and demands made by Mr Schoeman’s career as soloist and teacher.

The evident wear on this violin is for a good reason – it is an extremely seductive and satisfying instrument to play on, from just about every point of view. The tone throughout is characterized by warmth and fullness on the G and D strings, and clarity and penetration on the A and E. The violin is unusually responsive and allows for great nuance and subtlety in timbre, tone and also in its response to demand for volume. It is one of those violins you don’t tire of and and once you start playing, you don’t want to stop, such is it’s tonal beauty and ease of response.

Schoeman, who was a student of Ruggiero Ricci, had access to various superb instruments in the US, but always came back to this one - it was his instrument of choice. It is suited for any serious violinist now looking out for fine vehicle of expression.

Price: Withheld

An attractive feature of this violin is its one-piece maple back. The top is of finely-grained spruce and the purfling superbly traced. Golden-red varnish. Everything about it speaks of excellence of craftmanship. The reasons for the neck-graft are not clear, but is is perfectly executed, as are the rebushings of the pegs.

The best aspect of this violin is that it has all the tonal properties one would require in a concert instrument of very high order. A powerful and attractive tone with much penetration and carrying power is combined with exceptional evenness and responsiveness over the full range. The tone is produced with ease. This is the kind of instrument one would need for solo concert performance with orchestra. It is principally a solo instrument of a very high order.

The instrument was brought to South Africa only this year. Until recently it was in professional use as the main instrument of a leading soloist in England. It has received great appreciation by all who has played on it.

Price: Withheld

From 1844 onwards, Derazey sought the more commercial avenue of a large studio and apprentices, resulting in massive output of instruments that became extremely popular in England. However, Derazey’s own work always conformed to the highest standards – Henley refers to ”workmanship ‘à la finesse' in all verity”, and to ”the essence of delicacy”. He also confirms the fact that Derazey’s personal work was seldom labelled, but rather branded in a very simple manner with H D or H. Derazey.

This violin – meticulously following the Stradivari pattern - is a splendid instrument from every perspective and an excellent example of Derazey’s personal work, probably dating from before 1840. It is branded H. Derazey in the back (see photo). Its back betrays HD’s preference for one-piece backs (almost all photos I’ve seen of Derazey’s violins show a one piece back, usually of impressive wood) – it is of maple with a distinct flame and a fine curl, set straight across the back. The ribs and scroll match the back perfectly. The top is of medium-grained tone spruce. The scroll is as beautiful as one could possibly wish from a master craftsman. The neck has been replaced (with beautifully flamed wood) – probably due to wear on the original neck. The neck graft and rebushing of the pegs have all been masterfully done. Of Derazey’s f-holes, Henley says: ”Sound-holes not surpassed by any maker of any period or any school for perfect grace and curve.” and he refers to the ”…artistic combination of the sound-holes with the waist curve.” The varnish on the back, sides and scroll is reddish brown and is the original. The top has a more golden tinge to the brown, and may have been revarnished, but that is not certain.

This violin has a big tone of excellent quality, which sets it apart as principally a solo instrument. The g-string is rich and rewarding in high positions and the top register bright with penetration and carrying power. It has till now been used by a leading South African violinist for recitals, concerts and CD recordings.

Price: Withheld

This violin, made in 1950 (when Timmerman was 72) is no exception. It is made of beautiful materials – finely grained spruce top with beautiful fine-curled maple one piece back and ribs. It bears the small brand on the inside of the back – "Timmerman's Gravenhage" and the label is handwritten. Everything about this instrument is well done and a pleasure to look at. It is in excellent condition.

This violin's tone is big, healthy, open and responsive – even and stable throughout the register, right into high positions. This is good for solo work and is a pleasure to play on.

It was in the private collection of the legendary violin maker, J. J. van der Geest, for a long time. This violin is currently in London and the price is available on demand.

This violin was sold to a leading dealer in London, but has subsequently returned to South Africa.

This violin by Andrew Smillie is in mint condition, as if made yesterday. The one-piece back is truly stunning with a broadly flamed maple. The top is if finely-grained spruce. The workmanship throughout bears testimony to Smillie as a master craftsman. (See photos)

This violin was brought to South Africa from London only recently. It is particularly well-toned and would suit anyone now looking for a fine instrument of professional quality.

Price: Withheld

It follows the Guarneri pattern, but not strictly. It is a large violin with LOB of 36.6 cm, upper bout of 17.3 cm and lower bout of 20.9 cm. The materials are very good – the one-piece back is of maple with a feint medium curl - along with the ribs, neck and scroll, it lacks flame and appear to be somewhat dull. This is made up for, though, by the yellow ground and lovely complimentary deep red varnish, which still remain adequately to make this a very attractive violin. The top is of medium grain spruce. This violin is in excellent condition.

The violin has been carefully crafted to antique the instrument. This was done most convincingly, but nevertheless is noticible in the “neck graft”, and in the “cracks” which are in fact carefully drawn, but doesn’t penetrate the wood much beyond the surface. In truth the violin has aboslute no cracks and is in superb condition. The “wear” of the violin was added by the maker. Also, the absence of rebushing of the pegs casts doubt on its apparent age. In itself there is nothing wrong with this artificial aging, since today the antiquing of instruments is standard practice and common procedure, even in international competitions of lutherie – so this should not be seen as distracting in any way from an excellent instrument.

This violin is characterized by it’s unusually big, rich and penetrating tone, which lends itself to solo work. This has been the instrument of choice of a professional violinist until his recent retirement, and was for many years used extensively for solo work, chamber music and concerto performances.

Price: Withheld

George Craske (1795 – 1888), as one of England’s foremost violinmakers, was known for several things – that he was an apprentice of William Forster, that he had a prolific output of instruments in his life (2050 violins, 300 violas and 250 cellos), that he spent most of his long life in seclusion (he died aged 93) and that he didn’t like parting with his own instruments, which he hoarded. At his death, a friend, George Crompton, acquired Craske’s remaining stock, which eventually made its way to Hill & Sons, where his instruments were put in order, relabelled and sold.

This particular violin was part of the stock taken over by Hill. It is labelled ”Made by George Craske (born 1797, died 1888), and sold by William E. Hill & Sons, London”. The date, 1840, is added to the bottom edge of the label by hand. One can safely assume that this is the date the violin was made, that this addition was made by Hill and that it was the date that Craske himself may have written on an original label that Hills had removed or covered when they inserted their own label, described above. If so (and it is a reasonable assumption), one is left to speculate why Craske hung on to this violin for around 48 years, not parting with it. It could be that he particularly liked the instrument, and there would a lot of good reason for that:

The violin is based on the Guarneri pattern (Craske’s favorite), evidenced by the overall shape and f-holes. It is exceptionally flat, making for powerful tone. The two-piece back and ribs are of fine maple, somewhat irregular in the lower third, but with a straight medium curl and distinct flame. The top is of tone spruce with a straight medium grain and an interesting small knot just off centre. The scroll, of nicely flamed maple, is truly magnificent! (See photos) – probably one if the most beautiful I have seen, and really reveals Craske’s genius and reknown as a master craftsman. The purfling is good, with nice corners, but at times is uneven and rough. The varnish – golden honey-brown – is transparent and shows the wood off beautifully. The violin is still fitted with a bridge by the great Dutch violinmaker, J J van de Geest (who died in 1974). The only evidence of repairs is two wingcracks, both secured and stable. All round this is a magnificent violin in a superb state of preservation – not only a time capsule of Craske’s work, but also a impressive legacy of his craft.

This violin’s tone is big, with penetration and carrying power. Right from a rich G string to the bright E string, it is well-balanced and even, and speaks easily. As an instrument it pleases immediately, both the player and the hearer.

Price: Withheld

Note: High resolution photos can be supplied on request.

The top is of medium-grained spruce and the two-piece back and side of very attractively flamed maple. The scroll is particularly well-cut. The length of back is 35.8cm.

This violin has until now been professionally used.

Price: Withheld

Hans Fürst was known for careful and meticulous workmanship, which is demonstrated in this violin – everything about it is tidy and crisp. He was primarily a guitar and lute maker, and violins by him are rare. This violin is dated 1946, when Fürst was at the peak of his abilities. It is an attractive instrument, nicely crafted.

The two-piece back, sides, neck and scroll are of mildly-flamed maple with a medium but distinct curl. The top is of medium-grained tone spruce. The f-holes are sharp and nicely done, and the purfling is good throughout, showing a steady hand. All who have handled this violin commented on the beauty of the varnish – an unusually smooth velvety red-brown oil-based varnish, which impresses. Furthermore, it was a tradition of the Fürst family always to write out their labels by hand, and this violin follows the tradition. (See photo).

This violin is in excellent condition with no cracks or apparent repairs. LOB is 36 cm. It was the main instrument of an important teacher who took very good care of it. It is well-toned and suitable for professional work.

Price: Withheld

(High resolution photos are available on request.)

This violin dates from that same period, when Van de Geest was at the peak of his powers. Made in 1956, it has a splendid one-piece back of well-flamed maple, matching the ribs and scroll. The top is of finely-grained tone spruce and the violin in it’s entirety is in mint condition. The varnish is a deep wine-red – characteristic of his work from that period. Throughout the workmanship is superb – from the finely traced purfling to the handsome scroll.

This violin is well-toned and is a pleasure to play on. It is responsive, speaks easily with strength and penetration throughout the whole register. It is even and balanced on all four strings and stable in the high positions. All over it displays the tonal characteristics one would expect from a violinmaker of Van de Geest’s stature.

It is rare still to find Van de Geest’s violins in South Africa. They are mostly bought up by Dutch and other collectors.

Price: Withheld

This violin is unlabelled. Although largely made in the German Tyrolean style, its origins are unknown. It was originally acquired in Russia where it was used professionally for many years before being brought to South Africa.

It has a one-piece back of nicely curled maple. The sides are of a finer curl and top is of finely grained tone spruce. The neck and scroll are of plain wood. Wingcracks are common in old violins and in this case they have been nicely repaired, as have been some cracks in the top. The arching is somewhat less pronounced than what is typical in Tyrolean instruments, which contibutes much to the power of this violin’s tone.

This instrument was recently completely restored, all cleats inside were reviewed and replaced where needed. A new bass bar was fitted. There is also a thin wedge under the fingerboard to lift it slightly. It is structurally stable and in good condition. The instrument has all the characteristics of a very old violin – the corners and scroll are worn. The neck graft is well done.

This violin has often been used comparatively with other solo instruments, and very few violins matched this one in power and beauty of tone, which makes it easy to understand why it was used so extensively for professional solo work. The tone is very mature, rich throughout and with carrying power. It has none of the mild sweetness one associates with instruments of high arching, but has penetration and volume. It is even, speaks easily and combines warmth with brilliance.

Price: Withheld

Everyone who has examined and played on this fascinating violin can find no plausible reason why this should not be the work of Michel Angelo Bergonzi (1722-1770), as is indicated by the label. The latter conforms to extant examples of this maker’s labels and reads: ”Michel Angelo Bergonzi. Figlio di Carlo fece in Cremona l’anno 1763”. This violin was only recently discovered from an obscure background.

It satisfies every examination and criterion from an superficial perspective – the choice of material is unusually good throughout. The back is of a splendid single piece of beautifully curled maple, matching the sides and scroll. The top is of exceptionally finely-grained spruce. Furthermore, it bears every sign of age and wear one would expect in a violin from 1763. It has a superbly executed neck-graft and the rebushing of pegs is done in a superb manner, displaying great attention to detail. What is particularly appealing is the amber-orange varnish which appears to be original. The somewhat singular shape and positioning of the f-holes correspond to representations of instruments known to be by M A Bergonzi. Dimensions: length of back: 362mm; upper bout: 171mm; inner bout: 114mm; lower bout: 208mm; string length: 330mm.

Some restoration has been carried out: a soundpost crack and two wing cracks have been repaired expertly, as is a crack from the bottom of the left f-hole to the lower left edge.

The violin has the nobility of tone and tonal maturity that comes with time. The lower register is rich and the top end bright and sonorous.

Price: This violin has not been sold, but is withdrawn from this website.

However, everything about this violin conforms to the textbook descriptions of the work of Richard Duke, who was active in London from 1750 to 1780: Duke modelled his work on Stainer, Amati and at times on Strad’s long model. This violin is in the style of Stainer – prominently arched, among other things.

The scroll is beautifully made, full of refinement, character and elegance. The neck-graft is so well done that it is virtually indiscernable – the work of a superb craftsman. Ribs are somewhat shallow and the margins around the outline are small. As is typical with Duke, the one-piece back lacks distinct flame and appears almost dull, yet with superb tonal quality.

The 18th century violinmaker, A. Stannard, in a very old handwritten label, attributes the violin to Richard Duke. The label reads: “No. 146. Repaired by A. Stannard, April 11th 1794. Made by R. Duke 1772. Jan 15th.” However, this label is stuck partly over another more recent label which reads: “Repaired by H. Eisenmann, London 1882”. This could have come about in several ways. At any rate, Eisenmann was a very respected craftsman in London in the late 19th century. Evidently Stannard, who first repaired the violin in 1794, knew that the violin was the work of R. Duke, although Duke’s label is no longer in it.

On the button is stamped Duke, and just below the button, on the back, is stamped Duke, London. The word Duke is also stamped on the rib, just to the right of the end pin. (See photos) Furthermore, the number 92 is stamped into the back edge of the pegbox, below the nut. There is no number on the end of the fingerboard, as was customarily done by Hills, but it appears that the fingerboard and nut is relatively new. In its present configuration, the violin was set up by the Danish violinmaker, Amon Bilmark.

The condition is good – no cracks are discernable other than a small wing crack on each f-hole. Both have been repaired. The back is free of any cracks and the top has the usual “character” marks and flaws one would associate with a really old violin. However, this violin has had a major repair carried out to the top in that the central section, in it’s entire length, including part of the left f-hole, has been replaced by an inlay, about 4 cm wide. This has been so superbly done that at first glance it is hardly discernable – expert workmanship. It may have been done to repair structural damage or weakness. There are other minor repairs, but cosmetic rather than structural in nature. I believe all these repairs, and the new fingerboard, were done by Amon Bilmark.

This instrument’s tone is very pure and clean, warm, responsive and very mature, yet with fair strength and penetration. It’s a real pleasure to play on, particularly music from the 18th century, for which clearly the violin was made in the first place.

Price: Withheld

The rich red-brown varnish shows the wood off beautifully. The one-piece maple back is of unusual beauty – with a clear and interesting waving flame, also repeated in the scroll. The top if is finely grained spruce. The scroll is really well-cut – balanced and elegant. A crack from the lower end of the right f-hole to the edge has been expertly repaired and is stable. Throughout this violin shows the hand of a true craftsman.

This tone is pleasing – a mature g-string and the rest of the register speaks with clarity, right into the high register.

Owner’s price: Withheld

Pots’s craftmanship is considered Italian. He received his early schooling in Cremona, where his father (also named Peter Pots) apprenticed and worked as violinmaker. After university studies in South Africa (in Entomology), Pots returned to Cremona to study violinmaking under maestro Vanna Zambelli. After completion of the 5-year course in 3 years, he worked for the renowned restorers Bruce Carlson, Fausto Cacciatori and Bernard Neumann, where he had daily contact with some of the world’s finest instruments.

Peter Pots has always worked independently on his own instruments, often discussing critical points of design and sound production with his father. He also pursues direct contact with the musicians that would eventually use the instruments, considering their input and comment on his work. In this way he has maintained contact with some of the finest musicians in the world, such as Heinrich Schiff, Valentin Erben, Gerhard Schulz, Thabea Zimmermann, Thomas Riebl and many others who today own and perform on Peter Pots’s instruments..

With this violin Pots departs from his own individual design to follow the standard Stadivari model in all detail. Nevertheless, he always pays particular attention to playing comfort: the neck is shaped carefully to suit most hands. Furthermore, as with all his instruments, the back is particularly thick, ensuring that the violin will have a long period of improvement, and it adds that particular solid and noble sound which is a characterisc of all of Peter Pots’s instruments.

The top is of medium to fine-grained tone spruce with straight grain. The two-piece back, ribs and scroll are of maple with a medium curl and mild flame. The scroll is nicely balanced and strong. Peter Pots manufactures his own purfling, which is normally quite narrow. The purfling is very well traced and the corner work very accurate and detailed (see photos). The reddish golden varnish give an attractive touch to the violin and greatly compliments the materials. All round this is a beautiful instrument.

This violin already has excellent tone – a responsive and rich g-string with good balance over the 4 strings and good response in the high positions. And it will only get better.

The last photo shows Peter Pots working on this instrument in his studio in Scurano, Italy.

Price: Withheld

The instrument is in very good condition and is of the same good responsive tone normally associated with the work of Collin-Mézin. It is suitable for any discerning professional looking for a violin to be used in a wide variety applications.

Price: Withheld

This violin has an unusually beautiful one-piece back of well-flamed finely curled maple (see the photos). The scroll is very attractive and shows skill and attention. Other than a repaired crack in the top, running from the lower end of the right f-hole to the bottom edge and which has been expertly repaired, the violin is in very good condition with no other cracks or repairs evident.

The sonority is very pleasing and very refined. This is a instrument that would serve well in professional context.

Price: Withheld

This violin, specifically a copy of a Nicola Amati of 1666, shows a maturing of Marucchi’s hand and technique, which has become confident and steady, displaying great skill, not only on the structural and aesthetic side, but also tonally. The back is from one piece of finely curled maple with matching sides. The top is of exceptionally good quality, finely grained tone spruce. The scroll is strong and beautifully cut. Purfling is superb throughout with excellent beestings cut right to the edge – nice work. The f-holes are elegant – finely cut. The golden brown oil-based varnish shows the materials off beautifully. All round lovely work.

This violin was highly considered by both Prof. Jack de Wet and Prof. Dereck Ochse who both remarked on its excellent tonal properties.

This is a brand new instrument, and yet it already has most of the attributes one would like in a good violin – tone is strong and incisive, with good penetration, yet easy to play to on with good clean and fast response to the left hand, even in very quiet passages. It is capable of very good powerful playing. It should be in the hands of a serious violinist

Price: Withheld

This violin, completed in 2002, is really well made. It shows a steady hand in the purfling and scroll. The arching is beautifully executed and the attractive golden-brown oil-based varnish beautifully compliments the boxwood fittings. All round this is an appealing instrument of very good quality.

This particular violin is now in professional use and has already been used for recitals and concerts by various musicians, all of whom commented on its fine tonal properties and strong projection – all qualities desired by solo artists.

This violin is not for sale, but the maker, Luigi Marucchi, accepts commissions and will produce similarly fine instruments on demand. The price is to be negotiated directly with the maker.

The one-piece maple back is truly beautiful with a distinctly flamed medium to narrow curl. The ribs, neck and scroll match this superb quality and is probably from the same block of wood. The table is of excellent tone spruce with a narrow grain and the varnish is golden brown. The purfling is superb and the scroll and general workmanship of the violin is immaculate. What is impressive is that, after some 76 years, this violin is in virtual mint condition with no repairs or cracks anywhere.

This instrument was for several years used by a leading South African violinist for solo and chamber music recitals. It is characterized by a big soloistic tone, with penetration and carrying power. The g-string in high positions speaks easily with a warm open tone and the balance throughout is good, with plenty of power in the high register.

Price: Withheld

At first glance there are no discernable repairs done to it. The top, of medium-grain spruce, is totally free of obvious cracking anywhere. It is only with the closest scrutiny that a repair can be seen to a small crack on the table, running from the top of the left f-hole opwards – it has been meticulously cleated, is vitually invisible and poses no threat to the structural integrity of the violin. The ribs are of somewhat plain maple – two small age cracks in the ribs have been repaired. The two-piece back is likewise of plain maple An inlay was made all around the edge on the inside of the back, probably as structural reinforcement due to the instrument’s age - this is so well done as to be virtually invisible from the outside – it can only be seen from the inside. Also, some reinforcement has been made to the inside of the back, around the button.

Although somewhat roughly made, the scroll is interesting and with a degree of finesse. The neck-graft is so well done as to be virtually invisible. Two pegs have been rebushed. The purfling is generally good, but at times a bit rough. The f-holes, although nicely balanced and well-cut, are quite unusual and interesting, and may be a clue to the violin’s origins. Length of back: 35.6 cm; across lower bout: 20.2 cm; testatura: 32.3cm.

The inside of the back has a maple patch grafted in under the soundpost. Only the closest examination will show a small soundpost crack in the back. The repair has been done to the highest standard, and I believe that it is stable with no risk of recurring.

The violin was purchased in Venice, Italy, by its last owner, about 40 years ago. All work done to it must have been executed in Italy, prior to being brought to South Africa – it shows the very highest standard of craftmanship one could wish for in restoration work, and is certainly of the best I have seen. The only clue the craftsman left is a small ink inscription directly on the inside of the back, towards the rear, which simply reads Jul. 1925, probably the date of the work.

The most impressive part of this violin is its tone. It has an unusually powerful tone, with carrying power and penetration. Although very even and responsive throughout the higher positions, it tends to favour the high register. It is a very rewarding violin to play on, if you like brightness, and all those who tried it (all professionals) got very excited over the ease of response and natural projection of the instrument.

Price: P O A

Finding an instrument such as this one in near mint condition and saving it from relative obscurity in Africa, is exciting. William Henley’s great Dictionary refers to Mayson in superlatives, ascribing him the quality of Genius. In his relatively short productive period of 31 years (1873-1904), he produced around 810 instruments.

The two-piece back and sides of this violin is of beautiful broadly-flamed matching maple. The top is of medium-grained spruce. The scroll is somewhat narrow but nicely proportioned. One sees a steady hand in the very clean tracing of the purfling. Somewhat long f-holes but nicely cut. Mayson’s varnish is known to be somewhat soft and brittle, and it appears that this violin may (or may not) have had a thin coat of varnish applied over the original (certainly long ago) probably more as a light touch-up and protection than as a replacement. I don’t regard this as a revarnish. The lower bout is somewhat wide at 21.2 cm and the length of back is 35.3 cm. The only discernable repair is a small one done to the button, but this does not seem to threaten the structural intergrity of the violin.

It seems that this violin was in amateur and student use for most of its life and was never played to the full of its potential. It has a beautiful tone – mature and rich and unusually responsive in all registers – a warm strong G-string to a clear and incisive E string. I believe is will benefit from a fresh setup to unlock its full potential. It has all the hallmarks of a really fabulous violin made by a fine craftsman who merited all the glowing reports about his work by Henley and Vannes.

Price: (Eventual Sales Price withheld by buyer.)

This violin is made of fine materials, with a particularly attractive maple back and double purfling throughout. The neck graft is expertly done. Other than an old repair to a crack in the lower left bout of the top, the instrument is in unusually sound condition, considering its age.

It is a pleasure to play on this responsive violin. It has an unusually big tone with a clear, open G and a bright E string. The sound is mature, as one would expect after 330 years, and is well-balanced through the full range of the register. Then tone is stable in high positions and the quality of the high positions on the E string is particularly attractive.

Not only is this a fine old collectors violin, but, depending on one's own taste in tone, it could be suitable for most work.

Price: Withheld (Sold via the internet to an American buyer.)

The reason for the Buthod label becomes more understandable when we consider that Charles Buthod (1810-1889) was one of the three founder members of JTL and was eventually its director. (The other two were Husson and Thibouville-Lamy). The firm’s annual output was 800 violins, 400 violas and 50 cellos, produced in three distinct grades, which were affordable alternatives to expensive handmade violins, and which brought violins into the hands of many excellent but less priviledged young musicians. The JTL firm was still operating in 1930, maintaining its same high standards.

The JTL fare is always good – they are well-made solid instruments of excellent materials and with good tone. I have not yet seen a JTL instrument that was not appealing to the eye – the backs usually are very attractive and the varnish pleasing.

This violin represents what one would normally find in a good JTL instrument – a beautiful one-piece back, well-flamed in medium curl maple, The sides, neck and scroll are not of the same wood, the sides being less markedly flamed, but attractive nontheless, and the scroll is well-flamed. The scroll is good but lacks the finesse one would associate with good handmade work of a masterworker investing himself, and the f-holes are somewhat functional and ponderous. However, what impresses is the purfling and the cornerwork – very good throughout. Varnish is characteristic red-brown – nice on the eye.

The tone is pleasant and responsive, as is the case with all JTL’s top-grade violins. After some 120 years, this violin has matured well and is in excellent condition. It would be a worthy acquisition for an advanced student, with entry-level professional possibilities.

Price: Withheld

This instrument was used for many years as principal instrument of a first violinist in the Manchester Symphony Orchestra, but has been largely unplayed for the past number of years. It is in excellent condition. It shows really beautiful choice of wood and excellent artistic workmanship. It's very attractive to the eye.

This violin speaks easily. The tone is robust, bright and open with strong penetration. It is currently in London and the price available on demand.

(Sold to a buyer in London.)

This violin is based on the Amati model. The one piece back is of maple and the top of medium-grained spruce. The very dark brown varnish is typical of the younger Leeb's work. The instrument has a beautiful scroll, but lacks a neck graft, consequently it is doubtful whether the neck and scroll are the original. The varnish on the scroll however matches that of the rest of the violin.

Two cracks in the top have been expertly repaired by a craftsman called Lange, in Görlitz in 1889, and are stable. Furthermore a black ebony insert has been made in the right inner bout to repair probable damage by the bow's nut during performance (see photos). Other than this, the violin is in superb and sound condition and displays admirable craftmanship by this violin maker who died so young.

The tone is warm and pleasant and is capable of power and penetration. This violin was for many years the principal instrument of a well-known South African concert violinist who used it on many occasions for solo performances.

Price: Withheld

It is made of beautiful materials – the two-piece back and ribs are of well-flamed maple and the top of good quality medium-grained spruce. What is unusually impressive is the fine tracing of the purfling, particularly the way in which the corners are done. The scroll is attractive and well balanced. This violin is in mint condition without a crack or repair. The oil varnish is of attractive amber colour and is well-worn.

The tone is big and of good quality, well-balanced and even, right into the upper register. It speaks easily and with projection.

Price: Withheld

A characteristic of the violin is the name “Conservatory Violin - Straduari” stamped into the back of the scroll (see photos). I have seen three other similar violins and all three were of excellent quality with beautiful tone. However, no amount of internet and printed research gave me conclusive answers as to the manufacturer of these violins, other than they being of German origin. The first mention of them anywhere was in some old catalogues of the main violin dealers in the USA. They are mentioned in catalogues from around 1890 through around 1910, but then seem to disappear off the scene. Which means they were produced over that period. All these catalogues make mention of the excellent materials, workmanship and tone.

Blatantly following the Stradivari pattern, this violin is of superb materials: The two-piece back and ribs are of truly attractive and excellent quality maple with a distinct medium curl. The neck and scroll are more plain, but the scroll is beautifully cut. The purfling is very nicely traced and tidy in the corners. The oil-based varnish of golden-brown colour. This violin is in mint condition.

The tone is bright, open and with carrying power. What makes it a pleasure to play on this instrument is the extreme lightness of touch and the ease with which the violin responds. All who try it out don’t want to put it down again.

Price: Withheld

This violin bears one of the labels associated with his work, being the initials J.H.Z., set within a heart which in turn is contained within a circle (see photo). It is undated, but bears the signs of workmanship typical of Markneukirchen and other large German violin studios, so it can be safely said that the violin dates from soon after 1908 – the year in which he established a studio in Markneukirchen.

Although evidently well-used and appreciated by its previous owners, this violin is in mint condition and a superb example of Zimmermann’s output. The front is of broadly grained tone spruce; the back, ribs and scroll of medium-curled maple. Above all, the instument is varnished in an attractive, warm orange-brown oil-based varnish. Arching is somewhat flat, which contributes to its good strong tone. The present tail-piece and pegs are probably original – the former being elaborately embellished with mother-of-pearl inlays, and the latter also having small inlays. Throughout the violin is beautifully crafted with superb tracing of the purfling.

It is well-toned – clear, warm and responsive and is a pleasure to play on. The tone is stable throughout the full register, high into all positions.

Price: Withheld

Based on the Stradivarius model, this instrument is in superb condition with no cracks or repairs. It is characterized by a very reddish oil-based varnish. A peculiarity is that the back appears to be of poplar, or of a similar type of wood, cut on the slab, but definitely not of maple or sycamore. However, the ribs are of good maple, and the top of a finely grained spruce. The scroll is attractive, balanced and finely cut, but the purfling lacks refinement.

This violin is well-toned – it has a refined sound, balanced and pleasant, quite open and even throughout, right into the high positions where it responds well.

Price: Withheld

The top is of tone spruce, but the two halves are not in mirror, evidenced by divergent grain lines. The back is in one piece, cut on the slab – a somewhat dull wood with no flame. The scroll is nicely made and shows more refinement than the rest of the instrument – which leads one to think that it is by another maker. Purfling is nicely traced, but not with great refinement. The high arching – almost tyrolean – is not in character with descriptions of Lippold’s work. F-holes somewhat ponderous. The neck graft is well executed and the pegs have been rebushed.

This violin doesn’t have its original varnish, but has been revarnished at some stage with a pleasant golden-brown varnish. It is nevertheless an attractive instrument in exceptionally good - almost mint - condition.

The tone is robust and mature – a rich g-string and clear high register, even on all strings and positions – a worthy instrument. It was in professional use for a long time, and with reason.

Price: Withheld (This violin was not sold through this website and has been withdrawn from sale.)

The label reads: "Léon Bernardel, Luthier. 40bis Faubourg Poissonnière, Paris. No 6382"

A bass bar crack has been expertly repaired and doesn't detract from the fine, clear and responsive tone one normally associates with a good French violin.

This violin has been withdrawn from sale.

The back, in two parts, is of richly flamed maple. The top is of medium-grained spruce. The purfling is beautifully laid and reflects the quality of craftmanship evident in the rest of the violin. The reddish brown oil-based varnish is particularly attractive, giving real luster to the wood.

This instrument has a rich and satisfying tone, and considering that is has only just been made, one can expect the tone to develop to real excellence. The G-string is clear and open in all positions, and the high register is strong and penetrative. This violin should become an excellent solo instrument.

Price: Withheld

Although the violin has a double purfling, it is not a copy of Maggini – neither do the dimensions correspond to Maggini's, nor does the scroll have the extra turn normally associated with Maggini. The work appears to be of Jaeger's own originality and the double purfling was no more than an indulgence by Jaeger for reasons of embellishment.

This violin is in superb condition with no cracks or discernable repairs whatsoever. The top is of medium grained spruce and the many marks on the table are merely superficial. The one-piece back is of maple and the few dark lines across the wood are natural blemishes within the wood. It has a superb neck graft and an attractive scroll. It seems that the instrument was revarnished a long time ago; it is not clear for what reason, but it was expertly done and is not discernable at first glace.

The violin has a big and pleasant tone with a lot of penetration. It would be suitable for solo work.

Price: Withheld

This instrument differs somewhat from the other one in that it is based on the Guarneri model. The plates are thicker and the varnish is an attractive golden brown, whereas the other instrument is quite red. The back is in two pieces, of mildly flamed maple, and the table of medium-grained spruce. This violin is in excellent condition with no cracks or repairs evident.

The tone is clear, pleasant and responsive. Considering that the instrument has not been used for probably 50 years, one can assume that it will develop well, once it is in regular use.

Price: Withheld

The top is of broadly grained tone spruce and the sides of finely curled maple. The scroll is nicely cut from a somewhat plain maple and grafted onto a neck of splendid, nicely curled maple. The graft is masterfully done and all the pegholes have been rebushed. All this work has been meticulously executed and are of high order. The most attractive aspect of this violin is it’s two-piece back – of perfectly mirrored Bird’s Eye Maple with beautifully articulate curls (see photo). The corners are of the long Amati pattern, and the f-holes are well-cut, with strong character.

This instrument could pass as a “Lady’s Violin” – the dimensions are somewhat reduced. It is possible (given the attractive back) that it may originally have been made especially for a lady. The length of back is 35.1 cm. Across the lower bout it’s 19.3 cm. (- the norm being around 20.5 cm.) However, at 32.6 cm the testatura (vibrating length of the string) is normal.

Some repairs have been executed to the top, but are stable, with no other structural repairs evident anywhere else. It appears that this instrument may have been revarnished in a dark brown oil-based varnish, quite long ago, but this is not certain. This is neither obtrusive, nor mentioned by Beare, and may have been a light touch-up of the original varnish. This doesn’t detract from the charm of this old violin, which is full of character.

The last owner played professionally until his death. This violin was well appreciated for its warm, rich tone.

Price: Withheld (This violin was sold to a London buyer)

He did his apprenticeship as violin maker in Pistoia, Italy, and has for the past number of years been living and working in Durban. As much he works in South Africa, his violins are nevertheless viewed as being essentially Italian.

For his instruments he imports top grade tone wood and fittings from Europe. Himself having been a professional principal violinist for many years, he has the advantage of being able to make his instruments in such a manner as to produce a fine tone.

This violin was made in 1999. As with all Rinfreschi's instruments, the materials are well selected and carefully crafted. The two piece back shows attractively flamed maple.

This instrument has a warm tone and speaks easily, with the refined tonal quality normally associated with Italian instruments.

Price: Withheld

This violin is beautifully made and in superb condition without any cracks or apparent repairs. It appears that some alteration has been done to the varnish. It is my view that the deep red varnish is the original, but that someone has at some stage attempted to thin it down, possibly in an effort to enhance the tone, but that is speculative. I don't believe that the violin was revarnished. The varnish is very thin at places, but it still remains an attractive instrument.

The tone is pleasant and strong with fair penetration. This instrument would be a worthwhile acquisition for a violinist looking for a good violin that could be used for a wide range of applications.

Price: Withheld

The violin’s back and scroll show traces of French workmanship. The two-piece back and ribs are truly beautiful – a lovely maple with a well-defined medium flame and light, golden brown varnish with a superb finish. The top, however, has been revarnished. As much as the top seems to differ from the back, the quality and style of work on the purfling seems to suggest that the top and back is after all by the same maker, particularly in the purfling’s tracing in the corners – quite nice work.

The top is of medium-grained spruce – very even and of good quality. Two cracks have been expertly repaired with cleats on the inside. The instrument is in very good condition.

The tone is big, clear and incisive with penetration and definition, particularly on the G-string, with power on the E string. The balance is good and even and generally this is quite a seductive violin to play on, since it is very responsive and speaks easily.

Price: Withheld

Palmer signed this violin in 1952 and his handwritten label indicates that it was made in Chelsea, London. He adheres closely to the Stradivarius pattern. This violin’s materials are better chosen than that of the other Palmer on this site (no 0314) - he used a finely grained spruce for the top; the two-piece back, sides and scroll are of medium-flamed maple and fittings are of ebony. (The chinrest in the photos have since been replaced by an ebony Guarnerius-model chinrest.)

The violin is in perfect condition with no repairs or cracks in it. The varnish is light brown and the purfling is very neatly traced. The scroll is well-cut.

The tone is clear and it speaks easy. It is well-balanced throughout the register and the high positions are stable. It’s a pleasant instrument to play on.

Price: Withheld

The top is of medium-grained spruce and the back of a single slab of maple. The varnish is dark brown. Considering the reasonably well-cut scroll, it is surprising that the purfling is less successful.

The instrument is structurally in mint condition with no repairs, cracks or damage evident anywhere. It bears numerous superficial marks and some scratches that add to its character, but more interestingly, is has some inscriptions scratched into the varnish on the back and the front. Although these are quite clear, they are not readily legible and may even be in Cyrillic. The date "1801" is clearly discernable on the back (see photos).

The instrument is slightly under-sized at 35.5cm along the back, and could be rightly called a "Lady's violin". It has the main attribute that comes with advanced age – maturity of tone. It really has an appealing tone, less in volume than in refinement and quality – it speaks easily and with strength and is quite stable in the higher positions, notably on the G-string. Everyone who has tried out this violin, immediately liked playing on it.

Price: Withheld

This violin was made in London in 1956 and bears Palmer’s hand-written label. It follows the Stradivarian model. The two-piece back is of broadly flamed maple and the top of medium-grained spruce, with a few interesting figures in the wood. The varnish is golden brown and oil-based. The scroll is nicely cut, but the tracing of the purfling is somewhat rough and lacking, as is the working of the f-holes. The dark brown Rosewood fittings are very attractive – matching pegs, chinrest, tailpiece and endpin.

The violin is in perfect condition with no repairs or cracks.

It has a pleasant warm tone, is responsive and open, even throughout the register and clear and stable in the high positions.

Price: Withheld

This violin is of fine materials – a medium-grained spruce top and an attractive one-piece maple back. The reddish-brown varnish is well-worn. All round the work is good. It is clearly quite an old instrument and is in particularly good condition with no cracks or repairs evident.

The tone is pleasing and some attention to the setup will greatly enhance the quality, which has good potential.

Price: Withheld

A crack in the top was expertly repaired before 1940 and doesn't detract from the instrument's good condition.

The tone is warm, open and responsive. The G string is rich, right into high positions, and high register is stable.

Price: Withheld

It is of red varnish and is in excellent condition.

Price: Withheld

During the early 19th century, the family of Thibouville-Lamy established a large workship in Mirecourt, and for many years they set the French standard for high-quality trade instruments. Known as Jérôme Thibouville-Lamy Pty Ltd, the company was commony referred to as “JTL”. In 1908 they were joined by Hugues-Emile Blondelet, initiating their zenith period between the years of 1908 and 1928, the year of Blondelet’s death. Instruments from that era are greatly respected, not only for the excellent materials used in their production, but also for the fine workmanship displayed in the majority of their output.

This halfsize violin is branded “Nicolas Duchêne à la Ville de Padoue” on the inside of the back. That was one of the brand names registered for use by JTL and there can be no doubt that this is the work of the JTL company, dating from around 1920.

In keeping with the JTL tradition for using fine materials, this little violin has a stunning one piece back of distinct well-flamed maple with a medium curl. The neck and scroll appear to be of the same material with an attractive flame. The top is of medium to finely grained tone spruce. The violin has reddish brown spirit-based varnish that shows the wood off beautifully.The fingerboard and other fittings are of ebony. Throughout the violin is in virtually perfect condition. The length of back: 30.6 cm.

This violin would suit a talented child. It has very good tone which would greatly assist in making good progress. (Too often financial expediency takes precedence over quality, only to stint the rapid progress of a beginner, which becomes a discouragement for the child. Even children appreciate good tone and it is gratifying for them to hear the results of their efforts, which is made possible by a good violin. Many teachers of beginners know that no amount of effort will make a poor quality chinese factory violin sound good – what discouragement for the child!)

Price: Withheld

This is one of the finest half size violins I have seen in a long time. It is made with unusually attractive materials, particularly the back, which is of well flamed maple; the top, of finely grained spruce, is carefully crafted and quite flat – which results in a strong tone that doesn't sound like a half size at all. The purfling is nicely done.

This violin shows the hand of a skilled craftsman, as is evident in the tone: it has a "big violin" sound that should please any talented youngster (or teacher, for a that matter) and would help a student to work on good tone production, even at young age.

(Note: on the accompanying photos the violin was fitted with a full size bridge, but it has since been redone with a proper half size bridge.)

Price: Withheld

It is an attractive instrument in an exceptionally good condition – no cracks are evident and a minor repair to the upper edge of the top is virtually invisible and shows masterly craftmanship. The two-piece back and ribs are of medium-curled maple, and the top of medium-grained spruce. The dark brown oil-based varnish is well-worn, particularly on the back, to a lighter-coloured under-varnish.

The same certificate attributes the head to another Venetian hand. Although the varnish on the scroll perfectly resembles that of the rest of the instrument, it could well be by another maker. The scroll is well-balanced and well-made, but it doesn’t display the same character as the rest of the intrument. It could well date from somewhat later – no rebushing of pegs or neck graft is evident.

Although in excellent state of preservation, a fresh setup, tailpiece, chinrest etc. would greatly enhance the appearance and appeal of the instrument. It has been in professional use for the past period of time and should hopefully continue within that context.

Dimensions: Length of back – 41.5 cm; Upper bout – 19.8 cm; Inner bout – 13.3 cm; Lower bout – 23.7 cm; Diapason – 36.7 cm.

Price: Withheld

William Henley, in his famous Dictionary of Violin and Bow Makers, speaks glowingly of Henry Richard Knopf’s work: “Workmanship most delightfully well finished. Scroll has that fine grace arising from a devotion to beauty – sound-holes also. Used the finest wood procurable. Orange red oil varnish of own compounding. Tonal quality very responsive and of fullest power.” That is an accurate description of this instrument, in every respect. The present set-up was by J J van de Geest, but I believe the instrument would benefit from a fresh setup and a new tailpiece, chinrest, etc.

This viola is virtually in mint condition with no cracks or repairs apparent. The two piece back and ribs, neck and scroll are of maple with a well defined medium curl. The top is of medium-grained spruce, all varnished in an amber-orange oil-based varnish of great appeal.

Dimensions: Length of back – 40.5 cm; Upper bout – 18.6 cm; Inner bout – 13.3 cm; Lower bout – 23.7 cm; Diapason – 36.4 cm.

Price: Withheld

The materials, although attractive, are largely unmatched – the two piece back is of bird’s eye maple, but the ribs are of an identified wood. The table is of broad-grained spruce and the purfling is nicely traced. The scroll could be more refined and seems to be more generic and functional than a work of art. The neckgraft has an unusual cut and configuration, but is nevertheless well done. The neck is of lovely flamed maple. The f-holes are strong, attractive and full of character. Some minor repairs are evident in the table, but nothing obtrusive. The instrument is structurally sound and in good condition.

This viola seems to have been produced more for functionality than as a work of art. Yet, it is a charming instrument, with beautiful elegant lines. It’s beauty of tone is immediately apparent – it speaks easily and has a strong mature voice.

With a back length of 39.6 cm, it is a small instrument, and would be suitable for someone who plays the violin as well.

Price: Withheld

This particular instrument was brought from Bulgaria earlier in 2000. It is characterized by exceptionally fine selection of wood and immaculate workmanship. Valtchev supplies a certificate along with each of his instruments, in which he states precisely where the wood comes from that was used in the instrument.

This viola, like all his violas, are noted for its big and robust tone. It speaks easily and is clear and even throughout the register.

This instrument is presently being used professionally.

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This cello bears the label of Grossmann’s company, and is signed by him, dated 1909. Further handwritten information on the label is lost, due to age (see photo).

This cello is from a superb background. Throughout it shows excellent craftmanship, with unusually beautiful tracing of the purfling and corners. The materials are excellent – a finely curled well-flamed two piece back and sides combined with a finely-grained spruce top carry a light-brown golden varnish. The scroll is well-proportioned and balanced. A crack in the top has been expertly repaired and the instrument is in very good condition. It would benefit from a new bridge and a fresh setup.

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The cello is of good material: two-piece maple back and good quality spruce for the top. Workmanship is good, particularly on the scroll. The varnish is a nice red-brown, showing some wear. The instrument shows signs of having been well used. Pegs have been rebushed and the scroll reinforced. This is a sign of an instrument that has worked a lot, and consequently one can conclude with confidence that its properties were appreciated by its pervious owners of the past 110 years. A crack in the top was repaired in Cape Town in 1996. This is an attractive old cello with a lot of character. It is in good condition, but could do well with a fresh setup.

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This is really a fine instrument in excellent condition. No cracks or repairs are evident. The materials throughout are well-chosen – the top is of very even medium-grained spruce and the two-piece back and ribs are of nicely-flamed maple with medium curl. The scroll is particlarly well-cut and the purfling is quite meticulous, showing the hand of a superb craftsman. The back bears the same crest as the label, branded into the wood. (See photos) This cello would benefit from a more expert setup and it is my view that the bridge needs replacing.

The tone is very satisfying – open, even and responsive throughout.

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The cello is made of a superb choice of materials – the back, sides, neck and scroll are of well-flamed maple with a small, clearly articulated curl of exceptional beauty. The top is of finely-grained spruce. The scroll is splendid and the purfling very well traced. The cello is varnished in a golden reddish-brown oil varnish that greatly compliments the natural beauty of the wood. Throughout this is a cello of great appeal.

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It has larger dimensions than is normal (Length of back 760mm: Across lower bout 435mm: Across upper bout 335mm), which is characteristic of the Stradivarius "large" model. The back is in two halves. There is no neck graft. It has a very flat table of broad grain wood. Varnish very dark reddish brown. Ribs somewhat lighter in colour. Good purfling and elegant corners. Attractive well-cut scroll.

The cello was brought to South Africa from England about 20 years years ago. In England it was used by a gifted amateur, who bought it from Beares in 1947. A peculiarity is that the great English conductor and cellist, Sir John Barbirolli, often used this cello as practice instrument during the 50's.

This cello has been on loan to several South African cellists for professional work. It was recently on loan to a participant in the prestigeous South African String Players Competition.

This instrument has an exceptionally big and open tone that speaks very easily. Powerful C-string and open A, with generally a darkness to the sound. This cello is suited for solo work, more that tutti orchestral work. Three principal South African cellists who played on this instrument supported this view. There's no doubting the superiority of the tone, both in beauty and volume.

Reference numbers appear on the lower left bout and just next to the tail pin. These correspond to the referencing system used by Beares at that time. Furthermore, the general feeling is that the instrument dates from about 1860 to 1890.

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Henley says this about Tubbs, who was also appointed bowmaker to the Duke of Edinburgh: ”Intimately acquainted with the minutiae or perfect balance, familiar with the diversified style of celebrated predecessors, trained by long study of all the laws, wisely assimilated suggestions from various violinists, brought a refined and mature tact in seizing all the bearings couched under strength and elasticity, imbued with a sincere love of artistry and profound reverence for its dictates, and withal, endowed with a natural gift of manipulative skill. Possessed every qualification peculiarly fitting him to produce everything replete with perfection.”

This bow, stamped ”JAS TUBBS”, has a round stick of very dark brown Pernambuco – his preferred type of stick. The tip is silver-mounted and all other fittings are of silver. The ebony frog with a simple mother-of-pearl eye, seems to be the original. Although it has obviously been used a lot, it is in excellent condition, free from repairs.

The stick is characterized by unusual lightness, combined with strength and truly perfect balance. I can safely say it is one of the finest bows I’ve ever played with.

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It has all the qualities one would want in a silver mounted Hill.

Sold to a buyer in the USA.

This silver-mounted bow is of a perfectly straight Pernambuco stick, cut round. The screw is of plain silver, and the ebony nut - mounted in silver - has a Parisian eye and a rounded heel. The tip is mounted in bone.

This bow’s properties are impressive. It is light, but firm, allowing for very direct control of the string. It has superb balance and marvelous weight distribution, making play comfortable. Excellent spiccato. Without reservation, this is one of the finest bows I have yet played with.

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What makes this bow of unusual interest (and a potential collector’s piece) is that it was recently retrieved from obscurity and oblivion and appears to have been virtually unused since it’s making. It is truly in mint condition, as if made only yesterday. The bow is of high-grade Pernambuco, cut octagonally. The unembellished plain ebony nut is mounted in fine silver. The plain screw is of silver and the tip of bone. The bow is perfectly straight.

Several of this maker’s bows are today in South Africa. They were imported into this country by the great Danish violinmaker, Amon Bilmark, who was based in Durban, and who recognized the exceptional quality of Albert Nürnberger’s work. During the Second World War Nürnberger and his family were hard hit by food shortages and lack of materials, and Bilmark used to send him food parcels and other necessities in exchange for his bows. Most of the Nürnbergers we in have in South Africa, are here as a result of this exchange Bilmark had with this great German bowmaker.

A further note of interest is that during the difficult war years Nürnberger could not obtain silver or mother-of-pearl to mount his better bows in, and many of his finest sticks were mounted in nickel and plain ebony frogs, often with inferior mother-of-pearl. Yet, this particular bow is mounted in silver with fine mother-of-pearl. This would signify that the bow was either made well before the outbreak of the war, or some time after the war. I opt for the period before the war, because apparently Bilmark stopped imported these bows soon after the war was over.

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The octagonal stick is of excellent Pernambuco, beautifully straight. The ebony nut has a single mother-of-pearl eye and is mounted in silver. The tip appears to be of ivory.

René Vannes’ famous French publication on Lutherie refers to C. A. Hoyer as being of the Hoyer family’s commercial output. However, this bow has excellent properties that any serious and professional violinist would value greatly. I consider it to be one of the finest bows I’ve played with in recent times.

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Although German, H. R. Pfretzschner went to Paris to study with Vuillaume. As it turned out he was Vuillaume’s last pupil. He afterwards established himself in Markneukirchen, in 1880. In 1901 he was appointed by the King of Saxony as bowmaker to the Royal Court of Dresden.

This bow, of pernambuco cut into a round stick, shows the characteristics of about 100 years of use. A very slight degree of wear in the wood is evident at the grip and along the shaft, and the thumbpad is somewhat worn, but for the rest the stick is sound and perfectly straight. The ebony nut has a simple mother-of-pearl eye and the metal fittings are in silver. The tip is ivory.

The bow has excellent playing properties.

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Wilhelm DURRSCHMIDT lived and worked in Markneukirchen throughout his life. Although principly a bowmaker, he established a studio in 1887 which also produced various stringed instruments.

This silver-mounted bow is of pernambuco, cut into a round stick. The nut is of plain ebony, withoug an eye. The silver screw, likewise, is plain. The bone mounting on the tip is damaged, but could easily be remounted by a good craftsman.

The bow is reminiscent of some German bows from the years between the two World Wars, when mother-of-pearl and silver were difficult to obtain, and bowmakers (eg. Alfred Nürnberger) opted for a plain ebony nut. Considering this, I would guess that this bow dates from the latter part of the maker's life. The stick and fittings are in excellent condition and the bow appears not to have been used much, which means that the winding and thumbpad - after some 75 years - may still be the originals.

It has excellent properties – fine balance and with an unusual smoothness.

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Weichold was considered to be one of the leading bowmakers during the late 19th century. He was the preferred supplier of bows to the foremost virtuosi of his day – Henley refers to some “magnificent” bows that contributed to the comfort and skill of leading soloists of the 19th century.

This bow, stamped R. WEICHOLD, (and refurbished since the photos were taken) is of pernambuco cut octagonally. The ebony nut has a simple eye and metal fittings seem to be of high grade nickel silver.

This bow is perfectly straight and has truly excellent properties that any serious violinist would appreciate.

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Its qualities yet supersede its appearance – it is exceptionally well balanced and smooth. It's one of those bows which does everything for you and which makes the most difficult passages easy. Some of South Africa's leading violinists have tried it out and without exception all have praised its quality and expressed the desire to own it.

It is arguably one of the finest bows currently available in South Africa and should be in the hands of an accomplished soloist.

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Well-balanced, smooth and a pleasure to use.

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This bow is old, probably dating from the beginning of the 20th century and shows some wear of the wood at the grip, which is charcteristic of a bow that was well-used and appreciated. The excellent pernambuco stick, cut octagonally, bears an ebony nut with a somewhat small mother-of-pearl eye. The fittings are of nickel and the tip appears to be in ivory.

When using this bow it is immediately apparent why it was so well used – it has excellent playing properties for any discerning violinist : light yet firm, allowing for good string contact; well-balanced with excellent and easy spiccato.

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The bow is somewhat heavy and very steady. It has a fine spiccato and is stable in legato playing. It is good quality bow suitable for very advanced playing.

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It is very smooth and well balanced and is a pleasure to use. It would be most suitable for a professional violinist.

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This bow is quite old and is a fine example of the French art of bow making – tapered nut set into grooves in the stick, which makes for great lateral stability of the nut. The mountings at the nut are in silver, as is the winding.

This bow has been well-used, and with reason – it is very smooth and well balanced with excellent weight distribution thoughout its length. It is still in excellent condition and is a pleasure to play with, as all fine French bows are.

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It has recently been rewound in silver and leather and also rehaired.

It's a worthy bow, and as it is presently it's good for playing with. If acquired, it would be worth the investment of having a new nut fitted.

Price, as is: Withheld