Venice, 1730. Next to the great Cremonese makers (Stradivari, Guarneri, Amati, etc.), the work of the makers of Venice are held in the highest esteem both by musicians and connoisseurs. His work stands out among the Venetian makers as being the most refined and elegant. This beautiful violin has a most striking one-piece back and has a rich, clear tone suitable for a soloist. We are especially proud to be able to offer this exceptional instrument.

Naples, 1749

Naples c.1760. Ferdinando was the eldest son of Niccolo Gagliano and is considered one of the finest makers of the Gagliano dynasty. There are four certificates of authenticity from important experts, dating from 1916 to 1994. Three certify that it is the work of Ferdinando. One expert believes it to be the work of Ferdinindo's brother Joseph. This violin has a superb tone, one of the best we have ever offered and would be a wonderful choice for a top professional musician.

Modena, 1790. This beautiful violin is the best work we have seen by Soliani. It was made on the model of J.B. Guadagnini. The varnish is a striking red-orange and the tone is full, warm, and rich. This is an outstanding violin for the professional musician.

Milan, 1900. Bisiach was probably the most important figure in Italian violin making of his era. His instruments dating from 1900 and before are considered by experts to be his best. This is an exceptional example of his work, in wonderful condition and a superb tone. It is one of the finest examples by this maker we have ever had.

Milan, 1764 (7/8). Instruments of the 18th Century Milanese makers are always in demand because they represent excellent value in a fine old Italian violins. Their clients were not as wealthy as those from Cremona and Venice, so they had to use plainer wood and work more quickly, yet the tone quality of their instruments ranks with the best of the great old Italian masters. This violin has a wonderful "old Italian" sound. This is an excellent choice for the professional musician looking for a slightly smaller instrument of quality.

Turin, 1923. Made during the maker’s best known period, this violin is in almost perfect condition. Excellent warm, responsive tone.

Paris, 1834. For most of the 19th Century, the world's most important violin makers were in Paris. It was the music capital of the world. A.S.P. Bernardel trained in Mirecourt and went to Paris while still in his teens to work with the great Nicolas Lupot. After nine years he opened his own shop. This unusually fine violin is reminiscent of Lupot's work and has a powerful, brilliant tone. It is a great violin for either a soloist or for a professional symphony orchestra musician.

Venice. Giulio worked with and was trained by his father Eugenio. By the early 20th. Century he had won several medals and awards at important exhibitions and competitions. This violin has a wonderful rich tone with depth and charm.

Paris, 1874. Chardon was a pupil of the great Georges Chanot and opened his atelier two years before this exceptional violin was made. He had a long and distinguished career both as a maker and expert. This violin is in exceptional condition. The tone is brilliant and responsive.

London, 1886. Szepessy studied with the great Hungarian maker Nemessányi in Budapest and worked with Zach in Vienna before moving to London in 1881. He made some of the best instruments in London during the 40 years he was there and had a great reputation.

New York, 1875. This violin represents Gemunder at his best. This violin still shows the influence of the several years he spent in the J.B. Vuillaume workshop in Paris. This violin is in excellent condition and has a vibrant tone.

Astoria, N.Y. 1879
This exceptional violin by one of the greatest American makers is unusual (but not unique to this maker) because of the decorative decals on the back, ribs and the rear of the scroll original to the violin. Exceptionally fine condition.

This violin bears a label of Vencenzo Panormo. We believe it to be by a member of the Panormo family, possibly Vincenzo's son George. The sound is very warm and rich.

Lyon, 1885. Over the years, we have had several violins by this maker, but this example is the finest and most beautiful we have ever seen. The varnish here is his best and most beautiful and the workmanship is superb and elegant. The tone is deep and rich.

Petaluma, 1998. Grubaugh & Seifert instruments are always in demand and are well respected by professional musicians. This violin which displays their characteristic skill in varnish antiquing has an excellent brilliant, responsive tone.

Miami, 1974. Gennaro De Lucia came from a large family of violin makers that spanned three generations. He came to America in 1951 and worked at the famous Rembert Wurlitzer shop along with his brother Vincenzo plus some of the best makers of the mid 20th. century. This violin was dedicated to St. Francis of Assisi, according to the maker’s internal inscription. We currently have two violins by this maker.

Spilamberto, C. 1930. Cavani was a student of the great Leandro Bisiach. This violin has a big, responsive, powerful tone of great quality.

Lyon, 1903. This violin has an exceptional tone, warm and rich with great depth.

Paris, 1902. The great firm of Caressa & Français was one of the most important shops, not only in Paris, but throughout the world. This fine violin has a wonderful, dark, rich and powerful tone.

Catania, 1923. We offer two violins by Puglisi which we feel are an excellent value in a quality Italian violin. With both instruments, the tone is warm and surprisingly responsive.

possibly Stockport, England, latter 19th Century. Craske was a very prolific maker who worked anonymously for much of his career. After he died, W.E. Hill & Sons purchased and labeled all of his instruments. None of these instruments are dated. The workmanship of Craske's instruments can vary a great deal. This is one of the best examples we have seen. The tone is warm and rich.

Mirecourt. The Stentor violins were made in the workshop of Nicolas Vuillaume to be sold in the shop of his brother, J.B. Vuillaume, in Paris, as well as other shops. The demand for the Stentor instruments has been increasing dramatically in recent years due to their excellent workmanship and tone. This example has a powerful, highly responsive, vibrant tone.

Brattleboro, VT, 1994.

Budapest, 1902
Pilat was one of the most important Hungarian makers of his time and had a tremendous influence on violin making of Eastern Europe in the latter 19th. and early 20th centuries. He learned his craft primarily in Vienna before returning to Budapest. During his career he trained some of the most important Hungarian makers of the next generation.

Catania, 1908. This beautiful and well preserved violin has an exceptional tone that is full, dark and rich. An exceptional example by this maker. Puglisi established a workshop in Catania that continued until 1951.

Bordeaux, 1909. Résuche worked in Paris with Gand and Bernardel and at Lyon with Justin Diter before settling in Bordeaux in 1897. This attractive violin has a big, full bodied responsive tone.

probably Hungarian.

Leeds, 1912. Albert Warrick was the best student of G.A. Chanot in Manchester. He opened his shop in Leeds in 1889. He won a gold medal at the Leeds exhibition in 1895. This attractive violin has a powerful, brilliant tone.

Varese, 2007. This elegant and beautiful violin is a reproduction of a violin by Garimberti, whose work is so appreciated by makers and connoisseurs.

Cremona, 2011
Levaggi has won numerous awards for his instruments which exhibit superb workmanship and beauty. For this exceptional violin, Levaggi used very striking birds-eye maple for the back and ribs, The tone is full and warm.

San Gimignano, 2006. Beate grew up in Rome, but was trained in Germany at the Mittenwald School. She has worked at important shops in Germany and London restoring fine old instruments. She returned to Italy in '91 where she has concentrated on making. Her work displays the best of both the German and Italian traditions. This violin displays elegant, flawless workmanship and a powerful, responsive tone.

Cremona, 2007 & 2008. Tadioli has become one of the most respected and successful of the current Cremona makers. He specializes in reproductions of the great Cremonese masters, especially Guarneri del Gesu. He has become one of our favorite contemporary makers.

Milan, 2007. Rossi graduated from the Parma school headed by Scrollevezza and has also studied with Greg Alf, Guy Rabut, and Carlos Arcieri in New York before opening his workshop. We have just received this violin and were immediately impressed with the beauty and elegance of the workmanship as well as the tone.

Ravenna, 2007. Marco Minnozzi has been making violins for over 25 years. He trained with Renato Scrollavezza in Parma and has worked with V. Nigogosian, Horacio Pineiro, and Rene Morel in New York. His work is sought after all over the world. This beautifully crafted violin has a full, warm tone.

Cremona, 2008 Robert Gasser was born in Switzerland where he made his first violin at the age of 13. He came to Cremona to attend the violin making school, graduating in 1978. In the almost 30 years since then, he has placed instruments all over the World and has become one of the most respected makers in Cremona.

Bologna, 1932.

San Francisco, 2006. Carlos Funes studied violin making in Cremona at the violin making school and worked in Cremona for a period before returning to San Francisco. Even after many years away from Italy, his instruments show many characteristics of the Cremona School.

Mittenwald, dated 1919. This important maker taught violin making at the Mittenwald School for many decades. He trained some of the best European makers working today. This violin shows superb craftsmanship and a fine brilliant, responsive tone.

Brussels, 1925. After apprenticing with Chevrier in Mirecourt (from age 13) and working at major shops in Paris, Bourguignon went to Brussels and worked with G. Mougenot. He took over his shop in 1910. During his career, he won numerous medals for his work. This violin is in superb condition and has a powerful, brilliant tone.

Chicago 1902. Reindahl was born in Norway and came to Chicago in 1870 at the age of 13, having already made his first violin at age 10. He had a very successful shop in Chicago for 25 years, before moving to Madison, Wisconsin. This is a very striking and beautiful example of his, made in his best period.

Ferrara, 2002 (several examples) Ciciliati is one of the foremost contemporary Italian makers. His work is always beautiful. We have had several of his violins and these are some of the best. The example shown is representative of the quality of workmanship you may expect from this master.

Mirecourt, c. 1850. This violin is an excellent example of this famous French maker's fine craftsmanship. The instrument has a huge, powerful tone that is lively and vibrant.

Labeled Claudio Gamberini, probably by Celso Franchi, Ravenna, early 20th. Century

1999. After studying at the violin making school in Mittenwald in his native Germany, Kapfhammer moved to Salt Lake City and taught at the violin making school there in the mid 70’s. He has worked primarily in Salt Lake, but also for a number of years in the Bay Area. The tone is powerful, responsive and brilliant.

Cremona, 2007

Chicago, 1996. Esteemed Chicago maker William Whedbee studied with Morassi and Conia at the violin making school in Cremona and worked at the William Harris Lee shop from 1979 until 1992 when he opened his own workshop. His instruments are used by professional musicians all over the world. This beautiful example has a nice warm tone with great depth, and is in superb condition.

Cremona, 2003. Borja comes from Madrid, but started his training in violin making in the U.S. He moved to Cremona to study at the violin making school. After graduation, he worked with Silvio Levaggi and Alberto Giordano before establishing his own workshop. In 2006, Borja won two silver medals for a violin and viola at the Violin Society of America competition in Baltimore.

Marseilles, 1927. The Diter brothers worked together in Marseilles for a few years although Paul was primarily a bow maker. This attractive violin is in very good condition and has a warm, full tone.

Varese, 2008. We recently met this gifted maker and were very impressed with his work. This striking violin has a lustrous red-orange varnish. The tone is also impressive, powerful, brilliant, and tremendously responsive.

Parma, 2007. Elisa's father Renato Scrollavezza founded the famous violin making school in Parma so she was deeply involved in the world of violin making from childhood. In 2002, Elisa formed a partnership with Andrea Zanré, also a Scrollavezza student. In their workshop in the historic center of Parma, they concentrate on making new instruments along with training the next generation of violin makers. Mr. Ifshin just chose three violins from their selection and we are delighted with them. We also chose two of the violins made in their Parma workshop under their direction which represent an excellent value.

A few years ago, Mr. Ifshin met this gifted maker in Europe and was most impressed with his work. He is clearly one of the most talented makers of his generation. In fact, our faith in his work is so strong that we have five excellent examples. He studied with Scrollavezza at the school in Parma. We currently have a selection of Marcello's violins.

Cremona, 2009. After graduating from the school of violin making in Cremona thirteen years ago, Daniele Tonarelli has distinguished himself in a number of competitions around the world. This beautifully crafted violin is in the classic modern Cremona style. The tone is even, warm and clear.

Redding, 1996.

Canossa, 2006. Virgoletti is the son of a woodworker and lute maker and was introduced to violin making by Ferdinando Garimberti. After making several violins, he began a ten-year apprenticeship with Sesto Rocchi. Starting in 1993 he began working with the Bisollottis (both father and son).

Cremona, 2000. Nolli, like many of the top Cremona makers, was fortunate to have been at the school when Stefano Conia and Giorgio Scolari were teaching there. Since graduation, he has won numerous medals at competitions all over Italy and has launched a very successful career. This violin is now a few years old and has been "played in." The tone is smooth, clear and responsive.

"il giovane" Cremona, 1997. Stefano Jr. studied with his father, making his first violin at the age of 14, before studying at the Cremona school. Today, he carries on the violin making tradition of his family, which began with his grandfather Istvan in Hungary.

Paris, mid 19th century.

Prague, c. 1750. The Prague makers of the 18th Century are highly regarded for their beautiful workmanship. This violin has a beautiful clear, silvery tone. This violin is in a very good state of preservation.

Livorno, 2004. Born in Livorno in 1964, Pietrantonio worked with several important makers who trained him in the traditions of the Bisiach family and especially Igino Sderci. This violin is a reproduction of the model of J.B. Guadagnini and has a wonderful, rich tone of great character.

Toulouse, 1951. This violin is especially beautiful with a rich, ruby-red varnish and is in almost new condition. This tone is brilliant, powerful, clear and responsive.

Markneukirchen, 1951. After studying with his father Adolf, Paul moved to Warsaw where he set up his shop in 1910. He was interned during WWI, returning to Markneukirchen in 1921. He set up what became a very successful shop and had a long career. This violin has a warm, responsive tone of great quality.

Mantua, 1998.

Kleinsendelbach, 2010.
Andreas began his violin making career at the age of 19 working a master violin maker at the Höfner and Paesold workshops. He then attended the violin making school in Mittenwald. He perfected his skill working in various workshops including work with François Perignon in Brienz, specializing in varnish. He received his Master’s diploma and opened his own workshop in 2009. This violin has a beautiful rich tone.

Cremona, 2007. Michele Buccelle graduated with highest honors from the Cremona violin making school in 1990 and has been working with Maurizio Tadioli since then. This violin is on the Guarneri model and is beautifully antiqued. The tone is clear and warm.

Soriot Label, Mirecourt

Munich, 2005. Born in Berlin, Schiele started playing the violin at the age of ten and studied violin making at the famous Mittenwald school. He gained experience in making and restoring at important shops in Paris, London, and New York and has had his own shop in Munich since 1990. Schiele is known for the beauty and accuracy of his workmanship. This violin has a brilliant, powerful, responsive tone.

Turin, 2005

Boiling Springs, PA, 1965. Ed Campbell is well known and respected by most of us in the violin world. He has been making fine violins as well as teaching aspiring makers in his shop in central PA since the late 1950's and has won three gold medals and numerous certificates for tone and workmanship at Violin Society of America competitions. This violin dates from his best period and shows the finest workmanship. It has a nice warm tone and is in excellent condition.

Castelfranco di Sotto (Pisa), 1959.

New York, 1885. August Gemunder was the older brother of George and came to this country in the 1840's, establishing his own shop in 1864. He built a very successful business in Manhattan which continued under his sons until 1928. This violin is a Maggini model

Cremona, 2010. Sperzaga graduated from the school of violin making in Cremona in 1986 and set up his own workshop in 1990. He has won a number of awards at competitions around the world, including the Violin Society of America. Since 1998, he has taught varnish technique at the Cremona school.

Palermo, 1910. Pampalone has been a violin maker since 1997 and while still young, we consider him an interesting up-and-coming maker of great talent. The tone is strong, full and rich.

New York, 1934. A member of a very famous family of violin and bow makers, H.R. Knopf studied with his father Heinrich and other important makers in Germany before coming to this country. He established what was to become a very important and successful shop in New York. Tonally, this violin has a brilliant, clear and responsive tone.

Pisano (near Milan). We have several examples by this maker. See more detailed information.

Brambach (Saxony). As you can see from the photos, this is an exceptionally beautiful violin modeled after Peter Guarneri of Mantua, and is the finest work by this maker we have seen. The tone quality is unusually fine, warm and rich.

Munich, 1921. Before opening his own business in Munich, Edler studied with and worked for Giuseppe Fiorini, the great maker from Bologna. This violin shares many of the qualities of Fiorini's work.

Markneukirchen, 1930. We find the work of Hermann Geipel to be especially interesting. We currently have three examples from different eras in very different styles. This nice example has a wonderful, subtle warm tone and is in excellent condition.

Leeds, 1905

Minneapolis, MN, 1926

Bad Brambach, 1957. This beautiful violin was crafted with very striking bird’s-eye maple. The wonderful tone is full, warm and rich. See our listing below for a violin by a violin by his son Werner.

1927. This beautiful violin represents Gütter's best work. It is in exceptional condition and has a wonderful tone.

Cremona, 1999. This violin is in the classic modern Cremona style with the beautiful red-orange varnish so typical of the masters at the Cremona violin making school. It has a powerful, brilliant tone.

Mirecourt, late 19th Century. This exceptionally beautiful violin shows the elegance and charm of French violin making at its best. This violin is in superb condition.

Dublin, early 19th. Century.

Berkeley, 1986

Parma, 2007. Pressenda copy.

Bubenreuth, 2008. One of the best known names in the violin world is that of Ernst Heinrich Roth. Beginning in the early 1920's, this workshop produced some of the best workshop violins to be found. Today, they maintain two workshops in Markneukirchen and Bubenreuth. With only five makers, they concentrate on high quality instruments. Jay Ifshin purchased this beautiful violin directly from Ernst Heinrich Roth IV.

Dresden, 1923. Professor Koch spent a great deal of time researching varnish formulation and his instruments found great favor among musicians of his time. This violin has a warm rich tone.

1951

Denver, 1924, #316. Born in Sweden, Hennig worked in Miami, Denver (1920-1928) and Seattle. His work is highly respected for workmanship and the quality of his varnish.

Cremona, 2003.

Markneukirchen, 1937.

San Jose, CA 1915. Although born in California, Lanini studied in Italy, first with Romeo Antoniazzi and then with Farotti in Milan from 1911 to 1914 before returning to San Jose. This violin is in almost new condition and has many characteristics of the maker's masters.

Markneukirchen, c. 1920

Probably Mittenwald, c.1800

Budapest. Horvath is an interesting young maker who has had success in various international competitions. This violin has a brilliant, responsive tone.

Mirecourt, 1930

San Jose, 1949.

Schönbach, 1772.

Markneukirchen, 1937.

Ferrara, 1995.

Bubenreuth, 2006.

Chicago, 1889.

old French.

Vienna, 1927.

Bad Brambach, 2001.

Markneukirchen, 1926

2010

Erlangen-Bubenreuth, 1955. This is one of the finest post 1920's Roths we have ever seen.

Sheffield, 1934.

circa mid 20th Century

Bubenreuth, 2010. Model 225

Model 66, Bubenreuth, 2008

Mirecourt, 1946.

Salt Lake City, 2006

Mirecourt.

Forcheim, model 706.

Wernitzgrün, 1931.

Mirecourt.

Special model, made with the finest aged European wood.

Germany.

Markneukirchen c. 1920 Karl Herrmann workshop

El Cerrito, 2011

Mirecourt, 7/8.

Mirecourt.

Berlin, 1896

San Jose, 1913.

Jay Haide, à l'ancienne. Our latest reproduction in the à l'ancienne series is of a Tomasso Balestrieri from the Ifshin collection. These instruments are enjoyed by advanced students and have recently become possible as a nice sounding alternative for professional players that do not want to travel with more expensive instruments.

(Click here for further information on our Jay Haide instruments.)

Bubenreuth, model 58

Bulgaria, model VP1.

Forcheim, model 600

Bubenreuth, model 54.

The popular Jay Haide 104 model is an excellent choice for an intermediate to advanced student.

Forcheim, model 500.

Bulgaria, model VP3.

Jay Haide, Model 101. This fully handmade instrument is an excellent choice for a promising player on a budget.

(Click here for further information on our Jay Haide instruments.)

Bulgaria, model VP4

model #8121.

"Alosa" model #8120.

Germany 1980

We also have a fine selection of violin bows by such makers as: Victor Fetique, Emile Ouchard, W. E. Hill & Sons, Cuniot-Hury, Roger Gerome, Vidoudez, Morizot, Marcel Lapierre, Albert Nurnberger, G.A., H.R. and F.C. Pfretzschner, F. Daugin, Morgan Andersen and many more. Please see our Fine Bow page for a full listing.

Of course, our collection of fine violins is always changing. We strongly recommend that you call before you come in, to see what instruments are available for you to try.