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.

Fermo, mid 19th Century.

Postacchini spent his entire career in Fermo and was mostly self-taught. This wonderful violin was made in the maker’s best period. The tone is superb, powerful, resonant and responsive. This would be an excellent choice for a soloist and is tonally one of the best violins we have had in recent years.

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.

Bologna,1922. A fine example of the early work of this great maker, this violin is in superb condition, made while Poggi was working with Fiorini in Zurich.

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.

Rome, 1904
This violin is an especially fine example of Fredi’s work, made during the best period of his long and distinguished career. The tone is clear and focused, but with depth and warmth. The maker’s original handwritten label is a dedication to the owner of this violin.

Milan, 1926

Musicians from all over the world flocked to Bisiach’s shop. At the time it was one of the most important shops anywhere. The quality of the instruments produced there were the very best. This is an outstanding example with a responsive tone with depth and character.

Genoa, 1933.

De Barbieri spent his early years in the workshop of Cesare Candi, opening his own workshop in 1919. From 1929 to 1949, he won numerous medals and awards. This violin and our example from 1930 were made during his best period. The tone of both is brilliant, clear, powerful and responsive.

Genoa, 1930

This nice example is in excellent condition and even has de Barbieri’s original ornamental pegs.

Naples, 1904

Italian c. early 19th Cent.

For a violinist seeking a fine violin with a wonderful tone at an affordable price, this exceptional violin would be a superb choice. While it is accompanied by a certificate of authenticity from an important expert stating it to be the work of Gaetano Guadagnini, we believe that it is a composite violin and have priced it accordingly. It has that warm rich "old Italian" tone so prized by many musicians. A wonderful players’ instrument.

This instrument has been played by a professional musician for the last twenty years.

Mid 19th. Century, possibly Vuillaume workshop.

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.

Cento, 1930
Mozzani set up a workshop in 1910 to make string instruments. While some of the violins were of the less expensive student type, he also employed some of the best makers of the time like the Antoniazzi’s to make his best instruments. This is one of the best Mozzani’s we have seen. It has a powerful, brilliant, responsive tone and is in excellent condition.

Lille, 1878
Joseph was drawn to violin making as a boy and studied with Salzard, Sebastien Vuillaume, and Darche before opening his own shop in 1865. He was entrusted with the violin collection of David Laurie for restoration so he was able to study the finest of Cremona masterpieces. This beautiful violin has a full, rich, warm tone.

Bordeaux, 1900, no.99

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.

Turin, 2006

Ada Quaranta’s instrument are in great demand because of their great quality. She studied at the Cremona school beginning in 1990 after receiving her diploma in violin performance. After graduation, she worked in some of the most important shops in Germany and France. She has won numerous awards for her work. We are pleased to be able to offer this fine example of her work.

Cremona, 1985
This important maker taught for many years at the violin making school in Cremona and has been an inspiration to many of today’s best young makers. This interesting violin is quite unique with a most striking appearance. The back, sides neck and scroll are of briarwood.

Miami, 1974. Gennaro De Luccia 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.

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.

Bologna 1983
Magrini has become one of the most important makers of the Bologna school and this violin displays the best of the elegance and craftsmanship of the Bologna makers.

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.

Cremona, 2012
Born in Holland, Heyligers moved to Italy while still in high school. He studied violin making in Cremona and with Renato Sgarabotto in Parma. His work has become famous all over the world and has been praised by concert artists like Itzak Perlman, Ruggiero Ricci and Shlomo Mintz. He has won awards at major competitions around the world. The tone is full, warm and rich.

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.

From the workshop of N. Vuillaume.

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.

probably Hungarian.

Los Angeles, 1964
Born in Legnano, Frosali learned violin making from Giuseppe Scarampella and worked in Milan before coming to New York where he worked for Emil Herrmann and Sacconi. He established his shop in Los Angeles in 1954. We have always admired his work and he won several important awards for his instruments. This violin has a wonderful smooth, velvety tone.

Walnut Creek, CA, 2003.

Cremona, 2003 & 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.

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, 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.

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.

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.

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.

Cremona, 2012

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.

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.

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.

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

Cremona, 2007

Kleinsendelbach, 2009

SOLD

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.

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.

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.

Cremona, 2012
Andrea began his career in violin making with his father in Moscow and was already an established maker when he began his studies at the violin making school in Cremona, graduating in 1995. He has won numerous awards at international competitions.

Cremona, 2008
Mina graduated from the violin making school in Cremona in 2001 and has worked with both Fabio Volta and Edgar Russ in Cremona. This attractive violin has a nice maturity of tone and is quite responsive.

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.

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.

Vienna 1747. sold as is

Cremona, 2013.

Lyon, 1892. The instruments made in Blanchard’s workshop were of the very highest quality, rivaling the quality of his own work. This violin has a wonderful, responsive, brilliant tone.

Modena, 1974

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.

Mantua, 1998.

Neufchâteau, mid 19th Century, labeled Gaspar da Salo.

A great violin for the musician looking for an instrument with a full, dark, rich tone.

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.

Turin, 2005

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.

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.

Probably early 19th Century.

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.

Zakopane, 2008

Castelfranco di Sotto (Pisa), 1959.

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, 2010. 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.

possibly Saxony, early 19th. century.

It is rare to find a violin in this category with a tone as fine as this. This would be a wonderful choice for a professional musician or very advanced student on a limited budget. It speaks easily, with a mature, robust and rich tone, even across all strings.

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.

Owatonna, MN 1969
Kurt Lothar and his father came to this country from Klingenthal, Germany in the early 1950's. They were raised in a famous family of violin makers going back to the late 1700's. Their work has always been highly respected all over the country. This fine example of K. Lothar's work has a powerful, brilliant tone.

Los Angeles, 2012

Leeds, 1905

Markneukirchen, 1935

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

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

Mirecourt, mid 19th Century.

Berkeley, 1986

Bubenreuth, 2003. 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.

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.

Mirecourt

Markneukirchen

Markneukirchen, 1927. Reproduction of Joseph Guarnerius 1732.

Philadelphia, circa 1890. The firm of C.F.Albert was the premier violin shop in Philadelphia from around 1850 to 1930. This violin has a wonderful warm tone that is very responsive and easy to play. Excellent condition.

Cremona, 2003.

Markneukirchen, 1937.

Markneukirchen, c. 1920

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

Oakland, 1914

Markneukirchen

Mirecourt, 1930

San Jose, 1949.

Markneukirchen, 1937.

old French.

Markneukirchen, 1926

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

Sheffield, 1934.

Salt Lake City, 1987

circa mid 20th Century

Bad Brambach, 1987

Markneukirchen, 1927, Model IR

Vienna, 1927.

Markneukirchen, Amati Model

Model 66, Bubenreuth, 2008

Markneukirchen

Salt Lake City, 2006

1959

1925, German.

Mirecourt.

Forcheim, 2012. Model 703

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.

New! We have an exciting addition to the à l'ancienne collection. This is our "Special Model" made with aged European wood.

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

Germany.

Bubenreuth, 1957

El Cerrito, 2011

Berlin, 1896

San Jose, 1913.

Bubenreuth, model 58
The Gill instruments have become famous all over the world and are made entirely in Germany. We have been offering these popular instruments for many years.

Forcheim, model 600

Bulgaria, model VP1.
The Kremona workshop has been in operation in Bulgaria since 1922. These instruments have been popular with our customers in recent years. We feel that they are among the best and most affordable violins available from Eastern Europe.

Markneukirchen, 1991

Bubenreuth, model 54.

Model 8130, Bubenreuth

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.
For the past 25 years, we have been offering the Alois Sandner instruments from Bubenreuth Germany and have always been delighted with the quality.

"Alosa" model #8120.
The Alosa from Alois Sandner is the best value we have ever found in a well made European violin.

Germany 1980

The Borceto is our most affordable violin. Hand made in our workshop and set up here in El Cerrito, this violin offers a wonderful value for the beginning violinist.

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.