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.