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Ref. 0301
Old cello labelled
Ant. et Hier. AMATIItalian, circa 1600 
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There can be no questioning this fascinating instrument’s age. The label - very old and not easily legible – reads: Antonius et Hieronymus Fr. Amati, Cremonen. Andrea fil F 1580. And indeed this cello has every sign one would expect of an instrument that claims its origin in 1580. It is well-used and not without some repairs. The instrument has been in the hands of experts such as J J van de Geest and Dawne Haddad and although not certified, the general concensus seems to be that this is not the authentic work of the great Amati brothers.
Interesting speculations have been proffered, suggesting that the instrument is largely composite and may have been constructed around an original Amati back. The f-holes don’t seem to be in character with the work of Amati, and suggests a post-Stradivarian design. But that remains speculative and the opinion of an internationally recognized expert would be interesting.
More recent assessments by two leading Cremonese authorities seem to concur on this not being authentic Amati, but the opinion was put forth that the cello is almost certainly Italian, possibly Viennese, or from another 17th century Italian violin making centre.
Whichever way you look at it, this instrument has fabulous character and is representative of an era of lutherie of which very few good examples are still at hand, particularly in South Africa. From its extraordinary and beautifully elegant scroll to the stunning one-piece back, it speaks of fine workmanship and age. It has had repairs to it, all apparently expertly done and appears to be in superb condition.
This cello is in the hands of one of South Africa’s principal cellists, and has been used extensively for solo recitals, concertos and recordings.
Price: Available on request.
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Ref. 0529
Cello by
Peter POTSScurano, Italy
2005
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After several years of apprenticeship, violinmaking and restoration work in Cremona, Peter Pots settled in the small mountain village of Scurano, not far from Cremona. For the past number of years this is where he constructs his instruments, and from where he supplies to leading dealers and musicians throughout Europe, notably in Germany, Austria, Switzerland, Holland and elsewhere. Today Pots commands considerable respect and regularly has musicians travel from abroad to visit his studio to acquire an instrument from him - notably his cellos and violas and in high demand by principals in European orchestras.
Pots’s work 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 who 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..
This cello follows the Montagnana model, but not strictly, since Pots made some modifications to the original model, incorporating his own innovations which most impact on the musician's comfort during performance, and on the tonal properties of the instrument. This instrument is marginally shorter. As with all his instruments, the back is particularly thick, ensuring that the instrument will have a long period of improvement, and it adds a particular focus and richness which is a characterisc of all of Peter Pots’s cellos.
The top is of high-grade fine-grained tone spruce with a very straight grain. The two-piece back, ribs and scroll are of maple with a medium curl and distinct, well-defined flame, notably on the ribs. The scroll is bold, yet elegant and well-balanced. Peter Pots manufactures his own purfling, which is normally quite narrow, particularly for a cello. The purfling in this case is superbly traced and the corner work very accurate with great attention to detail (see photos). The varnish has very high degree of transparency, showing the beauty of the materials to great advantage.
This cello now belongs to the Austrian cellist, Regine von Schlichting. It is being displayed here for information purposes, since Peter Pots accepts commissioned work. The waiting list is impressive.
Note: High resolution photos are available on request.
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Ref. 0509
Fine Cello of
Unknown OriginCirca 1780
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This fine cello was brought to South Africa from the United States 15 years ago as a gift for its present owner. Although it had been repaired by the violinmaker, Joseph H. Stamps in Fort Worth, Texas, in February 1948, it eventually became part of a private collection of fine instruments belonging to a Californian collector. In spite of its unusually big and beautiful tone, it has hardly been played on over the past number of years.
There is divergence in opinion as to the origin of this cello. Whereas the general opinion was that the instrument is Italian, at least one leading South African violinmaker felt that the purfling and corners were reminiscent of Southern Tyrol. Jimi Glenister, a maker and restorer in the Cape, who has had years of exposure in London dealing with old instruments, also feels that this is a German instrument. It’s origins will probably never be known for certain.
The two-piece back is of excellent maple with a distinct flame and medium to narrow curl. The top is of medium grained tone spruce. The ribs throughout match the back in curl and aspect. The purfling is steady, but the edges are narrow and the corners tapered into unusually narrow points. The f-holes are elegant and well proportioned in the instrument, making for an appealing top. It is doubtful that the neck is the original, as it is very well-flamed as opposed to the lack of flame in the scroll. The scroll appears to be the original grafted onto a new neck. Some inlays have been made to the sides of the peg box, evidently to reinforce peg cracks. All the pegholes have been rebushed. The pegbox is structurally sound and not compromised. The varnish, although well worn, appears to be the original – an attractive red-brown oil-based varnish.
The top of the cello has had cracks repaired, mainly three cracks running from the bottom edge upward, but only for around 20 cm and one running from the top right edge down for about 10cm. They have been repaired and cleated on the inside, along with some cracks in the ribs, but the work could have been tidier. Repairs to the corners on the top is not as neat as could have been, and there is evidence of wood filler used on the lower edge and some of the front corners – a pity, as it reflects poorly on whoever worked on the cello. The cello is nevertheless structurally completely secure, as was established recently when it was opened for some minor repair to the base of the neck.
This instrument has an unusually big and rich tone, speaks easily and projects well. All leading cellists, both principals and soloists, who have tried out this cello, was very excited by it, as it is not only a very appealing and attractive instrument, but principally a solo instrument of high quality.
Price: Available on request.
Note: High resolution photos are available on request.
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Ref. 0436
Interesting Cello
UnlabelledProb. English or American
Circa 1880
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This interesting old cello dates from around the end of the 19th century. It has no maker’s label in it, but has a small label, possible a old dealer’s sticker, which reads: “Horne, Thompson & Co., La., Burton.”. This would imply that it’s origin is probably more American or English, than continental. (If anyone has information about that label, I would be happy to know more about it.)
It is intriguing that the materials for the different components of the cello are all completely unmatched: the top is of good quality medium-grained spruce. The two-piece back is of maple with a fine curl, but the two halves are not fully matched – the right half has some interesting knots in the wood (see photo). In turn, the ribs are of attractive Bird’s Eye maple with strong patterns and curls. The neck an scroll are of plain maple. The scroll is attractive and nicely cut. The pegs seem to be of Yellow Wood – old but functional and attractive. The varnish, oil-based, also varies in colour and consistency over the front, back and sides. The cello has no real purfling – the lines are drawn in ink.
This instrument was recently discovered and retrieved from a state of delapidation and neglect. It has since been fully restored. The top has some small cracks – not of significance and all repaired. The back is free of cracks, but the ribs has a few “character” cracks (often associated with Bird’s Eye maple which doesn’t bend well) which have all been repaired and reinforced from the inside. Some inlays had to be made around the corners (see photo). It appears that some damage to the joint between neck and scroll was roughly repaired. The option was to separate the two and redo the work, but the craftsman in question felt that, although somewhat rough in appearance, the repair is stable and solid with no risk of failure. In all the cello is structurally sound and in good condition.
The best part of this instrument is it’s tone – it has the maturity associated with older instruments, speaks easily and is even in its range over all the strings. It is very pleasant to play on. All professional musicians who has so far played on it (Boris Kerimov, Lubin Gadev, Tilla Henkins and Arend Brink) really liked it.
Price: R65 000
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Ref. 0414
Cello ("Arcadia" model) by
The Stentor CompanyEngland, 2005
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Several are available.
The Stentor Company, based in England, has established a good reputation for value for money, bringing good quality instruments within financial reach of most students. The Arcadia model, shown here, is hand-finished and suitable for very advanced students, right up to entry-level professional playing.
The cello shown in the photos is broadly representative of this model. The materials are well chosen, usually with an attractive flame and grain. Craftmanship is careful, particularly on the corners and purfling. The pegs and fingerboard are of ebony. The tailpiece usually is of metal with built-in fine tuners, which clearly is aimed at he student market. However, a wooden tailpiece can also be fitted on request. The scroll could have more elegance. All round, these are very attractive instruments, made with the aim to appeal, and they sound good. They are a positive alternative to the very cheap and attrocious factory instruments that have flooded the market all over the world.
The tone obviously varies slightly according to the individual characteristics of each instrument. The cello shown in the accompanying photos was sold for professional use in a leading South African symphony orchestra.
These cellos are supplied subject to availability, and are sold at the recommended retail price. Any additional fittings and alterations to the instruments are charged for additionally. The price does not include a case or bow. A fairly good quality soft padded bag with zips can be supplied for between R 400 and R 700 (depending on quality). Bows can also be supplied for between R 1 500 and R 3 500 (depending on quality). Transport costs and packaging is for the account of the buyer and within South Africa will cost around R700.
Recommended retail price: R14 995.
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