London, Ca 1910

Certified

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In recent times their notoriety as imitators and copyists has finally been eclipsed by the breathtaking craftmandship of their accomplishment: a massive revival of interest in their work is in evidence – very much has been written about them, all in superlatives, and the British Violin Making Association has recently produced a book about them. Owning a real Voller is now very much in vogue and their instruments are being sought by collectors and musicians alike, not only because of the former notoriety of these men, but because of what these instruments are – truly remarkable testimonies of the highest order of craftmanship and skill, rivalling the finest work of the leading violinmakers of the 19th century.

William Henley says this about them: ”Perfect replicas of any model, exhibiting with matchless exactitude the skill and imagination of the renowned Vuillaume. Appearance of wear and age marvelously accomplished. Superior in every way (…). Smallest details perfectly represented and very skillfully finished. Instruments splendidly desirable as regards the picturesque, and certainly adequate for all requirements of first-class players. (…) Finest wood carefully selected for its accoustic properties.”

Charles Beare said this of them: “The most ingenious copyists are acknowledged to be William, Charles and Alfred Voller. The brothers were all accomplished musicians whose acquaintances included such well known figures as Wilhelmj and Tertis as well as having business contacts in various parts of Europe. By 1892 they were working for George Hart in London and several of their early instruments bear his label. After setting up independently they embarked on numerous copies of lesser-known makers as well as the more obvious names that include some dangerously convincing imitations of the Gagliano family. Some copies of well-documented instruments should have been safe from fraudulent abuse but controversy did arise over a Stradivari copy that became known as the "Balfour Strad". The violin was originally purchased through an agent of the Vollers for £45 and takes its name from the company that subsequently offered it for sale. It was finally advertised as the genuine article for £2,500 and prompted a well publicised letter asserting "You know it is only a clever "Fake" and signed "One who knows who made it". Once the new owner realised his mistake civil court proceedings were instigated that resulted in an out-of-court settlement.”

This violin, bearing a label (“G. B. Guadagnini Torino, 1779”) is a concert instrument of the highest order, and a fine testimony of all the superlatives written about the Vollers. Until the authority, Claude Lebet in Rome, identified the violin as a Voller (and certified it as such), it was thought to be the work of Pressenda. It is an exceptionally beautiful violin: the two-piece back, ribs and scroll are of well-flamed maple with a distinct medium curl. The top is of medium to wide-grained tone spruce. Purfling and corner work are remarkably executed. The varnish is a beautiful transparent red-gold that greatly enhances the beauty of the materials. The violin is in excellent condition. Dimensions: 16.9 - 11.3 – 20.7 – 35.9 cm.

This violin has for years been the main instrument of a leading concert violinist, recording artist, recitalist and academic. It has been used numerously for CD productions and concerto performances. It has all the tonal properties one would wish for in a serious concert instrument.

Price: EU 38 000. (Approximately R 430 000, or US$ 56 000, subject to exchange rate fluctuations).

High resolution photos of the front and back are available, on request.

Venice, 1899

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Degani worked in Monagnana, Trieste and eventually settled in Venice, where he produced most of his work. The authority Henley says this of him: ”Every curve of the outline splendidly sweeped. Clean and precise approach to corners. Corners and edges distinctively portrayed (…). Ingeniously-carved scroll, volute pefectly graduated and edges treated with a sort of flange. (…) Tonal quality very clear, responsive and Italianesque – one that will have futuristic signficance.” Degani is today considered one of the foremost 19th century Italian masters - his instruments are eagerly sought out by discerning professionals throughout the world

This violin was recently discovered in a remote part of South Africa and rescued from obscurity and certain oblivion. It was in a serious state of neglect, but structurally in excellent condition. It was taken to Amsterdam where it was restored by the eminent Dutch violinmaker, Post. Post confirmed the violin’s authenticity. He assessed furthermore that the scratches and marks on the front were superficial and of no structural consequence. He in fact refused to restore the marks, stating that they were part of the violin’s unique history and “character”, and should be left as is.

In January 2009 this instrument was taken to Paris where is was examined by France’s leading violin authority, who confirmed verbally that it is the authentic work of Eugenio Degani, a fact that no-one to date has disputed.

The two-piece back is of mildly flamed maple of narrow curl. The ribs, neck and scroll are of matching material, displaying only very mild flame, to the extent of being almost plain. However, the scroll is a masterpiece of attention, balance and elegance normally associated with Degani’s scrolls, and was described by one French authority as “unmistakably pure Degani”. The top is of tone spruce with narrow grain in the centre, broadening out to the flanks. The f-holes are elegant and balanced. The reddish amber varnish greatly compliments the wood.

This violin is completely free from cracks and evident repairs, although it seems that the neck has been reset, likely by Post in Amsterdam. All marks on the table are superficial and has not structural or tonal bearing. Dimensions: Length - 35.7 cm; upper bout - 16.3 cm; inner bout – 11 cm; lower bout - 20.3 cm.

If any doubts may linger about the quality of this instrument, it disappears the moment you play on it. The quality and beauty of its tone sets it apart from other instruments - here is the substance that made Eugenio Degani what he was and which has placed him in the ranks of the foremost Italian violinmakers of the late 19th century.

Price: R 300 000.

The choice of wood shows discernment: the top is of fine medium grained spruce; the one-piece back is of beautifully flamed maple. The craftmanship throughout is superb, reflected in a beautiful scroll and excellent purfling. The violin is in immaculate condition with no cracks or repairs anywhere.

The tone is what one would expect from this great French violin maker – strong and penetrative, clear and even throughout the register.

Price: Available on request.

This violin by Gaillard is dated 1858 and bears the maker’s serial number 68. The label conforms to other examples and reads: “Charles Gaillard. 20 rue Notre Dame de Recouvrance. No 68, Paris 1858”. It is based on the Guarnerius pattern. The beautiful red-brown oil varnish for which Gaillard was known, is untouched and original, although somewhat worn in places. Throughout the violin is in excellent condition and has no cracks. It appears that the back may have had work done along the central seam where the two halves meet, but it appears to have been expertly repaired. Length of back – 357mm, upper bout – 169mm, inner bout – 115mm, lower bout – 209mm.

This violin has a fabulous tone. It is rich, mature, noble and strong, with a beautiful and rich E-string and a full, powerful G-string. This quality is rare and displays mastery of craft that was somewhat unique to that Parisian group of the mid-19th century. The violin has all the attributes one would want in a very good solo instrument.

Price: R 200 000

This violin bears a marking uniquely associated with Moitessier’s instruments – “Moitessier à Paris” branded into the centre on the inside of the back. This is at a distinctive angle, unique to his branding. It is undated, but the absence of a neck graft would place it some time in the early 19th century.

Everything about this violin is beautifully made and appealing. It’s most striking feature is the one-piece back of finely curled nicely flamed maple. The sides, neck and scroll are evidently of the same piece of wood with it’s distinctive curl. The top is of medium grained spruce. The pegholes have been rebushed and the ebony pegs bear gold trimmings. The scroll is slender, delicate and very elegant, perfectly balanced – truly exquisite work. The purfling on the back is more refined than the front, where at times it is ponderous. The varnish is a golden brown, which shows the wood to great advantage.

This violin is in virtual mint condition. Other than two wing cracks, which have been beautifully repaired and are virtually invisible, the instrument is totally free from cracks anywhere – rare for a violin of around 200 years old.

The tone – beautiful, responsive and mature.

Price: R150 000

Bilmark's most important student was Pragasen Reddy (b. 1932) who was apprenticed to Bilmark from 1950 onward. He eventually became Bilmark’s principal craftsman and undertook all the repairs and restorations in Bilmark’s studio. It was from Sacconi that Bilmark aquired his exceptional skill in restoration and complex repairs. This he passed on to Reddy, who to this day is still one of the finest master repairers and restorers in South Africa. Upon Bilmark’s death (1961), Reddy set up his own workshop in Durban and until the present he serves musicians who bring their instruments to him from throughtout the country.

Bilmark was honored and respected as maker throughout the world. He was an excellent cellist and made many cellos and violas. Today it is truly difficult to obtain any of his instruments, and as much as his work is according to Italian traditions, he is considered to be the most important Danish violinmaker. Many Danish musicians and collectors have bought up his instruments.

The accompanying photograph shows Amon Bilmark in about 1958 with three of the instruments of a quartette he had made for the competition in Liège, Belgium.

This violin, dated 1947, is in impeccable condition. As with most of Bilmark’s instruments, the choice of wood always included well-flamed backs. The sides are possibly of different wood, less distinctly flamed, but the neck and scroll are of a wood with a finer curl – all of it very attractive. The top is of medium grained good tone spruce. The reddish brown varnish compliments the materials well. It follows the Stradivari pattern.

The tone is clear, clean and bright – a very good refined sound that pleases. It is very even over the strings and speaks easily in the high positions.

Price: R120 000.

(This violin has been sold, hence is no longer available, but is left here as reference concerning Amon Bilmark.)

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 War 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. 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 1948 in Durban, when Galea was at the peak of his powers. It was made at a time when Galea had ended his business relationship with Bilmark and had set up his own workhop. It is characterised by a choice of fine materials – a beautiful and nicely flamed one-piece back of distinct medium-curl maple; the sides, neck and scroll are of more plain wood, but which doesn’t distract from the beauty and finish of the scroll. The top is of good quality medium grained tone spruce. As with almost all Galea’s instruments, the varnish is of a light golden honey colour with the back a little darker. Purfling and cornerwork is very good. The violin bears Galea’s handwritten label and brand in the inside of the back.

The violin recently had a new button grafted into the back by Pragasen Reddy who himself was apprenticed by Amon Bilmark and who is a respected violinmaker. Other than two small saddle cracks in the table, which have been professionally repaired, the violin is free from other cracks and in very good condition.

LOB: 36 cm. Bouts: 16.7, 11.4, 20.5 cm.

As with almost all Galea’s instruments, this violin is characterised by an unusually big, strong and open tone with intensity and penetration – really suitable for solo work. The tone has real beauty and the instrument is rewarding and a pleasure to play on. This violin has been in professional use and has been used extensively for solo recitals, concertos and commercial recordings. It currently is my own personal instrument.

Price: R120 000 (Approx. £9 600 or US$15 700, depending on exchange rate fluctuations)

High resolution photos are available on request.

Bilmark had been apprenticed to Simone Fernando Sacconi in Rome before the latter moved to the USA in 1931. Bilmark moved to South Africa in 1929 and by the time the young Pragasen Reddy started studying with him, he was the most important violinmaker and repairer in South Africa, servicing the many fine violins in about 5 major symphony orchestras in that country, as well a making a steady flow of violins, violas and cellos for an international demand. Bilmark’s master, Sacconi, was world-renowned as repairer and passed those methods on to Bilmark, who in turn passed these skills on to Reddy, who, for 11 years had exposure to a constant stream of fine violins in Bilmark’s studio. He became, under Bilmark’s tutorship, a master repairer and an excellent violinmaker. For example, Reddy did all the repairs on Alfredo Stengel’s Amati cello. (Stengel, who was an important Italian cellist living in Milan, would not let anyone other than Reddy work on his instruments.)

Upon Bilmark’s death, Reddy set up his own business and workshop in Durban. Until today Reddy undertakes most of the work on the instruments of the KZN Philharmonic Orchestra in Durban – Africa’s leading orchestra, and serves violinists throught South Africa.

Inasmuch as Amon Bilmark’s own work is universally accepted and catalogued as Italian, as is that of another important student of his – Alfredo Galea (1909-1994) – Reddy’s own work as violinmaker is shaped by the Italian tradition of which Bilmark was an important exponent. Reddy had no other teacher than Bilmark and his work can rightfully be referred to as Italian. As violinmaker his instruments have been sold mostly in Austria and Germany.

This violin, begun in 1995 and finished in 2007, meticulously follows the Stradivari model. (LOB 35.5 cm; Bouts: 17, 11.3, 21 cm). The top is of excellent finely grained tone spruce. The two-piece back is of mildly flamed maple. The neck and scroll are of maple with a distinct fine curl and the sides are nicely flamed in a medium curl. The purfling is an interesting type with the centre line consisting of small alternating black and white squares – difficult to work with and to trace successfully without breakages, but in this case done with reasonble success. The oil varnish is truly beautiful and shows mastery – a golden honey colour with a tinge of red – excellent work. This is a very attractive violin.

The tone is unmistakably Italian in quality with a rich silvery edge that adds penetration and projection. The g-string is unusually rich and satisfying and the tone balances well over the register. This violin qualifies for the designation – “a good violin”. It complies with all the requirements for professional work and should serve a good violinist well.

Price: R120 000 (Approx. £9800 or US$15000, depending on exchange rate fluctuations)

High resolution photos can be supplied on request.

Nevertheless, the violin's fine properties remain impressive. The one-piece back is cut from a truly beautiful piece of maple with a very clear and distinct fine curl. The letter “T” is varnished on with multicoated varnish (almost resembling a wood inlay) just below the button (see photo) but the significance of this is unknown. The top is of medium-grained spruce and is absolutely free from cracks or evident repairs. The purfling is steady and very well traced throughout. The lower left corner of the inner bout on the back has been replaced and the workmanship on this repair is superb. The neck graft is excellent. The scroll is of somewhat plain wood, elegant, but could be better balanced. Whereas the back is of a lovely golden-brown with a touch of red amber, the front and scroll are of brown varnish.

When playing on this violin I liked the tone immediately – it is very mature, crisp, clear and silvery, and the instrument speaks easily. The responsive tone allows for many colour gradations to which it responds well – really a fine instrument.

High definition photos are available on request.

Price: R 110 000

His own work largely follows the principles and model of Lupot. William Henley describes his work as “Perfect modelling, outline, scroll and soundholes”, all of which are evident in this beautiful violin. This instrument, bearing Bernardel’s label, is dated 1926, and would have been made when the maker was already 73, and at the height of his creative powers and experience.

The two-piece back and ribs are of excellent maple with a medium curl of mild flame. The neck and scroll, however, has a deeper, more distinct flame with a narrower, more intense curl. The scroll is truly exquisite. The top is of medium grained tone spruce. Throughout the purfling is superb with fine work in the corners. Varnish is a light golden honey of an oil-base. Throughout the instrument is in excellent condition with no cracks or evident repairs.

As could be expected, this violin is eminently suited for solo work, and had been used extensively for the performance of concertos and recitals, both on stage and on the radio. It belongs to a leading South African violinist.

Price: R100 000

Ch. J. B. Collin-Mézin (the father) initially studied with his own father and later worked for Claude Francois Vuillaume in Brussels. He then started his own studio in Paris in 1867 where he remained until his death in 1923. As violinmaker he won numerous important prizes and awards and is considered as one of the important French violinmakers of his time. His instruments today are very sought-after and appreciated by professional musicians the world over.

The English authority, William Henley, states in his famous Dictionary of Violin Makers that Ch. J. B. Collin-Mézin’s instruments can only be considered as authentic when they bear the signature in the back, next to the sound post. This violin has that signature. However, that is an over-simplification of a more complex situation. Initially this maker used to sign his violins in the back by hand, but it appears from Henley’s writing that the famous signature in the back in later years in fact was a stamp bearing a copyright facsimile of the original signature. I have seen at least one Collin-Mézin violin with Ch. J. B. Collin-Mézin’s label and the signature, but made in 1924 – a year after his death, which seems to suggest that the son, or another member of the clan freely used that stamp to make it seem that the instrument was by the father. The son, Charles, had a different label and his personal work was usually signed directly on the label and not in the back.

All matters considered, the label in this violin corresponds to the father’s labels and it bears the required signature in the back. Furthermore the date hand-written on the label is authentic, since it also is stamped onto the neck block in the inside. This places the violin within the father’s lifetime, well before his death. In my view it is the father’s work.

The top is of medium-grained fine tone spruce. The two-piece back, ribs and sides, neck and scroll are of nicely flamed maple with a distinct medium curl. The varnish is chestnut brown throughout. All marks on the instrument are purely superficial and structurally the violin is in excellent condition. The only repair I could discern is to the neck button in the back, which would suggest that the neck angle may have been corrected at some stage – but very well done. The neck angle is correct.

This is a very good violin with excellent tonal properties, positively commented on by Prof. Walter Mony, a leading academic and teacher (now deceased) who at some stage used this violin. The violin has been the principal instrument of an important South African violin teacher.

Price : US$12 000 (Approximately R 93 000)

Probably Viennese, ca 1680

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According to several European authorities (Claude Lebet in Rome, Beares, Tim Toft in London) this violin is of German origin, likely from well before 1700. Bruce Carlson (Cremona) believes it is Viennese. It is unlabelled and a handwritten inscription inside indicates that it was repaired by the Burmeister studio in 1929.

This fascinating instrument has several intriguing features: it was signed in the back by Lorenzo Storioni with the date, which seems to be 1773, but which is very faded. The authenticity of the signature is not being disputed anywhere. Although this led to the violin at some point being ascribed to Storioni, it is now understood definitely not to be his work. The only plausible explanation for Storioni’s signature in the violin, is that the instrument was in use in Cremona at some stage and was likely repaired there by Storioni.

That the violin is very old, probably from before 1700, is inferred by a very distinct sweat patch to the right of the tailpiece (see photos). This would indicate that the violin was played in the manner that the viol was commonly used (with the chin resting to the right of the tailpiece), and points to its being used well before 1700 when that style of playing was common.

This violin has been subject to repairs through the years, mainly to the top – all of it professionally done to very high standards. The pegholes have all been rebushed and reinforcements have been made to the inside walls of the pegbox. Supportive constructional inlays have been done all the way around edge of the table – a standard renovative procedure in very old instruments (see photos). This work may have been carried out by the Burmeister workshop in 1929, or else by Beares during the 50s. A number (“1761”) stamped into the rib right under the endpin hole, is not a date but a serial number which corresponds to a reference system used by Beares. According to the Beares catalogue this violin was sold from their studio in the 1950s as an “old German violin”.

This violin has fabulous character and everything about it speaks of quality. The varnish is certainly the original – the top is in a dark brown and the back was varnished in a red-brown oil varnish of which much remains. Arching is quite deep and full, contributing to the rich warmth of tone. The violin is structurally secure and in very good condition.

The violin is characterized by truly beautiful mature tone – rich in the bottom and evenly balanced over all the strings, right to the top. The high register is clear and pure – a fine match for the rich bottom end. It is a real pleasure to play on and should be in the hands of an appreciative professional musician.

High resolution photos can be sent on request.

Price: R95 000 (approximately US$ 12 000 or GBP 6 000, depending on exchange rate fluctuations)

Miskolc, Hungary.
Circa 1930

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Sandor Elek (1881-1969) was one of Hungary’s foremost violinmakers of the 20th century. He was an apprentice of Lajos Bohak in Budapest and also worked with Oszwald Weidlich and Antal Habits. He then moved to Miskolc where he was based for the rest of his life, but his work was interrupted by the Great War from 1914 to 1920, part of which he spent in prison in Siberia. As violinmaker he received numerous important awards.

This violin, unlabelled and undated, but from around 1930, loosely follows the Guarnerius pattern as is evident in the shape of the inner bouts and f-holes. It conforms in every respect to expectations of the standard of Elek’s work. It bears Elek’s brand in the centre of the back, on the inside.

The choice of materials is superb throughout – medium-curled, well-flamed Balkan maple is used for the two-piece back, ribs and scroll. The top is of fine spruce. Furthermore, it has an ebony “edge protector” – an ebony reinforcement set into the middle of the right inner bout, to protect the bout edge from contact with the bow’s nut during rough play. This is a typical characteristic of Hungarian violins and was almost always employed by Elek. This violin’s scroll is beautiful and the purfling is superbly traced. Furthermore, the varnish is of the rich golden amber Elek was famous for. A crack between the lower tip of the left f-hole and the bottom edge has been expertly repaired and is hardly discernable. It is truly a beautifully crafted instrument with great visual appeal.

It has a huge tone – intense and beautiful with penetration and projection, very even throughout the range and with clarity and purity in the high positions. This is a superb solo instrument with all the characteristics required for very demanding playing in a concert context.

The instrument is currently in a private collection.

Price: R90 000

New York, 1989

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This violin was for several years the principal instrument a leading South African concert violinists and was used for numerous public performances, concertos and commercial CD productions. It is a thoroughbred solo instrument made in 1989 in New York, by Boris Sverdlik.

It is in excellent condition. The broadly flamed maple back is in two pieces, with matching ribs and scroll. The table is of medium grained spruce.

This would be an excellent acquisition for a serious professional violinist seeking a responsive instrument suitable for all genres of performance.

Price: R90 000

Mirecourt, 1880

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Honoré Derazey (1794-1883) is (and definitely was in his own time) considered as a very important French violinmaker. He completed his apprenticeship in Mirecourt, then spent some years working in several of the leading violin studios in Paris, perfecting his craft. He then returned to Mirecourt, where he settled for the rest of his life. He won the foremost exhibition medals– in Paris (1839, 1844, 1849 and 1855) and in London (1851 and 1862). According to the French authority, René Vannes, Derazey’s work was so highly regarded that J. B. Vuillaume (then one of France’s leading makers) acquired instruments from Derazey and sold them from his Paris studio, after fitting his own personal label into them.

From 1844 onwards, Derazey sought the more commercial avenue of a large studio and apprentices, resulting in massive output of instruments that became much in demand 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”.

This violin – meticulously following the Stradivari pattern - is a truly beautiful instrument from every perspective. The label is undated, but it’s well-preserved condition – being virtually mint – suggests that it dates from late in Derazey’s activities, probably around 1880, or slightly before. It certainly dates from after 1855, when Derazey won a medal in the Exposition Universelle. Its back betrays his preference for one-piece backs, almost always of impressively beautiful wood. In this case it is of maple with a distinct broad flame running at a slant across the back. The ribs and scroll match the back perfectly. The top is of medium-grained tone spruce. 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 is reddish brown with a tinge of red and appears to be the original.

This violin’s tone is clean and balanced, with clarity and evenness throughout. This is a good instrument.

Price: R 85 000

Scurano, Italy, 2008

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After completing his apprenticeship in violinmaking in Cremona, followed by several years of violin restoration in the same centre, 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 instruments to leading dealers and musicians throughout Europe, notably in Germany, Austria, Switzerland, Holland and elsewhere. Today Pots commands respect and regularly has musicians travel from abroad to visit his studio to acquire an instrument from him - notably his cellos and violas are much in demand by principals in European orchestras.

Pots works within the established Italian and Cremonese traditions. He received his early schooling in Cremona, where his father (Peter Pots Sr) 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 generally uses his own model for most of his instruments. It was originally developed by his father, Peter Pots Sr (1944-2005), who was an important Cremonese violinmaker. (See violin no 0553 elsewhere on this page and viola 0522 on the Viola Page, as examples.) 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.

With this violin Pots departs from his own individual design to closely follow the standard Stradivari model. 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 sound which is a characteristic 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 to fine curl and clear 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 neat. LOB is 35.6 cm.

A very striking aspect of this violin is the attractive deep red-brown varnish. The varnish is thickly applied but has transparancy that allows the beauty of the wood to be observed and which compiments the violin. Pots used the identical varnish formula used by Francesco Bissolotti – one of most important violinmakers.

This violin has seduced several excellent violinists with its rich and responsive tone – a satisfying g-string with good balance over the 4 strings and good response in the high positions.

The last photo shows Peter Pots in workshop in Scurano, working on a halfsize violin for his daughter.

Price: Available on application.

Scurano, Italy, 2005

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After completing his apprenticeship in violinmaking in Cremona, followed by several years of violin restoration in the same centre, Peter Pots settled in the small mountain village of Scurano, not far from Cremona. Pots works within the established Italian and Cremonese traditions and his instruments are rightfully considered Italian and catalogued as such. (For more information about Peter Pots, please refer to violin no 0535, further up on this page.)

With this violin, Peter Pots pursues the individualistic design originally developed by his father, Peter Pots Sr (1944-2005), who was an important Cremonese violinmaker. 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 sound which is a characteristic of Peter Pots’s instruments.

The top is of very broadly-grained tone spruce. The one-piece maple back has a very interesting pattern – the result of being cut on the slab, but not entirely so, tending towards the quarter. An attractive wild and irregular flame crosses the lower half, making the back very striking on the eye. The ribs are of a narrower curl. Peter Pots manufactures his own purfling, which is normally quite narrow. The purfling is very well traced and the corner work really neat. LOB is 35.7 cm.

Unlike the other Pots violin on this page (no 0535), the varnish is a light golden brown - thickly applied but with excellent transparency. Pots used the identical varnish formula used by Francesco Bissolotti – one of Italy’s most important violinmakers. The scroll is balanced and strong. Pots follows an old tradition by not using sandpaper to finish off his instruments – the scroll and all edges is cut by sharp tools, giving a crispness to the edges and to the workmanship in general. The scroll has an interesting aspect inasmuch as the cut marks made by the tools are visible, adding to the violin’s handmade character.

The tone is rich and an unusually big g-string sound. It is well balanced and responsive – a good violin, satisfying to play on.

Price: P.O.A..

High resolution photos are available on request.

Johannesburg, 1942

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The great Dutch violinmaker, Jacobus Jan van de Geest (1899-1974), came from a long line of violinmakers. He learnt his craft with Eugen Eberle in Rotterdam from 1914 onwards. In 1921 he joined Hart & Son in London, then the most important violin firm in London. He became their studio’s master craftsman in charge of all work, until the company closed in 1938. During his 18 years with Hart & Son, Van de Geest was exposed to the finest instruments in the world and routinely worked on them, adding to his extensive knowledge of the work of the masters, and making of him a recognized authority of the highest order.

In 1939 he moved to Johannesburg, South Africa, and there he soon became a formidable force in the music life of that country, not only as a remarkable craftsman producing violins, violas and cellos, but also as a brilliant restorer and expert, and as an importer of many fine violins. In his own instruments he mainly copied the work of Stradivarius and Guarnerius, which won praise from some of the world’s leading violinists, including Carl Flesch. In 1949 he won the highest award at the International Competition for Violinmakers in The Hague, and again in 1954 he was awarded the two highest diplomas for a String Quartet he had made for the Competition in Liège.

This violin, dated 1942, is in mint condition and virtually unused. It shows Van de Geest work at a time when his skill was at its finest. The two-piece back is of attractively flamed maple with a medium curl. The ribs are also of well-figured maple, but with a milder curl. The top is of medium-grained tone spruce. Purfling is impeccable with excellent work in the corners. F-holes are reminiscent of Guarneri – a maker that Van de Geest often used as model. The scroll, beautifully flamed, is a splendid work of art, and reveals Van de Geest’s powers as master craftsman of the highest degree.

Throughout the instrument speaks of a steady hand and an eye for perfect balance, structure and craftsmanship. The violin is entirely free from any cracks or discernable repairs.

This violin is varnished in a deep wine red oil-based varnish – colour he liked and used on many of his violins. The colour is intense yet the varnish is clear, allowing for appreciation of the qualities of wood. The boxwood fittings are probably original and very attractive. The bridge is still the original, and in perfect order.

This instrument is well-toned with a “clean” sound, pure and responsive in all registers. It is a very satisfying instrument to play on.

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

Price: R80 000 (Approx. US$ 11 000, subject to exchange rate fluctuations)

Note: High resolution photos can be e-mailed on request.

Corsica, c. 1925

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Giuseppe Modaudo was born in Catania in 1879. At the age of 14 he was being apprenticed by the Carabba Brothers and he built his first violin when he was 16 in 1895. In 1905, aged 26, he moved to the USA and settled in New York, and later in Chicago. He regularly travelled to Europe, but returned to Italy permanently in 1949, when he settled in Rome until his death. In spite of spending most of his creative life in the USA, he always labelled his violins as Italian, being made in Catania. By 1927 he had made 500 instruments – a considerably output by all standards, which amounts to around 15 instruments per year, or more than one per month.

The English authority, William Henley, considers his work as a “rather superior kind of trade instrument”. He used Swiss pine for the breasts – well seasoned and accoustically resonant, with backs and ribs of light Italian maple, nicely figured. Henley says further that all details are excellent. His work is always styled on the Cremonese or Bescian models. He singles out the varnish as being ususually thick – eight coats – but elastic and very transparent, often of chessnut colour. The tone he considers as excellent.

The above largely describes this violin. Bearing Modaudo’s usual label, it has a hand-written insciption added that indicates that the violin was probably made in Corsica, during one of his visits to that island. It is not dated precisely but would have been made around 1925.

I was first struck by the really attractive two-piece back – an unusually finely curled maple also used for the ribs. The neck and scroll seem to be of similar wood, but not the same. The chessnut coloured varnish is fairly thickly applied but has singular appeal in being very transparent, allowing appreciation for the fine selection of woods used in this violin. I believe this is the original varnish, largely untouched. The top is of finely grained Swiss pine - two small inlays appear to have been done by the maker himself as is often the case in replacing natural blemishes in the wood. The purfling is tidy and steady. The scroll seems somewhat “woody” but has good balance and strength.

The violin appears to be free from serious repairs or cracks.and is structurally in excellent condition. The top left corner on the front has been repaired and there is a small ebony pin through the right bottom corner on the front. It is fitted with very attractive matching rosewood fittings. All marks in the varnish of the instrument are purely superficial and not structural.

After work to the setup and with a new bridge (done after the current photos), this violin now sounds really good – a big healthy tone with strength in the lower register and clarity and carrying power in the high register. Tone is balanced over the full register. This is a responsive violin.

Price : R 70 000 (Approximately US$ 9 000)

Circa 1790

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This violin is unlabelled, but consensus from several persons puts its date around 1790. There is no disagreement on being French, but some debate exists around it’s exact origin: Anthony Houska, a leading dealer in London, believed it to be the work of François Pique (1758-1822). Prof. Walter Mony agreed with that assessment. At some stage it was thought to be an early Lupot, dating from the period when he was working in Orléans, before 1794. At that time he produced several violins based on a smaller Stradivarian model, all of them characterized by an extraordinary ruby-tinted varnish of unusual beauty and, above all, an exceptionally attractive silvery tone with great penetration.

However, a recent examination of this instrument by Jean-Jacques Rampal in the studio of Etienne Vatelot in Paris, eliminated the notion that this violin could be either a Pique or a Lupot. Rampal confirmed its French origins, but felt that it would be very difficult to identify the maker. It would be safe enough to say simply that this violin is from the Pique school.

What sets this violin aside is its tonal beauty. It is an ideal instrument for quartet playing – clear, silvery, penetrative, very responsive and easy to play on, mature and with a beautiful and responsive g-string.

The instrument was recently rescued from total oblivion and delapidation. It is in excellent condition, with no structural repairs evident anywhere. Two corners have been damaged but have been reconstructed. The orignal varnish on the top, ribs and scroll has been exposed after very careful renovation. An early attempt to strip the back has left the original varnish damaged and the back scratched, but not damaged. The original ruby coloured varnish of the front is of an exquisite color that only the French of that time could achieve and a fabulous example of its genre. The back is of one piece.

The purfling is faultless, and the corners of a craftmanship that is seldom seen today, with fabulously executed bee-stings. More than anything it is this aspect of the violin, combined with its exceptional tonal properties, that show its origin to be by the hand of an unusually skilled maker.

Price: R70 000.

Johannesburg, 2005

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The violin displayed in the accompanying photos is based on the Conte di Fontana Stradivari of 1702, which was used by the great Russian violinist, David Oistrakh and which served as main inspiration for Bekker. The materials are well-chosen – the two-piece back, ribs and scroll are of medium curled maple with a mild flame – this is Bosnian maple, the preferred maple for violinmaking. The top is of medium-grained tone spruce, which had grown in the Val di Fiemme district in Italy (from where it is said that Stradivari also sourced his wood). Purfling is well traced and the scroll nicely done with good balance. Throughout the violin is well made, the arching a little higher than the original model, and the F-holes elegantly done. This violin is the result of some 200 hours of work - all by hand.

Bekker makes his own oil-based varnish – in this case a gentle golden brown with a lovely shade of red. It is a very soft and delicate varnish that will allow the instrument to age gracefully. In this aspect he was inspired by the Cremonese love for red, gold and rusty tints in their instruments.

This particular violin has already been sold, but is left on this webpage for reference purposes as an example of Bekker’s work. The price of a commission is to be negotiated directly with him.

Markneukirchen
Circa 1875

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In 1824 Karl Gottlob Schuster founded a very important workshop which commercially produced string instruments. Ulrich Schuster and his brother Raymond joined this company in the late 19th century and for decades they dominated the German output of good quality trade instruments. They largely worked in contest with studios in Mittenwald and even Mirecourt, France. As a manufacturer they excelled in their choices of materials – always good and attractive woods, nicely crafted and varnished and with healthy good-quality tone. Raymond withdrew from the company in 1913 and Ulrich died in 1921. The company was then taken over by Nicolaus Schuster who became the sole owner. The company was still operating in 1951.

This Schuster company had different labels at different times : the label in this violin was used specifically during the 1870s and 1880s, which would agree with the fact that the original owner of the violin received it as a gift in 1876.

The violin is appealing on the eye – a really attractively flamed two-piece maple back, ribs, neck and scroll carries a good tone spruce top, the whole instrument being varnished in a red-brown varnish that compliments the materials well. The violin is in impeccable condition. Through the years it sustained some scratches and wear patterns, but these are strictly superficial and add to the character of the instrument.

The tone is of good quality, as is most of the violins produced by this company - clear and bright and speaks easily, with good penetration and carrying power.

Price : R 19 500.

Circa 1890

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“Trade” studios at that time had access to good materials and also used good craftsman. Today, a hundred years later, these violins have matured and come into their own, and are excellent for students, or talented beginners.

This particular violin features an attractive one-piece back and throughout the materials are good and the workmanship tidy. It has been “antiqued” inasmuch as it was made to appear older than it acutally is. It has a fake Stradivari label inside. A minor repair to the top has been professionallly done and is stable. In its current state, it was set up by the Cremonese-trained violinmaker, Dawne Haddad.

The violin has good tone – warm and responsive and should serve a talented student well, up to an advanced level.

Price: R 12 000

China, 2004-2006

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These are excellent instruments for advanced students and entry level professional players, representing largely the excellence in workmanship and quality that is lately emerging from production studios in China. These instruments excel in every detail – from supremely beautiful materials and the immaculate tracing of purfling, to perfect scrolls and excellent tone. Following mainly the Stradivari and Amati patterns, they conform to every proportional and tonal requirement.

Initially American and European companies set up large studios and factories in China, supplying European and other woods, and producing instruments under Western supervision whilst benefitting of low Chinese production costs. These instruments were (and are) then sold in large Western outlets as western instruments bearing western labels. However, Chinese craftsman, fully trained in Cremona and elsewhere in the West, are now using stunning Chinese materials to produce instruments of remarkable finish and beauty that match the best output from the West.

A characteristic of Chinese maple (used for the backs, sides and scrolls of these instruments) is that it is highly flamed and patterned with a very distinct figure (see photos) – making of it probably one of the most beautiful materials in the world for violin backs. The tone spruce used for the tops, is of exceptionally high quality, of a very narrow grain with very thin winter rings – excellent for violins! All other fittings are of solid ebony. These instruments are always finished off by hand, to the highest standard, and are varnished by hand, using oil-based varnishes.

It is hard to grasp that such fine craftmanship, finish and tonal quality can be produced at such a reasonable cost, and yet it is a reality that is steadily - but irrefutably - turning China into the world leader in the production or fine string instruments. Tonally these violins match instruments that cost abound three times more – for a fraction of the cost.

I have sold several of these instruments even before I could get them onto this website – to professional orchestra musicians, university students and other discerning individuals alike. The price varies slightly from instrument to instrument, depending on the tone quality. Here are some instruments currently available:

Ref. 0456: The two-piece back on this violin shows off well the characteristics and beauty of Chinese maple – a beautiful, distinct, deep flame with a somewhat irregular and dazzling curl – with matching ribs and scroll. The top is of exceptionally nice tone spruce with a grain that varies from medium at the outside to extremely narrow along the central seam. This is a big-tone violin, even throughout the register – it speaks easily with a light touch, allowing for comfortable performance of just about any repertoire, including concertos. Price: R16 000

Ref. 0492: The one-piece back on this instrument is truly attractive – the medium curl has a distinct flame with the slight irregularities characteristic of Chinese maple. The matching sides and scroll were probably cut from the same block. The varnish is a reddish brown. The top is of medium-grain tone spruce. Tonally it's very even and clear. Price: R8 000