I have some other excellent French violins in stock, including a beautiful example by Auguste Sebastien Phillippe Bernardel (Images here), the very violin made for the 1866 exhibition. A beautiful violin by Gand & Bernardel, 1890, is now ready. This was originally sold on the 29th October 1890, to "Mademoiselle P" at the Institute Publique des Beaux Arts. Back then it cost 300 French Francs.
I have a perfect violin by Juste (Justin) Derazey. A special thing is the violin made for the prizewinning student at the Paris Conservatoire in 1915, by Caressa & Francais. (Images here)
I have three excellent violins by Collin-Mézin dated 1879, 1899 and 1906: here they are . Also I have violins by Lavest of Montlucon and Jean Striebig. These last two are by little known makers, but they're good.
Two 18th Century French instruments are by Jacques Bocquay, typically oversized but with a normal string length,( Images here) and by Claude Pierray.
Now, here's some fun: a painted violin by Nicolas Morlot. After all, why not paint a violin? It doesn't affect the sound and it's decorative. These days violinists are very conservative in their tastes, but there was a time when such violins were quite common. Joseph Mast of Toulouse, for example, often painted his instruments. This one, by Morlot, dates from around 1830, and is a tolerably well-executed copy of the famous propaganda picture of Napoleon and his horse Marengo, by Davide. (Images here). The front is not painted, so the picture could be the player's secret in most circumstances. Oh! I nearly forgot. It sounds really good: clear and powerful
I have a violin by Charles & Samuel Thompson, circa 1770, with a nice undated label inside.
I don't know whether there's another label of the actual maker under the table - but I don't
I can't find anything with a mirror, and, as the instrument is in good playing condition, I don't think it's worthwhile to take the table off.
A somewhat earlier violin is by Robert Thompson. This has its original label dated 1756, and is in wonderful condition. Despite being highly arched it breaks the rules by being very powerful. I doubt there's a better example available. ( Images here)
I have another violin by Goulding, circa 1820, and a wonderful Kennedy-workshop violin from around 1830. This is very dark - almost black - and in very fresh condition. Indeed it even had its original pegs, although they slipped and had to be replaced. It has two curious maker's marks inside, on the top and bottom blocks. Everybody thinks it's a Kennedy, but it isn't labelled or signed.
ItalianOld Italian violins are now so expensive that I can't deal with them in the same way as the other instruments on this website. However, I generally have some that are available.
At the moment I have a very fine, certified by W.E. Hill & Sons, grand pattern violin by Nicolo Amati made in 1658. It is a well-known example of the maker's work, in an excellent state of preservation.
Another is by Giovanni Battista Rogeri of Brescia, circa 1690. This too has excellent certification. (Images here)
I have to treat such sales with discretion, of course - but I can be more open about a really beautiful violin by Eugenio Degani of Venice, made in 1894. (Images here) . It's in fabulous condition, retaining the makers's distinctive original fingerboard, for example.