The Carletti Family

The Carletti family was one of the most prolific and influential families in Italian violin making in the 20th century, and is still active through Gabriele. The Patriarch of the family was Carlo, born 1873 in Pieve di Cento near Bologna and Ferrara. Carlo trained his 3 sons, Natale, Orfeo, and Nulli, as well as his nephew Genuzio.

The best work of Carlo is rare, and generally doesn’t bear his label. They are as appealing as any modern Italian,made and varnished in a manner that recalls instruments 100 years earlier. The bulk of his work is a bit simpler. He helped the guitar maker Luigi Mozzani set up a workshop in Cento, where he likely trained other makers like Claudio Gamberini. Without an original label it is very difficult to distinguish between the work Carlo Carletti, Gamberini, and some Mozzanis.

Natale also made huge contributions to the violin world, maybe especially in his cellos. The example here is labeled Carlo, and probably is from 1950-60. It has a two piece slab sawn maple back, as does the Genuzio Carletti cello here. Another thing they share is that the tops have wings, as does the Carlo cello top . The Carletti family as a whole showed a preference for softer wood in the back, usually poplar but also slab sawn maple.

Genuzio’s work is perhaps more likely to win a violin making competition than his relatives, even if it lacks the personality of the best work of his cousins and uncle. After World War II he worked with Joseph Settin of New York, who imported much of his work to the U.S. These instruments often are labeled Carsettinius, combining the two names, and many are assumed to have been varnished by Settin

A Guide to buying vintage Violins, Part 1

Common questions when people start the process of acquiring a violin often are along the lines of: how much does a good violin cost, and, how much should I spend on a violin?

These two questions are very closely related. The first question, regarding what a good violin should cost, depends on several variables. A good violin for a twelve year old moving into their first full size violin won’t be the same instrument that a conservatory student or professional symphony violinist will be looking for.

Even young players moving into their first full size violin are not all the same, and therefore will need different instruments. Some young students have been playing for 8 or 9 years, while others for much less time, so not all students moving into their first full size have developed the same technique and sense of sound.

The priority for a student purchasing a violin is that they find something that will not interfere with their ability to make progress as a violinist. While sound is crucial, also imperative are the issues of feel and playability. The string heights at the nut and bridge need to be correct, and the fingerboard should be properly planed. Another important issue is the size and feel of the neck. A violinist with a smaller hand will usually be better served by a violin with a smaller neck, and maybe even an instrument on the smaller side, as measurements of full-size violins can vary a surprising amount. A neck can be easily made smaller while the size of the instrument is fixed.

For the typical student who has played for 3 or 4 years with normal diligence and ability, I recommend beginning the search in the $2,000-5,000 range, and go higher if nothing suitable is found. It is slightly counter-intuitive that less-expensive violins need to be in very good condition, as the cost of repairs can exceed the value of the instrument.

In the $2,000-5,000 range you can expect to find good to very good “trade” instruments and well made individual instruments. (A “trade instrument” is something produced in a large workshop — well-run workshops using good models and materials can produce very fine instruments.)

Below are three examples of the types of violin we offer in the $2-5,000 range.

French violin, Mirecourt, c 1920

Violin by Joseph Schellinger, Lynn, MA

German violin c 1925, Markneukirchen, probably Roth shop

Next, let’s look at what you can get in the $5,000-10,000 range. Here you’ll find some known name makers, like Heberleins and Roths (the higher grade Roths are over $10K), some decent French and American makers, as well as some anonymous instruments of quality. Sometimes there are Italian violins in this range, though of the more commercially produced quality. You might not get a top tier maker in this range, but you can find works by makers who worked with the top tier makers and whose work closely resembles them. Here are some examples;

Violin by W.P. Veale, Cohasset, MA 1880

While there is no information I find on this maker, this violin is nearly identical to the work of A.W. White of Boston, such as the example from 1876 in the Tarisio archive.

German violin, Mittenwald, c. 1850

French Violin by Charles Bailly, 1934

Usually violins labeled Charles Bailly are Mirecourt trade instruments, but this is several steps above

to be continued…

A CLOSER LOOK AT TWO FINE GUADAGNINI VIOLIN COPIES, CIRCA 1920: WULME -HUDSON AND KNORR

Guadagnini copies are different from copies of Stradivari, del Gesu, and Amati. Unlike the latter three, the Guadagnini model was not used much prior to 1900, and rarely in commercial settings.

Here’s a look at two examples by well-known masters from 100 years ago: George Wulme-Hudson and Paul Knorr.

Violin by Paul Knorr, circa 1930

Below is the front of a J.B. Guadagnini violin, 1777

This violin by PAUL KNORR is labeled GUADAGNINI, the PK brand just peeking out at the bottom. Other than employing the typical Guad ffs (widely spaced, upright with elongated lower eyes) there is little more to suggest that he’s copying GUADAGNINI. Fortunately, it has KNORR’S best varnish and ground, as well as the fine materials and workmanship you’d expect from KNORR. Back length is 358 mm, upper bout 166 mm.

Next is a violin by GEORGE-WULME HUDSON

This violin is also just labeled GUADAGNINI. I first thought this instrument had something to do with the BISIACH shop, as they also produced some wonderful Guad copies at the same time WULME-HUDSON was working. It wasn’t until I saw a twin at a prominent violin dealer’s shop that I knew for sure what this is. Labeled as from PIACENZA, this violin does seem fairly faithful to the model Guad used there. This is the type of violin that earned him the nickname “the second JOHN LOTT” It has a very attractive one piece back, likely english wood. Back length is 353.5, upper bout is 166.5.