Violins for sale

Here is a partial list of available inventory, subject to change;

Vincenzo Postiglione, one Guarneri model c 1880, one personal model c 1910, Rodolfo Fredi 1920, Jago Peternella 1920, Giovanni Pistucci c 1925, Arcangioli school, Florence c 1820, Enrico Marchetti c 1900, Giovanni Cavani 1921, Pietro Messori 1927, Giuseppe Ornati 1921, Vincenzo Sannino c 1910, Collin-Mezin 1894 ( Strad Model), Paulus Pilat 1891, Paul Knorr (Guadagnini model), Carl George, Peter Baltzerson, Raffaele Calace, Puglisi, and much more. Contact us for more detailed information, and enjoy the pictures below of some of these.

Enrico Marchetti (1855-1930) violin

Turin

One of the finest Turinese makers of the late 19th and early 20th centuries. This violin features soft golden brown varnish with wonderfully undisturbed patina. Back length is 357 mm.

Romeo Antoniazzi, 1919, Milan

Here  is a violin by Romeo Antoniazzi. Romeo was born in Cremona in 1862,the son of Gaetano. Together with his older brother Riccardo and later Leandro Bisiach, he helped take their Cremonese heritage and form the Milanese school of the late 19th and early 20th century. Milan is probably the most significant center of Italian violin making at this time, and not by chance the opening segment in Dmitry Gindin’s extensive two volume set of books on Modern Italian violin making.

  This is a typical late example from 1919 labeled Monzino, and is stylistically nearly identical to the 1920 example illustrated in Eric Blot’s book, though this instrument has a back length of 358 mm rather than 360. It has an attractive bird’s eye maple back, and is close to mint condition. This violin comes with a Reuning certificate.

  358mm, 167.5mm, 113.5mm, 205mm

Carlo Carletti, Pieve di Cento, circa 1920

Here is an iconic example by Carlo Carletti.

Carlo was born in 1873 in Pieve di Cento, a village near Bologna and Ferrara. He may have learned the craft from Raffaele Fiorini. Stylistically his work seems closer to Soffritti and Pevere in Ferrara. Early in his career Carlo supplied violins to Leandro Bisiach and Romeo Antoniazzi. The first example pictured by Blot as Leandro Bisiach almost certainly is the work of Carlo Carletti, though the date of 1892 is suspect, in part because Bisiach often used an earlier date on his labels for tax (evasion) purposes. Later on Carletti helped set up the Mozzani workshop, which produced Carletti-like violins though somewhat inferior. The bulk of work attributed to Carlo is rather too similar to Mozzani, but there is a small number of examples that are quite a bit better, such as this example. The overall effect of this violin is that of an early nineteenth century masterpiece. It doesn’t try to be the epitome of refinement, but the warm orange red varnish combined with Carletti’s sense of style create a violin of immense charm.

Additionally, there are other nice examples labeled Giuseppe Marconcini. A google search of that name will yield at least two examples, one with a Rembert Wurlitzer certificate, purporting to be Marconcini. Ernesto Pevere also made some nicely antiqued violins, very similar to Carletti, also labeled Marconcini.

357.5 mm, 166.5 mm, 113.5 mm, 209 mm

Vincenzo Sannino, Naples 1908

Here is is a fine example by Vincenzo Sannino, one of my personal favorites.

Sannino was born in Naples in 1879. Unlike Carletti who used few models but varied

in quality, Sannino used many models but always of high quality and appeal. This

example from 1908 is made at the height of his abilities to interpret the work of the

Gagliano family. While the model isn’t painstakingly true to the original, the thick

chippy varnish is highly evocative of late 18th century Neapolitan violins, more so

than any other maker of the era. While this violin was made around the time he

started using non-Neapolitan models as inspiration, it is worth noting that there is a

twin to this violin belonging to a violinist in the Boston area that is branded GR and

labeled Giuseppe Rocca. Sannino never seemed to make slavish bench copies of

particular instruments, but it is interesting that he would brand and label a violin

Rocca yet use his personal Gagliano model.

355mm, 166mm, 114mm, 205.5 mm

Jerome Bonaparte Squier (1838-1912) violin

Boston

Born in Cleveland, OH. Established own shop in Boston in 1881.

Vincenzo Postiglione (1838-1916) violin c. 1910

Naples

This second violin by Postiglione is a characteristic example of his late work. This violin is a large model which stylistcally recalls the works of fellow neapolitan makers working around 1820, e.g. Lorenzo Ventapane, and later members of the Gagliano dynasty. Back length is 361mm and has a certification from Dmitry Gindin.

Paul Knorr (1882-1977) violin c. 1930

Markneukirchen

Well-known Markneukirchen violin maker, though early in his career he worked in Breslau and Berlin. Knorr is known for his copies of Stradivari, Guarneri del Gesu, and Guadagnini. Here’s a fabulous Guadagnini copy by Paul Knorr, c 1930.

Jago Peternella (1886-1970) violin c. 1920

Venice, New York, San Diego

Born near Verona, Peternella is thought to have worked with Degani. This violin from 1920 was purchased by the current owner’s father from Peternella in 1944, receipt states it is a copy of a small Guarnerius, it appears to be modeled after an early type del Gesu.

Rodolfo Fredi (1861-1950) violin

Rome

Count Rodolfo Fredi learned violin making from his father Fabio. He worked in Rome and largely used Stradavari as his model, as is the case here in this fine example from 1920.

Certificate from Dmitry Gindin

George Wulme Hudson (1862-1952) violin

London, Lincolnshire

There probably is no other maker that worked in as many different styles as did Wulme-Hudson. He made copies of many well known masters, and used whimsically fictitious Italian names.

Charles Lanzer, violin

Brooklyn, New York

Carlo Ferdinand Landolfi (1710-1787) composite violin c. 1750

Milan

This violin is composite, the back and ribs are by Landolfi, c. 1750. Back length 356 mm, upper bout 167 mm

Andrew Weinstein (b. 1956) violin

Boston

Here is my latest violin, based on Amati but not strictly speaking an Amati copy. . Back length 354 mm, upper bout 165mm.