Violins For Sale

This is a list of all the violins currently for sale on the website, including our new handmade instruments, contemporary/ 20th century and antique violins.

MSV 70 Stradivarius Pattern Violin, Martin Swan Violins 2012

£1000 (Student Model)

Martin Swan Violins MSV 70 Violin, Stradivarius Pattern 2012 This is a Stradivarius pattern violin with a vivid orange/yellow oil varnish, made entirely with hand tools by one of our Hungarian makers in Reghin and varnished at our workshop in Budapest. The sound is bright and sugary with bags of sustain – it’s a responsive and expressive violin, great for an advancing student with a bit of technique. More details


A Nicolas Bertholini Violin, Laberte Workshops, Mirecourt circa 1920

£1,500

A Nicolas Bertholini Violin, Mirecourt circa 1920 Nicolas Bertholini was a trade name used by the Laberte Workshops around the turn of the century for one of their midrange models. While these violins were sold at the time as student instruments, it’s very noticeable that the Chinese workshops who are the modern day successors of Laberte and JTL seem incapable of producing anything with an equal refinement of tone. But maybe that’s just a matter of being a hundred years old! More details


A Mittenwald Violin circa 1820

£1500

A Mittenwald Violin circa 1820This is a lovely Mittenwald violin from the early 1800s. Extensively restored, it has a replacement lower rib, there’s a fillet under the fingerboard and a repaired crack to the right of the fingerboard, as well as other minor issues and rather heavy over-polishing! However, it plays beautifully with great volume and a reedy, luminous and highly responsive tone. The former owner’s other violin was the Vuillaume “Alard”! More details


MSV 77 Stradivarius Pattern Violin, Martin Swan Violins 2012

£1,700

Martin Swan Violins MSV 77This is a fine-sounding Stradivarius pattern violin made entirely with hand tools by one of our Hungarian violin makers in Reghin, and varnished in our shop in Budapest. It has a one piece back of broad diagonal curled maple and a rich orange/amber Italian oil varnish. The sound of this instrument is sweet, creamy, articulate and dynamic. More details


Ludovicus Meurot Violin, Cousenon Workshop 1931

£1,850

Ludovicus Meurot Violin, Cousenon Workshop 1931 A fine Mirecourt violin produced by Cousenon-Bernardel – see page 11 of the Cousenon catalogue. This is model no. 73, with a shaded yellow-brown oil varnish, and retaining its original gold-decorated pegs. There’s a repaired crack in the table running up 9cm from below the chinrest. No other cracks or damages, and the original varnish generally well preserved – minimal wear to the edges and corners. More details


MSV 108 Stradivarius Pattern Violin with Antique Finish, Martin Swan Violins 2014

£1,900

MSV 108 Stradivarius Pattern Violin with Antique Finish This is a good Stradivarius pattern violin made entirely with hand tools by one of our Hungarian makers in Reghin. The varnish is an “antiqued” finish which we have developed in collaboration with a specialist restorer in Budapest – we continue to refine this process and welcome any feedback. The sound is charming and refined, not the loudest violin we’ve produced but smooth and silky in character, unusually responsive, even with a light technique. More details


Czech violin by AJ Kreutzer, Brno 1927

£1,900

Violin by AJ Kreutzer, Brno 1927 This is a nice early 20th century Czech violin by and labeled AJ Kreutzer Brnensis. It’s built on a Stradivarius pattern, stylistically very close to good Markneukirchen work, very nicely finished and varnished. The condition is generally excellent – there’s some light marking to the varnish in parts of the table, but very little wear overall. It’s a splendid sounding instrument, big, muscular and zingy – there’s a strong core to the sound, and it responds well to an assertive technique. More details


A Hungarian Violin circa 1875

£2,000

A Hungarian Violin circa 1875 This is an excellent sounding Bohemian late 19th century violin with a Prague 1875 label, but more likely made in Budapest. It’s a well-made instrument with good arching, well cut f-holes and considerable attention to detail. The condition is very good, with no cracks or repairs – the varnish has been heavily retouched, but the end result is very successful. This violin has a big warm sound with great response and colour throughout the register. More details


Gustave Villaume Violin, Nancy 1934

£2,000

Gustave Villaume Violin, Nancy 1934This is a very nice Gustave Villaume, dated 1934 and numbered 322. Villaume was a great maker in his own right, but like so many French maker/dealers, he wasn’t averse to buying instruments in the white from Mirecourt, thicknessing them, varnishing them, and putting his own label in them. It’s very hard to know the truth of it – all one can say for certain is that this is a lovely French violin, compatible with the best Mirecourt trade instruments. The wood is great – the back in particular – and the work is crisp and clean. More details


Deggerman of Oban Violin, 1886

£2,500

In perfect condition.
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A German Violin, Saxony circa 1850

£2,500

A Saxony Violin, circa 1850 This is a lovely mid-19th century German violin, probably from Schönbach. It’s unusually lightly built, with high lateral arching to the front and back, and the sound is excellent. It has a dramatically flamed one-piece back and a neat and pretty scroll, very cleanly carved. There are two small repaired wing cracks , otherwise the condition is excellent, with no other cracks or repairs. More details


Laberte Workshops Jacobus Stainer Violin, Mirecourt c1930

£2,500

Laberte Workshops “Jacobus Stainer” Mirecourt c1930 This is a very nice Laberte Jacobus Stainer copy from around 1930 – typical of Laberte’s “a l’ancienne” series, this is a relatively faithful copy of an original Stainer owned by Marc Laberte. The condition is remarkable, with only some minor wear to the varnish. The sound is excellent, pure, focused and woody with great response. More details


MSV 101 Stradivarius Pattern Violin, Martin Swan Violins 2014

£2,700 (Artist Violin)

Stradivarius pattern violin with Italian oil varnish Of the last 5 violins we made, 4 have made the grade as Artist violins, and after a hundred instruments I feel we’re beginning to benefit from all the development work we’ve done in the past few years. This a Stradivarius pattern violin made entirely with hand tools by one of our Hungarian makers in Reghin, and varnished in our shop in Budapest. It has a beautiful one-piece back of narrowly flamed maple and a red/brown Italian oil varnish with some subtle antiqueing. More details


MSV 99 Stradivarius Pattern Violin, Martin Swan Violins 2014

£2,700 (Artist Violin)

MSV 99 Stradivarius Pattern Violin, Martin Swan Violins 2014 This is a very good Stradivarius pattern violin made entirely with hand tools by one of our Hungarian makers in Reghin, and varnished in our shop in Budapest. It has a one-piece back of dramatic irregularly flamed maple and a rich orange/red Italian oil varnish. The sound of this instrument is very powerful throughout the range, broad and full, bright and clear without sacrificing warmth. More details


MSV 109 Stradivarius Pattern Violin with Antique Finish, Martin Swan Violins 2014 (Artist Violin)

£3,000

Stradivarius Pattern Violin with Antique Finish This is a very good Stradivarius pattern violin made entirely with hand tools by one of our Hungarian makers in Reghin. The varnish is an “antiqued” finish which we have developed in collaboration with a specialist restorer in Budapest – we continue to refine this process and welcome any feedback. The sound is big, rich and smooth with lots of silvery overtones, very easy to inflect and modulate … this violin kind of plays itself! More details


Laberte Fournier Violin, Mirecourt 1900

£3,000

Laberte Fournier Violin, Mirecourt 1900 This is a very early Laberte violin, labeled modèle d’après Fournier no.3, 1900. This violin appears in the Laberte 1912 catalogue, page 19, at a price of Ff125. While most Laberte instruments are typically crisp and modern-looking, this violin harks back to an earlier French tradition (most notably Lupot) with its rounded edges, dark antiqued varnish and subtle flat arching. It has a very attractive slab-cut one-piece back, the f-holes are delicately fluted, and the scroll is in a different league from most Mirecourt trade efforts. More details


Laberte Montagnana, Mirecourt Violin circa 1930 (undersized)

£3,000

Laberte “Montagnana”, Mirecourt circa 1930 The Laberte Workshops made a huge range of instruments – this “Montagnana” model was the most expensive of their “A la Ville de Cremone” series, costing a whopping 680 Francs in 1931 – look here at page 9, no.678. This instrument is in near perfect condition – thick orange oil varnish and stunning wood throughout. The sound is sweet, bright and smooth with a very easy response. Please note this is what used to be described as a ladies violin, slightly under standard 4/4 measurements. More details


François Barzoni Violin, Chateau Thierry 1884

£3,200

French François Barzoni Violin for Beare & Son “François Barzoni” is a trade name invented by Beare & Son (nothing to do with J&A Beare), and used on French violins made for them from the early 1880s till around 1910. These violins are without exception very nicely made, though the earlier ones are in a different class from examples made post-1900.

This particular instrument is one of the nicest I’ve seen, with great materials, delicately fluted f-holes and a very precise scroll. More details


James Wilson Violin, Greenock 1907

£3,500

Minor table restorations.
Illustrated in David Rattray’s “Violin Making in Scotland 1750-1950″
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An Italian Violin circa 1930

£3,500

An Italian Violin circa 1930 This is a Italian violin of the Marco Tassini type – these instruments were distributed in the UK by Jim Tait, a dealer based in the Scottish Borders (initially Jedburgh then Melrose). Tait was sole agent for Dante Guastalla, and also sold Sartory and Nurnberger bows as well as Italian and Slovakian tonewood. Andreas Renisto, Luigi Salsedo and Marco Tassini were without doubt trade names invented by Tait, – he bought these violins in the white from Italy and then varnished and labeled them. More details


Violin of the Hardie School, probably Edinburgh circa 1850

£4,000

Perfect condition.
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A Violin by John Delany, Dublin circa 1800 (undersized)

£4,000

An Irish Violin by John Delany John Delany is one of a number of makers who worked for Perry in Dublin (and possibly James Perry in Kilkenny), but he also made and sold violins under his own brand. This is an unusually fine example, fully purfled, with long elegant corners, and with an astounding birds eye sycamore back. Otherwise the work is in every way typical – slightly small Amati model with rather high arching, quite plain wood to the ribs and the scroll, and a plain yellow varnish. More details


Paolo Fiorini, Markneukirchen Violin 1928

£4,250

Paolo Fiorini, Markneukirchen 1928 In the 1920s and 1930s, Beare and Son bought in violins from Mirecourt and Markneukirchen – these violins carried their own trade labels, and were made to a very high standard. The Mirecourt violins were labeled Francois Barzoni (a made-up name indicating Beare & Son), and the Markneukirchen instruments were labeled Paolo Fiorini, with small letters B&S/L (Beare & Son London). More details


Caroline Campbell Violin, Springfield 2012

£4,500

Caroline Campbell Violin, Springfield 2012 Caroline Campbell is a contemporary Scottish violin maker based in the Kingdom of Fife. Over the last year I’ve happened across several of her violins, and have been struck by their beauty of tone and their unpretentious good looks. This violin, completed in December 2012, shows a marked development in quality of work, and the sound is outstanding. It’s a broadly Stradivari model instrument copied from a Nicolas Lupot 1808 – all details are very neatly executed while retaining the strong personality of the maker. More details


Andreas Renisto Violin, Fecit Italia 1929

£4,500

Luigi Salsedo, Naples 1939This is super violin of the Luigi Salsedo type, labeled Andreas Renisto. There’s some debate about the origins of these violins but the informed consensus is that they are Italian trade instruments. The condition is excellent, though the typical soft Salsedo varnish has a good deal of wear on the back. Very fine craftsmanship and some really exceptional spruce. More details


John Marshall Violin, Aberdeen 1910

£5,000

John Marshall Violin, Aberdeen 1910 John Marshall is one of the most accomplished of Scottish makers – a great craftsman with a keen eye for good arching, and a producer of consistently excellent-sounding violins. This is a lovely example on a Stradivari model – the work is ultra-neat and seems quite inspired by the leading French makers of the time. The condition is very good – apart from a small repair to the left pegbox cheek there are no cracks or damages, and the superb original varnish is very well preserved. More details


Charles Cramond Violin, Aberdeen circa 1830

£5,500

Charles Cramond Violin, Aberdeen circa 1830 This is a fascinating violin by Charles Cramond, probably made shortly before his departure for Canada. Cramond apprenticed with Joseph Ruddiman, and the scroll is unmistakeably “Ruddiman-esque”. The whole violin is brimming with personality and very finely made. Most unusually, the entire neck is made in two pieces, and kept secure with the help of three dowels (two in the scroll and one above the heel). More details


Luigi Salsedo Violin, Italy/Scotland 1928

£5,500

Luigi Salsedo Violin, Italy/Scotland 1928 I have a special interest in Luigi Salsedo violins – although they are beautifully made and invariably sound excellent, there’s been little consensus about their origins. They were sold in the 1920s and 1930s by Jim Tait, a violin dealer and tonewood importer based in Melrose, Scotland. More details


Paul J-B Chipot Violin, Vendôme 1929

£5,500

Paul J-B Chipot Violin, Vendôme 1929 This is a super French violin by Paul J-B Chipot, one of a number of fine makers who escaped the Mirecourt workshops and set up on their own. Chipot was well regarded in his own day, and his instruments have stood the test of time. The work on this violin is superb, un-naturally crisp and flawless, with great wood and a rich orange-red oil varnish. The condition is excellent, with no cracks or damages and very little wear to the varnish. The violin has never been opened, and the gold-capped pegs are original. More details


Johann Schult Violin, Lübeck 1939

£5,500

http://martinswanviolins.com/sales/?p=7704 This is an excellent violin by Johann Schult, one of the best early 20th century German makers – he was appointed court violin maker to the Duke of Mecklenburg in 1907. The wood is superb, the varnish is rich and lustrous, and the work is artistic and highly skilled. The sound is top class, bright, sugary and strong with great sustain. It has a clear and unique cantabile voice – an unusually smooth and responsive violin suitable for a professional player. More details


Alois Bittner Violin, Prague 1930

£5,500

Violin by Alois Bittner, Prague 1930Alois Bittner is another superb but undervalued 20th century Czech maker – he spent most of his working life in Kladne, just outside Prague. Like Dvorak, Spidlen, Drozen and Herclik, his violins were heavily faked during his own lifetime by Markneukirchen makers, so Bittner resorted to extensive branding. This violin is branded twice on the outside and has multiple brands on the inside, but the work is patently first-class, with a superb lightly craquelled red oil varnish over a golden ground, perfect details and fine arching. More details


George Ferguson Violin, Edinburgh 1841

£6,000

George Ferguson Violin, Edinburgh 1841 George Ferguson is a relatively unknown Edinburgh maker of the Hardie School, and his violins are quite rare. This is a lovely example, slightly the worse for wear but still singing sweetly. The design is typical of the Edinburgh makers – in this instance the combination of unusually flat arching and wide-grained table wood makes for a very successful fiddle with a great sound. More details


A Fine Mittenwald Violin circa 1810

£6,000

A Fine Mittenwald Violin circa 1810 This is a particularly nice-looking Mittenwald violin from the early 19th century. The scroll is lovely, the f-holes are nicely fluted, and the wood is outstanding. I bought this violin for its sound – it has a smooth creamy tone, very even, quite bright, with a decent amount of wood. It seems to work with any kind of repertoire, but it’s particularly good for gypsy jazz. There’s a nice edge to the tone, and it’s open and dynamic. Overall the condition is excellent. More details


A Composite Violin, Late 18th Century

£6,500

A Composite Violin, Late 18th Century This violin is something of an enigma. The back looks to be “vieux Paris”, but dendro analysis reveals a late 18th century front which is definitely not French, in fact the strongest correlations are with late Cremonese instruments. All elements of the violin are in themselves beautifully made, but what goes with what …? The front is made of exceptional spruce, jointed in the centre but not bookmatched. The inner work is very fine, with willow blocks and linings, showing the use of an inside mould. More details


Slavko Domitrović Violin, Zagreb, 2013

£7,000

Violin by Slavko Domitrović, Zagreb, 2013Martin Swan Violins is the sole agent for the instruments of contemporary Zagreb violin maker, Slavko Domitrović. Slavko’s violins are very responsive, full of life, powerful yet delicate, very easy to inflect, with a strong and individual core sound. They also look beautiful, always made with excellent spruce, and with a unique varnish of Slavko’s own creation.

Guarnerius Pattern, Oil Varnish, More details


Slavko Domitrović Violin, Zagreb, 2012

£7,000

A Violin by Slavko Domitrović, Zagreb, 2012Martin Swan Violins is the sole agent for the instruments of contemporary violin maker, Slavko Domitrović. Slavko’s violins are very responsive, full of life, powerful yet delicate, very easy to inflect, with a strong and individual core sound. They also look beautiful, always made with excellent spruce, and with a unique varnish of Slavko’s own creation.

Guarnerius Pattern, Propolis Varnish, More details


Circle of Matthew Hardie Violin, Edinburgh circa 1830

£7,250

Circle of Matthew Hardie, Edinburgh circa 1830 This is a very nice Scottish violin showing many characteristics of Matthew Hardie, possibly the work of David Stirrat. It’s unlabelled – it’s dated 1830 in ink, and while such markings should always be taken with a pinch of salt, this date is consistent with the instrument. It also carries a J&A Beare stock number, has a typical Beare’s graft, and has clearly been set up in the Beare shop. More details


A Czech violin by František Kříž, Prague 1932

£7,500

Violin by Frantisek Kriz, Prague 1932 František Karel Kříž was a maverick Czech violin maker obsessed with the pursuit of excellent sound. This violin exemplifies his best work – it uses rather plain wood with great tonal properties, the model is idiosyncratic (long f-holes and flat arching), and the varnish is very lightly applied. It’s a loose copy of a Luigi Fabris – the f-holes in particular seem to reference this maker. More details


An Anglo-French Violin, Probably Langonet for WE Hill & Son c1890

£10,000

An Anglo-French Violin, Probably Langonet for WE Hill & Son circ This is an exceptional violin – the construction and the detail are overwhelmingly French, but the outline and the varnish point more to the Hill Workshops. The outline is a Bergonzi model, broadened and with the arching flattened out – the resulting sound is honey-smooth, very articulate, strong and projecting.

The condition is perfect, and the rich oil varnish has only minor wear (a couple of bruises on the front and a shallow scratch on the back).

This violin would give most Vuillaumes a run for their money – it’s a concert instrument, capable of a wide range of expression, smooth and encouraging, with great high frequency content throughout the register. Above all it has presence and an unusual breadth to the sound – it may have a breaking point but I haven’t been able to find it! More details


Alexander Smillie Violin, Glasgow 1890

£11,000

Alexander Smillie Violin, Glasgow 1890 Alex Smillie is the most esteemed maker of the Glasgow School, and his violins are highly prized for tone. His varnish is a very distinctive plain amber, the wood used for the tables is outstanding, and the arching is unusually flat. Smillie was a prolific maker, but the quality of the work is always excellent. This violin is in generally very good condition, with one neatly repaired crack to the lower right of the table and a superbly executed neck graft. The original varnish is almost unblemished, and the edges and corners are also well preserved.

Smillie has a great reputation throughout the British Isles, and in Scotland he is loved! This violin is fairly typical, producing a smooth, strong, warm and even tone which is completely musical throughout the register. When playing a Smillie it’s easy to forget how difficult it must be to produce an all-round “good violin”. Most makers fail, but Smillie makes it seem effortless – this is partly to do with the modest and restrained style of making, but mostly it’s to do with his particular genius for bringing all elements into balance. More details


A Good English Violin by Joseph Hill, circa 1780

£14,500

A Good English Joseph Hill violin, circa 1780
This is another great Joseph Hill from the 2nd half of the 18th century – Hill was the first member of the great Hill dynasty which dominated the English violin trade until very recently. This violin looks to be quite a late example, and could be the work of Joseph Hill II. It’s a classic Stainer model with fine wood throughout, one-piece front and back. Joseph Hill instruments enjoy a very good reputation for tone amongst professional players. This one has a very refined sound, clear but rich – everything’s where it should be, great dynamic range, all with an over-riding elegance of tone. There are 3 well-repaired cracks to the table, there’s a wing in the lower back, and the pegbox has been extensively repaired. The original varnish is very well preserved.
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Auguste Delivet Violin, Paris 1904

£15,000

Auguste Delivet, Paris 1904

From 1887 to 1892 Delivet worked for H.C. Silvestre, and his violins have a similar opulence of tone to those of his teacher. This is a lovely example (no. 79 from 1904) with a deep orange varnish and some outstanding wood.

Sound-wise this is an outrageously good violin, muscular and full but still sweet and essentially interesting – in my opinion rather better than a lot of Vuillaumes!

The condition is excellent, all corners and edges well preserved, and just a few blemishes in the varnish.
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A Northern Italian Violin for sale, late 19th Century

£18,000

A Northern Italian Violin, late 19th Century This is without doubt one of the best sounding violins I have played. For a fine Italian violin it’s also very affordable – this is because it’s had a good deal of restoration to the table over the years. However, there is no doubt about its origins – the violin comes with a letter of attribution from Florian Leonhardt stating that it’s Italian (from the North East of Italy), and that all parts belong together. The model is excellent, and the violin is the work of a good professional maker.

The table has been half-edged, the inner borders of the f-holes have been repaired (which is what makes identification of the maker difficult), and there are a number of cracks, but none would qualify as voice cracks. There’s been a good deal of retouching on the table, otherwise the varnish is intact and the back, ribs and scroll are in excellent condition.

Over the last few years I’ve had the chance to play some extraordinary violins, including several Stradivaris, a couple of Amatis, and many instruments by lesser Italian makers such as Storioni, Tononi etc. This violin is the equal of all of them, and I would expect most players to choose it in a blind testing. As such, it represents exceptional value for money. If you’re looking for a superb violin with a world-class tone without bringing about your own financial ruin, look no further.
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A Violin by Augustin Chappuy for JB Salomon, Paris circa 1765

£22,500

A Violin by Augustin Chappuy for JB Salomon, Paris circa 1765
This violin bears the authentic label and brand of JB Deshayes Salomon (1713-1767) but is in fact the work of Augustin Chappuy. Chappuy produced some of his best work for Salomon’s widow after her husband’s death, which was then sold under the Salomon brand as his own work.

This is a very fine example of the “vieux Paris” school with beautiful proportions and elegant arching. It’s very lightly built but with a typically bold head. The condition is unusually good for a French instrument of the period – there’s one repaired crack to the outer edge of the table and some minor rib cracks. No other cracks or damages, and the original varnish is in excellent condition.

Again and again, 18th century French violins leave you thinking “what the hell is so special about those Italians …?” Apart from being beautifully made, this instrument has a tone which combines clarity and warmth, power and delicacy – the E string is astounding. A violin for a demanding professional which responds best to an assertive touch.
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Paul Blanchard Violin, Lyons 1887

£23,000

Paul Blanchard Violin, Lyons 1887 Paul Blanchard was one of the finest French makers of his time, and this is an excellent example of his work. Before setting up on his own, Blanchard worked for both the Silvestres and Vuillaume, and his work is in every way equal to theirs. The instruments he made pre-1900 are particularly admired, and the Guarneri model seen here is perhaps his most attractive. This violin (no. 140) is in remarkable condition – aside from the neck graft, there are no cracks or damages, and the varnish is beautifully preserved. The work is in all respects exceptional, the wood is of uncompromising quality throughout, and the varnish is soft, deep and lustrous.

I’m a big fan of the Lyons makers, and Paul Blanchard has to be at the top of the tree. As well as being a really fine example of his workmanship, this violin is also a great player with a big, robust and warm sound. It’s a powerful instrument which produces an even and rich tone at any level of bow pressure, remarkably well balanced throughout its range, with no weak points or harshness. Amongst Italian violins you’d have to look to something like an Enrico Rocca for this quality of tone – it’s a patent absurdity that the price would be nearly ten times as much for a very similar standard of tone and workmanship.

An exceptional violin, suitable for an advanced professional musician.
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A Neapolitan Violin, Ventapane School circa 1850

£25,000

Ventapane school violin This is a lovely mid-19th century Neapolitan violin of the Ventapane school, very characterful in design. Flat arching to front and back, typically short back length, lustrous oil varnish – overall this violin makes a very pleasing impression. The condition is pretty good – there’s a neatly repaired crack to the table (lower right edge), the left upper corner has been replaced, and there’s a minor flame crack in the upper right rib.

This is a very lively instrument with great response and a sugary sweet tone. It’s unusually willing, and responds well to a light touch – very easy to manipulate in higher positions, ideal for a showy player!
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Pierre & Hippolyte Silvestre Violin, Lyon 1844

£50,000

Pierre & Hippolyte Silvestre Violin, Lyon 1844
The Silvestres were exceptional makers, and their success owes much to their training with Nicolas Lupot and JB Vuillaume. The two brothers worked together from 1829 until 1848, and this violin is a very fine example of their collaborative work. It’s in an exceptional state of preservation, free from repairs or damages, and with very little wear to the original varnish.

I’m a big fan of the Lyon school, and the Silvestres can do no wrong in my book! This particular instrument is of soloist quality – it has a big muscular sound, very focused but also very versatile. In the words of an old Yugoslavian folk song Srce Je Moja Violina “my heart is a violin … don’t touch it if you don’t know how to play it”.
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