This is a rare Brothers Amati violin dating from around 1615 – it’s an important early Cremonese violin with a fantastic sound.
Although labelled as Antonius & Hieronymus Amati, history relates that the two brothers fell out in 1588 and that Girolamo (Hieronymus) ran the workshop alone until his son Nicolo reached working age. So we might simply call this violin a Girolamo Amati.
The model is quite unusual in that it sits somewhere between the small and the grand pattern instruments, with a back length just under 35.4 cm (measured with a tape) but with narrow bouts more characteristic of the small pattern.
This is quite a heavily restored violin but it’s still beautiful – the f-hole design is of course unique, much copied, and perhaps the most elegant of all. The back is of remarkable flamed oppio, typical of Amati instruments – it contains a whole universe of depth and texture.
The scroll is modern, and neither Charles Beare nor Eric Blot were quite ready to determine how many of the ribs are original!
The table has a breast patch and numerous historic repairs; the ribs have various small issues; the back has a few small cracks in the upper right, a small patch in the inside of the bass c-bout and a larger crack repair lower right. I can see no signs of worm.
The sound of this violin is spectactular – in fact, this is what a violin should sound like.
It has what everyone searches for and hopes to hear in a fine Cremonese instrument – nobility, playfulness and tragedy, all at once. It’s also powerful, remarkably healthy for a 400 year old instrument – there’s no weakness in the sound in any part of the register, and its voice can fill a hall with ease.
In terms of sound it’s a member of a very elite club – it would bear comparison with many Strads.
