Professional Violins £5K to £20K

František Križ was one of the most talented Czech makers of the early 20th century, with a rare gift for sound. This del Gesu inspired violin is a great example of his work in near perfect condition. More details→

This is a very nice example of a “Großstadtgeige”, literally “big city violin” of the sort produced in Berlin towards the end of the 19th century. The workmanship is excellent and the sound is first class. More details→

Domingos F Capela was the first member of the Capela dynasty which dominated Portuguese making in the 20th century. He worked very much in the Italian style, with crisp execution and without antiquing, and his violins and those of his sons have always been very popular. This particular violin is quite late, and is modeled on the Paganini “Cannone” by del Gesu. It bears its original certificate from the maker. More details→

Alfred Acoulon was the foremost luthier employed by the Jerome Thibouville Lamy workshops, and he produced their flagship instruments under the soubriquet “Lutherie Parisienne”. Violins sold under his label were made entirely by him – in 1912 an Alfred Acoulon cost 20 times the price of a Geronimo Barnabetti. More details→

Etienne Laprevotte is a rare Parisian maker who brought innovation and refinement to an essentially Mirecourt style. He is well documented in the literature as luthier to the Duke of Bordeaux, and principally known as a maker of fine guitars. This is the only violin I have seen of his, and all the more rare for being in excellent condition. More details→

This is a tremendous violin by the Hungarian-born maker Mathias Heinicke. Heinicke always claimed to have trained under Eugenio Degani, though this hasn’t been verified as far as I know. But whatever the truth of it, his violins show an unusual refinement and individuality, and are generally very successful tonally. More details→

Jan Baptist Havelka and his brother Simon Joannes Havelka (or Havelar) worked in Linz, Austria in the latter part of the 18th century. Their work is very fine, entirely in the Prague/Vienna tradition but somehow more refined and artistic than for example Thir or even Strnad at this time. This violin has some restoration but the sound is superb. More details→

The firm of Carl Zach & Co. was set up by the son of Thomas Zach in 1887. During their brief period of activity they produced some very beautiful instruments on a Stradivari model such as this excellent violin. More details→

Alessandro Di Matteo started out life as a professional violinist, but soon switched his attention to making. Perhaps that explains the unusual tonal refinement of this violin. I’m no big fan of contemporary making, particularly the New Cremonese school, but this violin really stands apart from that trend. It’s lightly built, individual in model, modest in appearance, and very mature and sophisticated in tone. The materials used are first class and the work is superb. More details→

Thomas Perry is the best known name in Irish violin-making. He lived a long life and ran various busy workshops, employing amongst others John Delaney, Richard Tobin, Vincenzo Panormo (briefly), and of course William Wilkinson of Perry & Wilkinson. Here we have a beautifully preserved example with an outstanding sound from around 1780. More details→

Jan Kulik is perhaps the most refined maker of the Prague school. His violins are very individual, artistic and yet precise. This is a fine example with a superb sound, loosely based on a Gragnani and carrying a Gragnani label. More details→

Hilaire Darche came from a large family of violin-makers who all collaborated with or worked for NF Vuillaume in Brussels. He was a leading expert in the field of Italian violins and made many copies, but the majority of his violins are made in the crisp French style with fine materials and a highly reflective red varnish. More details→

Théophile and Frédéric Schwartz ran a very successful business in Strasbourg in the early 19th century. Frédéric was primarily a bowmaker, and his bows are very highly regarded. Théophile focused on instrument-making, also working to a very high standard, but without achieving the same level of recognition. More details→