A good violin for Antonio Monzino, Milan 1911
A violin with an enormous sound and clarity, definitely on the bolder end of the spectrum, but with tremendous versatility and a subtle depth of colour. A great confident violin with bags of Italian character.
A Fine English violin by George Wulme Hudson, circa 1930.
A sensational example of early twentieth-century English faking, producing an entirely original and deceptive interpretation of Guarneri del Gesu’s work.
A fine Nuremberg violin by Leopold Widhalm, 1789.
An outstanding example by Leopold Widhalm combing Stainer’s form with the Amati grand-pattern.
A Masterpiece of late-Renaissance violin making.
An outstanding example by one of the great Renaissance forefathers of the modern violin.
A fine violin by George Craske, Birmingham circa 1840.
One of the finest violins by George Craske that I have seen in a long time, the overall design harks back to the later period of Stradivari’s long-pattern in the second half of the 1690s. However, mannerisms in the soundholes,…
A fine French violin by Paul Bailly, Paris circa 1880.
A phenomenal-sounding French violin based on the 1716 Messiah. One of the best examples I have come across from a generally brilliant maker.
A fine contemporary violin by Jacek Wesolowski after Giuseppe Guarneri del Gesu.
A fine contemporary copy of the 1744 “Ole Bull” Guarneri del Gesu.
A fine violin by George Craske, Bath, circa 1820 after Stradivari
This is a rare example of George Craske’s work, from his early period in Bath, made around 1820 or slightly before. The model is very close to the Stradivari violin of his patron Sir Patrick Blake (bequeathed to him in 1815 by J.P. Salomon, and sold following Blake’s death in 1819). The narrow pattern is Stradiari’s shorter long pattern, exemplified by violins such as the ‘Baron Knoop’ of 1698.
A fine violin by George Craske, Snow's Hill, circa 1835 after Giuseppe Guarneri del Gesu
After Craske’s legendary meeting with Paganini in 1832, he moved towards making Guarneri inspired violins, of which this is an early example. The instrument is made to his standard enlarged form, with characteristic flat arching and stylised del Gesu soundholes. The violin is unusual for having a scroll made by Craske, who later abandoned head carving in favour of buying in ready-made parts. A very fine and characteristic example with a strong and powerful tone.
An Irish violin by Perry & Wilkinson, Dublin 1824.
Although Perry & Wilkinson were closely associated with both Richard Tobin and Vincenzo Panormo during their periods in Dublin, Perry & Wilkinson’s work tends to be predictable and formulaic adopting a flat arched model. In the 1820s there is a sudden revival in their work, with delicate Amatise instruments appearing. Although Richard Tobin moved to London around 1810 and remained there, the cause of this change in Irish making appears to be accountable to him. Perhaps he returned briefly to Dublin, or an associate travelled between the two cities. Whichever way, these late Perry & Wilkinson instruments compare strongly to Tobin’s London work, and are some of the finest instruments built on classical models to come out of Ireland.