Charles François Langonet came to London in 1880 to become foreman of the workshop at W.E. Hill & Sons, after which his son Charles Frank followed. Most of his violin making work was directly for Hills, but violins occasionally come…
George Wulme Hudson made instruments to different qualities according to the priorities and circumstances of each opportunity. Over the years I have seen several examples of his most deceptive work, all coming from the United States of America with provenances…
Nathaniel Cross is a much talked about maker of the early eighteenth century. This violin, made in 1726, has the combination of power, focus, and colour that is expected in the finest professional violins.
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 sensational example of early twentieth-century English faking, producing an entirely original and deceptive interpretation of Guarneri del Gesu’s work.
An outstanding example by Leopold Widhalm combing Stainer’s form with the Amati grand-pattern.
George Wulme Hudson used the pseudonym Giovanni Baptista Pallencia for violins made as an amalgam of different styles. In this example, the fictional Pallencia is stated to be a pupil of Gagliano working in Milan. The violin takes it’s inspiration from Nicolo Gagliano’s work, especially in respect of the soundholes and overall boldness of the arching, but he appears to have opted for a Guadagnini (though probably of the Turin period, not from Milan) to inspire the edgework, choice of wood and overall form. The result is a violin that sits between different schools, and to an extent is the ‘perfect fake’ because it is plausibly Italian without requiring too much comparison with any particular maker. However, it is signed inside, and discretely on the label. An exceptional English violin with a powerful projecting sound.