Nathaniel Cross is a much talked about maker of the early eighteenth century, and his concept of combining a Stainer outline with Italian arching anticipates Roman and Florentine makers by a at least a decade, and his constant experimenting with Italianate form underlines his close relationship with Daniel Parker. Hence many of his instruments have been convincingly relabelled as Carcassi or Gabrielli. This example from 1726 (made for John Barrett in Piccadilly and still showing traces from the Barak Norman workshop) has the combination of power, focus, and colour that characterises Italian violins. It is both a historic example, and preserved in exceptionally fine condition. All round, a superlative violin of professional standard at a good English price.
Laurent Bourlier came from one of the more established families of violin makers in Mirecourt, with a legacy going back to the middle of the eighteenth century. Some of his labels declare an association with Nicolas Lupot – more accurately “Bourlier / Après N.Lupot” and this violoncello goes some considerable distance towards vindicating the claim. The model is very flat and powerful in keeping with Lupot and some of the principal Parisian makers of the early 1800s, perhaps reminding me closer the work of Aldric than Lupot, but nevertheless solidly Parisian in it’s modelling. The lighter varnish, and choice of plainer wood distance it from Parisian work and make it characteristic of the very best of Mirecourt work of the early nineteenth century, before the village centred on factory production.
It is very pleasing to be able to represent cellos of this quality, having much of the properties of the finest French workmanship at price reflecting it’s Mirecourt origins.
Kai’s violoncello has enjoyed a distinguished professional career over the last decade, and was recently replaced by it’s first owner with a Vuillaume: Higher praise is difficult to come by. This copy of a Venetian cello by Matteo Goffriller has a huge sound and excellent projection. A serious cello for a young cellist going through Conservatoire and into the profession beyond.
Andrew copied a cut-down original by the might Venetian maker, Domenico Montagnana. The narrowed proportions provide an extremely successful model which is reflected in this copy. A great looking and great sounding instrument with great depth and reserves of sound.