Violin

Experience of dealing in more than 30,000 instruments
Finest instruments for fair prices of worldwide standard

The following are some of the carefully selected instruments currently in our stock. We will welcome your asking for consultation.

Jean Baptiste Vuillaume 1860
Jean Baptiste Vuillaume 1860

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Jean Baptiste Vuillaume 1860

Jean Baptiste Vuillaume was one of the most important instrument dealers in Paris in the mid 1800s. He was also a violin maker and inventor, and many important bow makers, including Dominique Peccatte, were working in his atelier.
In 1855, in his most prosperous days, Vuillaume purchased 144 old Italian violins, including 25 Stradivarii, from Luigi Tarisio, an Italian instrument dealer. He gained accurate and useful data from many celebrated instruments, including Stradivarii and Guarneri del Gesù, to make excellent copies of them and left them to the following generation. When copying them, Vuillaume put the most importance on the essence of instruments, that is, selection of wood and perfect copies of arch forms. He is also said to have made precise adjustments to heights of ribs and lengths of bodies to meet players’ needs for volume.
This artwork is the very one made in those days, with deep and rich sound, powerfulness and high performance abilities. We will welcome your visiting us to see it.

製作地 フランス パリ
製作年 1860年
胴体長 357mm
Nicola Gagliano 1760
Nicola Gagliano 1760

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Nicola Gagliano 1760

A son of Alessandro, who was one of the first generation members of the Gagliano family. He founded the standards of the Neapolitan school, with which Naples has been following Cremona in violin making for long. His style is so firmly based on deep understanding and imitation of the Cremonese school that some of his masterpieces were wrongly believed as ones by Nicolo Amati or Stradivari for a long period. This piece of artwork made in 1760 during his so-called golden period has a clear difference for soloists, with its golden-brown varnish on the light golden base, and with its rich and strong volume pressure from the flat arch.

Place of making Naples, Italy
Year of making 1760
Length of back 355 mm
J.B.Guadagnini 1769
J.B.Guadagnini 1769

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J.B.Guadagnini 1769

A beautiful Guadagnini of his Parma period has joined our stock. It was made two years before he moved his atelier to Torino in 1771. Though it was a different violin from one called G. B. Guadagnini 1769 “ex-Kingman,” made in the same year, featured on p. 294 of “Four Centuries of Violin Making” issued by the major auction house, Sotheby’s, its varnish, materials, form and all the other factors are reputed as ‘Almost Identical’ (according to Peter Buddluph certificate) with the ex-Kingman, and it is recognized as one of the typical pieces of his Parma period. Guadagnini has high reputation as the next Stradivarius. Please see and try the piece of his Parma period that can rarely be found in the market.

Place of making Parma, Italy
Year of making 1769
Length of back 354 mm
Ferdinando Gagliano 1775
Ferdinando Gagliano 1775

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Ferdinando Gagliano 1775

Born in 1738 as the first son of Nicolo Gagliano, who was the most celebrated violin maker in the Gagliano family. He learned violin making from his uncle, Gennaro (Januarius), and later continued to make violins independently of the other Gagliano family members. He established his own style. This violin made in 1738 from very high craftsmanship with strictly selected materials presents strong and rich abilities.

Place of making Naples, Italy
Year of making 1775
Length of back 351 mm
Matteo Goffriller 1698
Matteo Goffriller 1698

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Matteo Goffriller 1698

He was called Father of the Venetian school, and later most renowned violin makers from Venice of the 18th century, including Montagnana, Serafin, Gobetti, Tononi and Pietro Guarneri, followed him as the pioneer. The deep red varnish he would use is called Venetian Red that is said to be one of the unequivocal characteristics of the Venetian school.
He started his instrument-making in 1685. His style offers an inference that he had once worked in Cremona at Stradivari’s or Carlo Bergonzi’s atelier before that. This piece of artwork made in 1698 presents rich characters of excellent capabilities. Decades ago the fact that Pablo Casals loved to play one of his cellos all his life raised its reputation, and now his violins are sought for by many violinists, too.

Place of making Venice, Italy
Maker Matteo Goffriller
Year of making 1698
Length of back 350 mm
Dominico Pasta (Labeled Maggini) C.1750
Dominico Pasta (Labeled Maggini) C.1750

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Dominico Pasta (Labeled Maggini) C.1750

Born in Milan around 1690. He moved to Brescia in the mid 1700s and established an atelier called “Alla Pallada” with his brother Gaetano. He is known as one of the earnest followers of Maggini from Brescia, and left behind many instruments of the Maggini model with the double purlings. Like that Stradivari, who was influenced by Maggini, took in the long pattern, he is said to have slightly enlarged the body size for large volume. This piece of artwork, made around 1750 during his golden period late in his life, has delicate and elegant sound. Please visit us and take a closer look at it.

Place of making Brescia, Italy
Maker Dominico Pasta
Year of making C. 1750
Length of back 358 mm
Januarius Gagliano 1754
Januarius Gagliano 1754

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Januarius Gagliano 1754

A son of Alessandro, who started the Gagliano family. He is known as the most excellent maker in the Gagliano family as well as his brother Nicolo. Instruments made between 1750 and 1760 show unequivocal influence by Stradivarius. He did not make a large number of instruments in his life, but each and every one is consistently highly refined.
Their deep sounds have been sought for and loved by many soloists.

Place of making Naples, Italy
Maker Januarius Gagliano
Year of making 1754
Length of back 356 mm
Dominicus Busan 1777

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Dominicus Busan 1777

Domenico Busan started his violin making in Venice around 1747. In addition to violin making, his business included music performances and instrument repair. He sold instruments through workshops by the Ongaro family. His instruments are very similar to ones by the Ongaro family, and not as refined as any other Venetian maker, but present many characteristics of the Venetian school. His unique sense is conspicuously shown at sound holes and scrolls. It has deep sound.

Place of making Venice, Italy
Maker Dominicus Busan
Year of making 1777
Length of back 353 mm
Januarius Gagliano 1778

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Januarius Gagliano 1778

A son of Alessandro, who was one of the first generation members of the Gagliano family. He is known as the most excellent maker in the Gagliano family as well as his brother Nicolo. Instruments made in and after 1750 show unequivocal influence by Stradivarius. This piece of artwork made in 1778 is one of them, but presents rich characters of his own. It feels deep and strong.

Place of making Naples, Italy
Maker Januarius Gagliano
Year of making 1778
Length of back 354 mm
Jean Baptiste Vuillaume C.1830
Jean Baptiste Vuillaume C.1830

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Jean Baptiste Vuillaume C.1830

J. B. Vuillaume was a most successful man as a violin maker, dealer and connoisseur in Paris in the 19th century, and he produced many violin makers and bow makers from his atelier. He was born in Mirecourt, the biggest violin making city in France, entered Francois Chanot’s atelier, and later established his own atelier on Croix de Petit Champs Street in Paris in 1827. This piece of artwork was made in those days and feels like young Vuillaume’s sharp breath. He is said to have improved his skills in a short period by following Stradivarius model precisely. Please visit us and take a closer look at this old French masterpiece.

Place of making Paris, France
Maker Jean Baptiste Vuillaume
Year of making C. 1830
Length of back 356 mm
Jean Baptiste Vuillaume C.1840
Jean Baptiste Vuillaume C.1840

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Jean Baptiste Vuillaume C.1840

Vuillaume is said to have given birth to over 3,000 violins in his life.
This piece of artwork was made in the days when he was hiring renowned makers, including Maucotel, Derazey and Silvestre to produce high quality instruments steadily. In the industrial fair held in Paris in 1840s, he received two gold medals and one silver medal. This piece of artwork is an exact copy of Stradivarius “Messiah” and was designed to have a longer body to meet the then players’ needs for larger volume. It was made in the period when Vuillaume most vigorously worked. Please visit us and feel its excellent abilities.

Place of making Paris, France
Maker Jean Baptiste Vuillaume
Year of making C. 1840
Length of back 359 mm
Pierre Silvestre 1840

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Pierre Silvestre 1840

Let us introduce a violin made by Pierre Silvestre in 1840.
He was born in Mirecourt in early 1800s. After working at the atelier of Nicolas Lupot, who is called a Stradivari in France of the 18th century, in 1829, the Silvestre brothers, Pierre and Hippolyte, founded their atelier in Lyon. It is said that the elder Pierre was superior to the younger, but each of them established his own characters. Many of their instruments are their collaborations. They left behind many excellent instruments of Stradivari and Guarneri patterns.
This piece of artwork made in 1840 follows a Guarneri model. It was finished up as a graceful antique with the original deep dark red varnish. Its clear-cut sound holes are reminiscent of experienced craftsmanship. Its flat arch is an exact copy of Guarneri and can produce powerful volume to perfectly meet today’s players’ needs.

Place of making Lyon, France
Maker Pierre Silvestre
Year of making 1840
Length of back 360 mm
Lorenzo Ventapane -

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Lorenzo Ventapane -

Lorenzo Ventapane has been praised as highly as the Gagliano family, and is a most renowned maker of the Neapolitan school. It is also said that he learned violin making from Giovanni Gagliano and actually his making process shows much influence from him, particularly on paper used as a material for the black lines of purflings and the sound holes cut parallel to the body.
This instrument was made in the early 19th century. Not like the greenish varnish seen on many of the Gagliano family’s instruments in those days, it wears soft red brown varnish on the beautifully reflecting golden brown base.
Please visit us and take a closer look at this rare artwork of which strong and deep sound would meet soloists’ needs in big halls.

Place of making Naples, Italy
Maker Lorenzo Ventapane
Year of making
Length of back 352 mm
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