VIOLIN, George Gemunder, New York, 1889.

VIOLIN, J. J. Gilbert, Kent, England, 1884. Gold medalist at Edinborough a few years after this specimen was made, this is a sterling example of his art in perfect condition. It combines a resonant, clear and complex sound underpinned by a solid core and could serve a demanding conservatory student or young professional on a budget extremely well. This maker was highly regarded by English expert and author William Henley, as evidenced by his extensive write-up on the maker in the Universal Dictionary of Violin and Bow Makers.

VIOLIN, Evasio Emilio Guerra, Turin, Italy, 1948.
VIOLIN, Heinrich Theodore Heberlein, Markneukirchen, Germany, 1929. A positively outstanding example of this maker's best work. A woody, full-bodied and complex sound just waiting for a player who loves to dig deep and explore all that an instrument has to give.
VIOLIN, H. Th. Heberlein, Markneukirchen, 1928 (after a Guarnerius del Gesu dated 1737). The highest order of this exceptional maker's best work. One of several of this maker's instruments in our collection, this is perhaps the most powerful of all and has the clarity and projection, as well as the complexity that all professionals are searching for, all at a moderate price.
VIOLIN, Heinrich Theodore Heberlein, Markneukirchen, 1910. One of the most beautiful examples I have seen from this early period. Tonally superb.
VIOLIN, H. TH. Heberlein, Markneukirchen, 1936. Simply put, one of the two best Heberleins I have ever acquired (out of more than thirty). Every time I see it I want to pick it up and play it again.
VIOLIN, H. Th. Heberlein, Markneukirchen, 1928 (after a Stradivarius dated 1713). This, too, is a superb example of the best work of this fine maker. A clear, strong voice worthy of any professional needing a good instrument at an affordable price.
VIOLIN, Heinrich Th. Heberlein, Markneukirchen, 1932. Without a doubt one of the three finest instruments from this master I have ever found. This one has it all and easily competes with Italian violins costing three and four times more. One of my personal favorites in my entire collection. Must be played to be appreciated.
VIOLIN, Ian Highfield, Stone, England, 1999. This violin, inspired by Nicolo Amati, is deceptively powerful with a warm and rich tone. Its maker, known to me personally, was first trained as a sculptor subsequently discovering what a wonderful three dimensional form the violin is to work with. An excellent choice for a young professional or conservatory student. Indeed, its first owner went through conservatory on this violin and has now converted to viola as his primary instrument.
VIOLIN, Hollo and Adonyi, No. 6, Budapest, 2009. A stunningly warm, pure sounding instrument from this great workshop. Exemplary in all respects of the best of this work.
VIOLIN, Hollo and Adonyi, No. 7, Budapest, 2009. This particular example from the workshops of Hollo and Adonyi is exceptionally powerful--satisfying both under the ear and away. A classic instrument patterned after Stradivari's work and consistent with the voice we might expect from such a violin.
VIOLIN, Ferdinand August Homolka, Prague, Czechoslovakia,1849. Renowned as the Stradivari of Czechoslovakia. This instrument is a concert instrument in every respect. Powerful, complex, immediately satisfying yet challenging the player to do even more. All of this at a fraction of the cost of comparable Italian instruments. Intrinsic value defined.
VIOLIN, Jacobus Hornsteiner, Mittenwald, circa 1860. The warmth of tone seems to be evidenced by the charm and warmth of the appearance of this violin.
VIOLIN, Hendrik Jacobs, Amsterdam, 1702. This maker's work is highly respected amongst experts and those familiar with his mastery. Sadly, many examples now bear the labels of early Cremonese masters (at prices commensurate thereof) and parade as their genuine work, thus depriving him of his rightful due Bearing its original label, and in a very fine state of preservation, the instrument is suitable for the concert artist and has the maturity and complexity of sound of the world's great violins of this period. A remarkable find for the lucky buyer.
VIOLIN, Johannes Jais, Tyrol,1762. A lovely example of Tyrolean work with the responsive, warm sound typical of Germanic violins of this period.
VIOLIN, Shan Jiang, Beijing, 2005. This violin by the silver medal winner of the Violin Society of America in 2005 is typical of his work. Modelled after Guarneri del Gesu it is warm, powerful and responsive. A professional violin in all respects and used by several concertmasters of professional orchestras.
VIOLIN, Shan Jiang, Beijing, 2006. This violin is made by the silver medal winner of the Violin Society of America in 2005. This maker's instruments are currently being played by five different concertmasters.
VIOLIN, Michael Kearns, Oxford, 1981. A first rate specimen from a highly respected English maker. Its compact size belies the power, clarity and presence evident in its voice. Comfortable to play for someone with a smaller hand yet full in size as with many of the great old Italins.
VIOLIN, Albert Knorr, Markneukirchen, 1924. Again, an exceptional violin from this wonderful town devoted almost entirely to the production of violins. Along with Ernst Heinrich Roth, Paul Knorr and Eugen Meinel, the violins of Albert Knorr also number amongst my favorites. This one is unusual in that it is a very successful Amati model, rather unusual for this group of makers who typically favored Stradivarius and Guarnerius for their models. A rich, warm and glorious sound.
VIOLIN, Ernest Garr Kokomo, Indiana, 1929. While we have found no history on this maker in our reference library this is clearly personal work, made from American wood and representative of the kind of careful work seen in many lesser known American makers of the period.
VIOLIN, Alessandro Krilov, Moscow-Cremona, 1986. Combines the brilliance and flair of the Italian school with the fire of the Russian school. A professional violin by a widely respected professional maker.
VIOLIN, A fascinating copy of the work of Italian master Testore signed by the French master, LaVest. Mirecourt, 1923. This violin is highly personal and very unique both tonally and visually and offers exceptional power, focus and projection for an instrument in its price range.
VIOLIN, Emile Laurent, Bordeaux,1923. This violin is a masterful emulation of the work of the Venetian master, Sanctus Seraphim. Emile Laurent is well known for his emulation of the Venetian masters and this is a particularly nice example of his work. Powerful, clear and complex, it is a satisfying instrument to play and to listen to.
VIOLIN, Francisco Lazaretti, Venice, Italy, 1899. A very late descendent of the great early Venetian tradition. Powerful, enormous "G" string. Dark, yet full of fire and Italian wine. A professional's dream in a still yet affordable price range.
VIOLIN, Louis Lowendall, Berlin, circa 1940. Personally signed by maker. Best work. This violin exhibits all the characteristics that the best German work of this period is known for. Solid, neat workmanship, beauty of materials, and a well balanced clear sound rivalling many far more expensive violins. This particular model is patterned after a violin by Stradivarius made in the year 1726.
VIOLIN, William Luff, London, 1985. A fine example of this noteworthy British maker, this particular violin was played for many years by a former member of the Atlanta Symphony Youth Orchestra who also used it throughout her years in music school. Modeled after Guarnerius' work it has the characteristic darker voice and gutteral powerful for which his work is well known.
VIOLIN, Hans Nebel, Mittenwald, 1945. An immaculate example of the work of the director of one of the world's most famous violin making schools. This instrument typifies the best of German work of this period and delivers a clear, powerful and satisfying sound, neither overly bright nor overly dark and possessing its own personality.
VIOLIN, Didier Nicholas, Mirecourt, France, circa 1830. Positively gorgeous to look at and to listen to. This violin stands out as radically more beautiful looking and sounding than any other by this maker I have ever seen. Bears the certificate of William Moennig.
VIOLIN, Giovanni Paolo Maggini, Brescia, Italy, circa 1600. This extraordinarily well-preserved and historical violin was formerly the property of Willy Burmester, the renowned Pagannini specialist and contemporary of Fritz Kreisler and Mischa Elman. Dark, powerful and extraordinarily focused sound. A soloist's dream.
VIOLIN, Amati Mangenot, Bordeaux, France 1942. An unusual example of this maker's most interesting work, remarkable in that it is a copy of a violin by J. B. Guadagnini, whereas the vast majority of copies being made in France at this time, indeed throughout French history, were those after the work of Stradivarius and Guarnerius. Powerful and warm. A throaty sound likely to please many professional players.
VIOLIN, Matuskovits, Sofia, Bulgaria, 2004. Clear, powerful, rich and bright, this violin has no weak points and could serve even the needs of a young professional while moderately priced even for an advanced student instrument. The first we have had by this maker.
VIOLIN, Eugen Meinel, Markneukirchen, circa 1925. If you've read about some of the other vioilns from this city on my website, this one is "ditto"! It is rare that I have ever found so many nice examples and had them together at once.
VIOLIN, Eugen Meinel, Germany, circa 1925. A superb example of one of the best of the Markneukirchen makers now increasingly sought after for the value they represent vis-a-vis other instruments in their price range.
VIOLIN, M. Mermillot, Paris, 1897. An extraordinary find. Powerful and full sounding yet nuanced and complex. This violin is destined for a concertmaster or soloist. Almost indistinguishable from the work of some violins emanating from the late Guadagnini workshops (where he once worked) in Turin, Italy.
VIOLIN, Lacombe a Mirecourt, France, circa 1860. An exciting looking and exciting sounding instrument with a dark, powerful "G" string. Excellent for advanced student or young professional.

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