Giuseppe Guarneri del Gesù 1735 (King)
This violin known as the "King" is recorded in the the Hill book on the Guarneri family and listed among the 9 greatest mastepieces by del Gesù. Owned by the Academy of the Art's and Sciences in Zagreb, other instruments made by del Gesù in 1735 are D'Egville and the Plowden. The King's edges are broader than the D'Egville and Plowden giving a bolder apperance and the ff holes placed upright, making the smaller holes of the ff's further apart and their-by contributing to the making of a really powerfull sonorous instrument.
Giuseppe Guarneri del Gesù 1687-1744. Acclaimed to be the genius of the family, his work although somewhat eratic produced many beautiful instruments to the highest standerd of perfection and some with many erronos traits. His violins are rare and highly sought after. The history of ownership of these violins is indeed a testomoney to his genius: ie. Paganini, Vieuxtemps, Mayseder, Corrodus, Old Bull, Dancla, Menunin, Stern, Perlman to name but a few.

Giuseppe Guarneri del Gesù 1744 (Ole bull)
This violin is first documented in the hands of the Norwegian virtuoso Ole Bull ( 1810 - 1880) The violin then passed to the collector James Goding, who also owned the "King Joseph", and together with that instrument it later entered the collection of C.H.C. Plowden , alongside the "D'Egville" and Plowden. . It is now owned by the Chi Mei Culture Foundation of Taiwan

Giuseppe Guarneri del Gesù 1735 (D'Egville)
Louis D'Egville was a collector and his initials are inlaid on the back at the button. The late Sir Yehudi Menuhin spoke highly of this instrument and borrowed it for concert use from Professor Lutz of Braunschweig.
Antonius Stradiuarius 1707.
At Newark School of Violin Making this model was used in first year violin making. This instrument is rather high in the arching for a Strad, because of this it plays very freely and delivers a good smooth tone. I would recomend this model and the Guarneri del Gesu's for ease of playing.

Antonius Stradiuarius 1716.
Known as "Le Messi" it is a really fine example of Stradiuarius golden period. The delicate and fine woodwork creates an overall image of slender elagence. The original is in the Ashmolean Museum in Oxford.

Simone F Sacconi.
During his life-time he repaired over six hunered of Stradivari's instruments. A brilliant copiest and for my diplom at N.S.V.M. I had to make a Strad model, a Strad copy by Sacconi was used as an example. This is broad accross the bouts and the C bout, a powerfull instrument to play.

Nicola Amati 1649.Every time I make this modle its tone and ease of playing gives me great satisfaction. The form and arching showing great strength is most apealing on the eye. Handling and playing this instrument delivers the most delicat clear tone. This is a real pleasure to play.

David Tecchler 1727.
Most of his working life he worked in Rome. This instrument is owened by the Royal Academy of Music London. Unlike the Sacconi mentioned above it has a rather narrow waist lending it's overall apperance to be quite feminin. The high arching of the belly and the narrow waist creates a Brescian type of arching.

Nicola Giorgi instruments are very rare, I have had the greatest pleasure to have had this violin in my workshop having been commissioned to make a copy in style. Giorgi violin's are highly spoken of in the Henley dictionary of violin and bow makers. His output was not very large but his work is indeed splendid in both workmanship and tone. This violin of 1739 is small in deminsions but large in sonority and tone.
Body length 344m.m.
upper bout 158m.m.
middle bout 110m.m.
lower bout 198m.m.

Matteo Gofriller1670 - 1742.
Born in the Tyrol and worked at Venice his instruments have a particular individuality. Influenced by his predecessors and contemporaries he managed to distinguish his own work. His style is said to be more Tyrolese than Italian. His violins are renowned for powerful tone with perfect evenness and are much sought after.Go to SHOP