Please contact us for more information on any of these items.
- Baroque Violin: Lombardy, c.1650 – XDV262306 – (price $38,000)
It is very rare to find an instrument of this age, let alone in its original baroque configuration. Andrew Dipper has skillfully replaced the ribs as well as the fingerboard, which based on an original Italian model, featuring an exquisite bone inlay. This is a unique opportunity to own an expressive, refined instrument of the 17th century.
- Baroque Violin: Mathurin Ducheron, Paris, France, c.1714 – DV323 -(price $30,000)
This violin was made by Mathurin Ducheron, (fl.c.1700-1725),a member of the “Vieux Paris” School, and is branded Ducheron under the button. It is almost identical in form to the violins of Jacques Bocquay with whom he was a contemporary. It is modeled after a grand pattern Amati with a golden brown varnish of a thick and textured consistency.
- Baroque Violin: Joannes C. Klotz, Mittenwald 1761 – TDV23169 – (price $21,000)
Joannes Carol Klotz (b. 1709 and d. 1790) was the son of Mathias Klotz and brother to Sebastian. Joannes worked in Mittenwald, Germany during his violin making career. Klotz occasional made Stainer models that were a little on the smaller side but most of his work was influenced by Amati. Members of the Klotz (or Kloz) family have made violins in Mittenwald, Germany from the mid-17th century to the present. This violin has a clear, rich, and sweet tone. It is easy to play and produces deep and vibrant overtones while projecting evenly across all strings.
- Baroque Violin: Thomas Urquhart, London c.1660-70 – DV313 – (price $19,500)
Thomas Urquhart (b.c.1629, d.c. 1678) was an important early maker probably from Scotland. He worked on London Bridge along with other makers and dealers. His work is fastidious and inspired by Amati. This violin has been completely restored by Andrew Dipper of Dipper Restorations. Dipper made a new neck and scroll as well as a new rib garland. In addition, Dipper made a new boxwood fingerboard and tailpiece with inlaid geometric design that is appropriate to the violin, plus the pegs, copying English pegs of the period. We are pleased to offer this fine early instrument for sale. $19,500.
- Baroque Violin: Johann Gottfried Hamm, Marknuekirchen 1780 – XDV84 – (price $14,000)
Johann Gottfried Hamm was a preeminent maker in the Markneukirchen school. Active during the late 18th century, a boom time for the production of musical instruments, Hamm is especially notable for the high standard of craftsmanship and classical stringency in his instruments. He is still respected as the most important maker in the Klingenthal family. This gorgeous instrument is a perfect representation of his work. Exquisitely varnished in a deep brown, it makes a striking impression. The sound is rich and clear, particularly in the lower registers. Its lyrical quality is unmistakable. This instruments has been artfully restored in the Dipper workshop.
- Classical Violin: North Germany c.1808 – DV321 – (price $9,000)
This violin represents early 19th century Markneukirchen work. It was fully restored by Andrew Dipper and has its original neck. It is set-up in the early classical period of Paganini with a facsimile tailpiece and Cremonese model pegs both made by Andrew Dipper. The varnish is an attractive red-brown color . It has a dark and powerful sound.
The Schlosser family of violin makers was active in Klingenthal, Germany in the 18th century. This violin is branded on the back under the button “CGS” and is labelled “G. Schlosser, Klingenthal 1779”. It has all its original essential parts. The Dipper workshop replaced the neck and bass bar and made a set-up appropriate to the classical period. Its ample Strad pattern lends itself to a confident sound that projects easily with darker colors.
- Baroque Violin: Jay Haide, El Cerrito 2018 – DV344 – (price $2,800)
This violin was crafted in Beijing and varnished at the shop of Jay Ifshin in El Cerrito, California. It was set up for Baroque playing in the workshop of master instrument restorer Andrew Dipper. The transformative process included resetting the neck angle, re-configuring the fingerboard, and setting up the instrument entirely with uniquely-Baroque fittings. The exquisite bridge was completely hand-carved from scratch and fitted perfectly to the violin. The instrument has a clear, pure sound and speaks with great ease. It is perfect for anybody who is looking for a beautiful Baroque sound in a modern, pristinely-crafted violin.