The purfling is perfectly set with ebony, gracefully framing the instrument.
The one-piece back is of a magnificently flamed piece of maple.
The tone is superb, powerful, resonant and responsive.
This would be an excellent choice for a soloist and is tonally one of the best violins we have had in recent years. Before Pique set up his workshop in Paris, in 1777, French luthiers constructed instruments on homegrown, Stainer inspired models.
The instrument is full of tonal colors, giving the player expressive freedom.
It would be ideal for a concert musician and is accompanied by a certificate from Vidoudez. Bisiach was probably the most important figure in Italian violin making of his era.
It is one of the finest examples by this maker we have ever had. Vincenzo Carcassi was the son and pupil of the great Tomaso Carcassi, one of the best and most important of Florentine makers. Vincenzo’s instruments, like those of his father and uncle, are well crafted on a full model.
If any of these fine violins are of interest to you, please give us a call. Paris, 1873 Jean Baptiste Vuillaume is widely recognized as one of the finest 19th century luthiers, leaving an indelible mark on the French tradition and influencing generations of violin makers and dealers throughout the musical world.He not only varnished each and every instrument produced in his atelier, legend has it he stuffed his apron with aromatic herbs to cover up the scent of individual ingredients.Made in 1873, this violin is one of the last instruments constructed in Vuillaume’s workshop, and the accompanying sales receipt and certificate show it was last sold by the important Parisian firm of Roger & Max Millant in the 1950’s. The turns on the volutes are harmonious and easy, spiraling fluidly toward a softly rounded eye.His customers included great musicians like Piatti, Servais, and Paganini, great pedagogues like De Beriot, Savart, and Dancla, and nobility from Spain to Russia.He brought this international fame with him to his new workbench in the outskirts of Paris.
When Vuillaume moved his shop to 3 rue de Ternes in 1858, at the age of 60, his intention was not to retire, but to focus his energies on constructing the finest instruments for concert musicians, collectors, and European nobility.