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Historical Stringed and Fretted Instruments
1. Arch Lute, STYLE OF BARRY, London, c.1810, 7-string neck with 4-string extension, the 3-staved back with gilt line decoration, table with decorative gilt border, soundhole with flat cut rosette decorated with gilt feather plume (Prince of Wales), (Our #23384), $4,000.
2. Chitarrone, ANTONIUS DE BARDAXI, LABELED, Venice or Padua, 17th c. and later, lab: ANTONIUS DE BARDAXI/ 2 DECEMB. 1592. lute body of 27 fluted yew-wood staves with ebony spacers, the original ebony lute neckwith bone spacers, the fingerboard decorated in bone and ebony Greco-Roman urn, flower and gryphon motif, later table with bone inlay and ornate earlier gothic parchment rose, ebonized neck extension with 10 playing strings and 6 extended strings, length: 139.4 cm, the later table and neck extension likely by Leopoldo Franciolini of Florence, (Our #22745), $6,000.
3. Chitarrone, LEOPOLDO FRANCIOLINI, Florence, c.1880 or earlier, the lute body with 25 yew wood ribs plus the clasp and the neck (below the peg box), fretted parchment Gothic rose, later chittarone neck extension (11 strings over the neck and 6 harp strings), spruce table, decoratively engraved iv. Inlays, the body may be earlier Italian work, or perhaps the entire instrument is by Franciolini; the neck extension, table, decorations, etc. most likely by the Franciolini workshop c.1880, (Our #23836), $3,500.
4. Chitarrone, PADUA OR VENICE SCHOOL, mid-17th century & later, Converted from a Padua or Venice School lute by Leopoldo Franciolini of Florence, original back of 29 yew wood fluted staves with ebony spacers, original ebony-veneered neck with iv. spacers, ebonized neck extension with 11 playing strings and 6 extended strings,, peg box terminating in carved head. Fingerboard with 2 panels of horn and bone inlay and center panel of engraved allegorical scene. Later table inset with early gothic rose, the peg box terminating in carved head., (Our #22366), $6,000.
5. Chitarrone, VENICE OR PADUA, c.1600 and later, the original lute body of fluted yew wood staves & ebony spacers, neck of ebony with stringing & inlays, spruce table and neck extension, reproduction triple-rose table after Tieffenbrunner, OL 71.25", OW 14-7/8", (Our #23385), $12,000.
6. Guitare-Harpe, MORDAUNT LEVIEN, Paris, c.1825, Guitare-Harpe", Numbered 65, darkly stained spruce top with wide gilt painted border of flowers and vines and similar decoration arund the rosette and bridge, carved gilt rosette, 7 strings (one bass), 12 iv. frets and 4 capo di tasto positions; the bowed back in three sections of maple or sycamore with dark grain-painted finish and gilt-line decoration; the applied gilt Apollo head ornament on the headstock missing, otherwise excellent condition, highly decorative; similar to one illustrated p.167 of Instrumentistes et Luthiers Parisiens but minus the applied head medallion, (Our #23382), $4,000.
7. Lap Harp, G. J. HOLBROOK, New York, c.1887, resembles two aeolian harps hinged together, rosewood with spruce soundboards, long oblong sound holes, sits on 4 small metal feet, length 30", width 8-3/4", depth 4-1/4",, needs the bridges reglued; plate on the side enscribed: THE G.J. HOLBROOK CO./ PAT MAR 1st/ 1887/ NEW YORK, (Our #24721), $850.
8. Lute, GEORG AMAN, Augsburg, c.1736, Lute/Guitar, body of 9 maple staves of medium curl, one piece spruce top, round ebonized neck, ebony fingerboard with 12 full frets and 2 partial frets over the body (only 4 of the frets are present and one of the partial frets); slightly flared symmetrical headstock with rounded cutout at the top and 6 pegs- one mismatched and the rest are square, ebony pin bridge with added scrolled foliate extensions on either side, OL 38-3/4, body length is 21", width 12-3/8", scale 26-7/16", label: Georg Aman / Lauten und/ Geigenmacher / in Augsburg/ 17(36)?; requires restoration to be playable, (Our #29652), $4,500.
9. Lute, GOFF & COBBY, London, 1955, 13-course Baroque Lute with 15 figured fluted maple staves & maple clasp, spruce table with ornate gilt fretted rose, mahogany neck with ebony fingerboard & 8 metal frets followed by 6 ebony partial frets, rosewood tie-bridge, 11 double & 2 single courses (24 rosewood pegs), width-370mm, length of body-530mm, scale length (string length)-670mm, pegbox-432mm, very good condition but for an open center seam below bridge, original trap-door case, T. R. C. GOFF ET J. C. COBBY/ FECERUNT LONDINI/ MCMLV; similar to the several lutes produced by these makers that were commissioned by Julian Bream, (Our #30629), $2,000.
10. Prim, DOBRANIC & VARDIAN, Cleveland, Ohio, 1 piece body of maple, Viennese style head with four tuners, spruce top with black border inlaid with black dots, scale 14", (Our #23387), $375.
11. Prim, EASTERN EUROPEAN, 19th century, rustic one-piece body & neck of poplar or maple, spruce top, crude scroll with 1-1/2 turns for 4 strings, floral engraved tuner plate, total length 592mm, (Our #23406), $350.
12. San Hsien, China, A long-necked Chinese lute with three strings tuned to C, F and Bb or C, Eb and Bb. Wooden neck and three carved hexagonal tuning pegs, body with a heavy, metal rim covered with wood venere and two skin heads attached with small metal tacks. One skin head is torn. Total Length: 37", Length of body: 7", (Our #28528), $300.
13. Viola da Terra, MANUEL SILVA, PROBABLY, New Bedford, c.1950, 3 piece spruce top, mahogany back & sides, walnut inlay, multi-color inlay, some cracks, scale length 549mm, lower bout 289mm, center bout 174mm, upper bout 226mm, an instrument from the Portuguese islands of the Azores, but probably made in the U.S., (Our #23391), $800.
14. Viola da Terra, SILVA, PROBABLY BY, New Bedford?, c.1950?, for 12 strings, spruce top, mahogany back & sides, no binding, walnut inlay, 12 frets to body + 9 over the body, Gibson Girl in headstock, scale length 549mm, lower bout 277mm, middle 169mm, upper bout 214mm, an instrument from the Portuguese islands of the Azores, but most likely made in the U.S., (Our #23392), $1,000.
15. Viola D'Amore, CAROLUS HELMER, Prague, 1778, labeled: Carolus Hellmer/fecit Prague 1778, 2-piece top of fine grain spruce, with a border of alternating ebony and iv. (or bone) inlays, 1-piece flat back; the flared ebony fingerboard with scalloped edge; the pegbox for 7 strings with 7 additional sympathetic strings in the peghead extension; the pegbox terminating in an oversize Grecian womanís head; LOB 376, LB 232, CB 117, UB 192., (Our #30108), $3,500.
16. Bandurria, ADAM HERMANOS, Valencia, the pear-shaped body with two-piece back & sides of cypress with ebonized bindings, the solid head for 12 strings, the fretboard with 12 frets total, tie bridge, length of back- 280mm, width of body-250mm, total length- 587mm; requires restoration to open seams, 3 missing frets, unglued bridge, etc., (Our #25414), $750.
17. Cittern, ENGLISH, 1st part 19th century, unlabelled, cittern-shaped body of maple, body & maple neck divided by 1/2 round turned columns, round head for 10 strings w/steel pins, ebonized board w/12 frets in brass, the whole with applied floral display, (Our #23398), $950.
18. Cittern, J.& G. VOGLER, London, 1770, Bearing an original label & inscribed on the back of the head in ink: j. and G. Vogler in, Glasshouse Street, London. Spruce top with several repaired hairline cracks with painted purfling and colored wood bindings, brass and iv. Rosette in good condition, flamed maple back with one repaired crack (7 cm) and fancy colored wood inlays, flamed maple sides with one repaired worm run (5 cm) and fancy colored wood inlays, flamed maple neck and scroll, top of head probably a later addition, enclosed brass machine heads with the tuning of the strings stamped on the metal, fancy tortoiseshell and mother of pearl fingerboard,12 metal frets and small brass and ebony capo taster, probably later ebony and bone bridge, total length 96.5 cm, scale 45 cm, width 29.4 cm, depth at the neck joint 6 cm, depth at the bottom 6.7 cm, nut 4.7 cm., (Our #27456), $3,000.
19. Cittern, LONGMAN & BRODERIP, possibly by Perry, the back of the neck with the Longman & Broderip stamp, the back and sides of sycamore, the top of spruce with an original inset rose, scale length 420mm, 10 strings with watch-key tuners, radiused ebony fingerboard, requires a bridge & some restoration, (Our #27229), $2,000.
20. Cittern/Wald-Zither, GERMAN, early 19th century, unlabelled, spruce table, back and fingerboard, iron frets, painted designs on table, rose of cut leather, underside of neck cut away on bass side, 4 double and one single course, requires extensive restoration, (Our #23397), $400.
Little Drummer Boy
21. Bass Drum, ABNER STEVENS, Massachusetts, c.1807, red rims, body originally polychromed (now quite dark) and, typical for this maker, decorated with patterns in brass studs, head diameter 23", depth 22.5", label dated 1807, requires restoration, Stevens is known to have worked in Hancock and Pittsfield, requires restoration, (Our #23408), $1,800.
22. Bass Drum, AMERICAN, POSSIBLY BY STEVENS, c.1800-1820, wooden with rope tensioners, body painted brown with brass stud decorations and a small iron handle, hoops painted red, 12 rope tension points, head diam 25-1/4", depth 23-1/2", requires restoration, requires restoration, (Our #23413), $850.
23. Bodhran, ROUNDSTONE, New, 18" with decorated head, 4" deep body, includes beater and "how to" booklet, (Our #28833), $175.
24. Bodhran, ROUNDSTONE, New, 18" with plain head, 4" deep body, includes beater and "how to" booklet, (Our #28832), $150.
25. Bodhran, ROUNDSTONE, New, 14" head (non-tunable), 2-3/4" deep rim, with painted design head (Malachy Kerans "D" design), (Our #28830), $80.
26. Tabor & Drum, UNMARKED, probably French, mid 18th century, fruitwood/boxwood tabor with integral turned rings & onion shaped fipple, one piece body, 2 top tone holes & one register hole in back, fipple mouthpiece section with brass repair insert in windway, length 307mm) , hand drum with 8-3/4" skin head, darkly painted tin rim 2-1/2" deep, wooden tension hoops, missing string tensioners, numerous repairs and worm damage to the tension hoops, one of which we have only half in fragments, (Our #23414), $1,500.
27. Cimbalom, SHUNDA, V., Hungary, c.1880, walnut veneers, turned walnut legs, about 34" high, 50" by 28", pin-blocks & sound board need replacement, (Our #23420), $400.
28. Hammered Dulcimer, AMERICAN, PROBABLY PENNSYLVANIA, early 19th century, trapezoidal, polychromed wood, 55 hand wrought iron tuning pins, 2 soundholes w/6 cut circular designs, hinged covers over pin-blocks, 39" lower width, 22-5/8" upper width, 13" sides,, (Our #23419), $2,200.
29. Hammered Dulcimer, PENNSYLVANIA GERMAN, 19th century, unlabelled, 58 piano-style steel tuning pins, 2 outer & 2 inner bridges, trapezoidal sound board of spruce inset into birdeseye veneer, rectangular case, 2 3-leaf-clover soundholes, case measures 39-1/4" long, 15-1/8" wide, 3" deep, (Our #23417), $500.
30. Hammered Dulcimer, PENNSYLVANIA GERMAN, mid 19th century, trapezoidal, 12 quad courses & 3 double courses, pine with painted stencil designs on table, 3 round bridges, circular soundholes with 6 satellite holes, lower width 40", upper width 20-1/2", sides 17", (Our #23418), $650.
Flutina & Dancer
Free Reeds
31. Concertina, SPECIAL DELUXE, LACHENAL & CO., London, c.1914, English system treble, 48 silver capped buttons, bevelled ebony ends with gold embossed black leather bellows with 5 folds and decorative printed papers, the ends inlaid at the corners with engraved silver floral motifs, gold embossed black leather thumb straps with decorative screws, with the original ebonized box with green lining, the lid of the box has several unrepaired cracks, (Our #30522), $1,000.
32. Concertina, Aeola Model No.18, WHEATSTONE, London, c.1906-1908, English-system Aeola (octagonal) with fully fretted & raised ebony ends, extended treble with 56 metal buttons, 5-fold black leather bellows, concert pitch, highest key missing reeds & is now an air button, overall very good condition, one thumb-strap repaired but usable, worn but original brown square leather box, this would benefit from new thumb-straps and some tuning touch-up, (Our #31276), $2,500.
33. Concertina, 3-E, WHEATSTONE, London, c.1959, English system, hexagonal metal ends, 48 metal buttons, 6-fold black leather bellows in really fine condition, steel reeds, very little evidence of wear or use, leather thumb straps both in fine condition, overall original & in excellent condition, original case, (Our #28055), $2,450.
34. Concertina, English System Concertina, WHEATSTONE, London, 1855, 48 silver capped buttons, bevelled & fretted rosewood ends with gold plated (or brass) floral pattern inalys at the corners, 5-fold green leather bellows with decorative papers, the exposed of the bellows section with embossed & gilt decoration, in the original hexagonal mahogany case, the Wheatstone ledger gives its date of manufacture as: 24 March 1855, (Our #29710), $600.
35. Rocking Melodeon, BARTLETT, Concord, NH, rosewood and maple veneers, 29 natural & 20 accidental-all with white buttons, needs new bellows, original reddish painted case with original Dearborn & Bartlett label, (Our #28076), $1,200.
36. Rocking Melodeon, CHARLES AUSTIN, Concord, c.1840, petit model, rosewood sides & top borders with maple panels, cloth bellows, 23 round white buttons & 16 with red circles as accidentals, very good condition, we believe Austin may have worked with or was trained by Abraham Prescott; these are also known as "elbow organs" or "lap organs", (Our #23568), $1,800.
37. Rocking Melodian, ABRAHAM PRESCOTT, Concord, c.1845, also known as a Lap Organ, reddish-painted pine box, maple body 22-1/2" x10-1/2", two figured maple covers with 4 vent holes each (decorative rings at their borders chipped on 2 holes), 29 natural buttons, 20 buttons for accidentals, baffle lever marked with Prescott's name, bellows need restoration, (Our #27354), $1,000.
Cowboy Jim
38. Guitar, DAVID LAPLANTE, 2014, David Laplanteís guitar is an homage to C.F. Martinís Spanish-style instruments of the 1840s. It includes features such as a Spanish neck with large tapered headstock, long volute and Spanish heel. Like truly Spanish guitars, the heel cap continues the plane of the back, and the divided ribs have little taper. However, this guitar incorporates the X-brace pattern fully implemented by C.F. Martin in the 1840s, along with his ebony pyramid bridge design. It is very similar to the 1846 Colonel Wilkins guitar, but made in a more modern deep 00 body size., (Our #31876), $6,000.
39. Guitar, L. VIOHL, Flushing, L.I (NY), 1891, arched mahogany back & sides, unbound spruce top w/inlaid mahogany rosette rings, 13 1/2" body, rosewood fingerboard and pyramid bridge, brass saddle, 18 brass frets total-12 to body, slotted head, mahogany neck, 3-in-line open tuners on brass plates stamped with leaves and with bone tuner knobs, labelled L.VIOHL/MANUFACTURER/FLUSHING, L.I./1891; needs top left lower bout crack repaired, (Our #24225), $1,200.
40. Guitar, LOUIS PANORMO, London, c.1832, A Guitar by Louis Panormo c.1832 in the Spanish style; labeled: LOUIS PANORMO/ The only Maker of/ Guitars in the Spanish Style / (indecipherable date)/ 46 High Street Bloomsbury/ LONDON/ Guitars of Every Description from 2 to 15 Guineas. Brazilian rosewood back & sides with a typical Panormo slotted head. Baker tuners on engraved tuner plates with carved "hatchet-head"pearl buttons. With a TKL case., (Our #31785), $5,500.
41. Guitar, LOUIS PANORMO, London, 1827, A Guitar by Louis Panormo in the Spanish style; labeled: 893/ Panormo Fecit / Anno 1827 London. / 26 High Street Bloomsbury., (Our #31793), $5,500.
42. Guitar, MARKNEUKIRCHEN SCHOOL, c.1830s, This unlabeled guitar exhibits the slotted dome-shaped head that Austro-German makers had begun to utilize in conjunction with geared tuners. The non-adjustable neck, as opposed to one with a clock-key mechanism was a less expensive option for guitar consumers. Even then, aesthetics were important as the decorative rosette and bridge applique demonstrate. The top is supported with one straight brace below the soundhole, one straight brace above the bridge area, no apparent bridge plate, and two straight braces above the soundhole, (Our #31795), $2,200.
43. Harp, ERARD, PROBABLY, Paris, 1775-1800, single action, 39 strings, 8 pedals, 9th pedal for louvers, soundboard decorated with painted vines & flowers, base on small brass hairy paw feet, gilt capitol w/rams head and sunflowers, this could be a very early Erard, with the forks unexposed behind a brass plate, (Our #24155), $8,500.
44. Harp, GERMAN, late 19th century, hook harp with 37 strings, grain painted body and column, spruce soundboard has three pairs of pinwheel rosettes and painted decoration, ex-Lachmann collection (page 2), pillar height is 59.5" and body height is 46", from the collection of Erich Lachmann and described in the hard-cover catalogue of his collection (which we also have available), (Our #28226), $850.
45. Harp, PENNSYLVANIA GERMAN, 18th century, 31 strings, polychromed green over red with remnants of applied decoration and gold painted highlights, 31 strings and 15 hooks or ditals (one is missing, one is broken off). The pegs for the strings, the string guides, and the hooks, are carved from wood; crochet-hook action, 3 hand-wrought iron pedals (connected to the crochet-hooks via cords inside the resonator), body of 5 staves pierced with geometric designs, table with 10 sound holes, fluted column with an acorn finial, total height about 71- 1/4", (Our #24157), $5,000.
Hurdy Gurdy
46. Hurdy Gurdy, PIMPARD, Jenzat, France, 1881, 9 stave lute-form body of sycamore (probably) in alternating shades of light and dark stain, the top edged with alternating ebony and bone pieces, the carved head in the 18th century style of a curly haired female, missing the wheel cover, not presently set up in a playable fashion, but easily restored (needs new strings, bridges, wheelcover, etc), the Keybox stamped: PIMPARD/ JENZAT/ ALLIER, labeled: Fabrique d'Instruments de Musique/ Maison Fondee en 1881 / Pimpard Cousin Fils/ a Jenzat (Allier)/ Reparez en 1926, (Our #23844), $3,500.
47. Melodeon, CARHART & NEEDHAM, rosewood veneered case 2/4 octagonal legs, 36 white & 25 black keys, 1 pump & 1 swell pedal, (Our #KB8101), $500.
48. Melodeon, PRINCE & CO., GEORGE, New York, c.1850, very attractive rosewood veneers, nice overall condition but needs bellows, (Our #FO7242), $650.
49. Mandolin, GIOACCHINO TROTTO, Naples (probably), 1792, 20 slightly fluted cypress staves w/dark stained maple spacers, neck veneered in ebony & iv., tortoiseshell over fingerboard, 10 brass frests, oval hole with pearl designs inlaid into red mastic, inlaid tortoise pickguard, old wood case, labeled: Gioacchino Trotto fecit/ Anno 1792 accosto le/ grade di S. Demetrio; requires restoration to the table binding (loss to some of the iv.), and repair to a few cracks, otherwise intact with original boxwood pegs, (Our #23323), $3,500.
American Bass Viols (Church Basses) & Cellos
50. Cello, AMERICAN, early 19th century, a very interesting early American cello or church bass, late 19th century German scroll, 2-piece wild irregular birdseye maple back, ribs American maple of narrow curl, 2-piece table of slab-cut spruce or pine, unpurfled, reddish-brown varnish, requires restoration, (Our #23318), $2,500.
51. Cello, GEORGE CATLIN, Hartford, Conn., 1806, 2-piece maple back of medium curl descending from left to right, the interesting head (with spiral carved ears) of similar wood, ribs of narrow curl, 2-piece table of mostly fine grain, varnish a dark reddish brown, lob:730mm (28 3/4"), l.b.:418mm, m.b.:235mm, u.b.:325mm, present scale length:675mm, stamped below the button: Made by/GEORGE CATLIN/Hartford/Conn/1806; converted to a more modern string length but easily reconverted to the original scale. A very early & rare American cello., (Our #25633), $6,000.
52. Cello, SAMUEL CLARK, Westmoreland, NY, c.1830, two-piece maple back, non-purfled, reddish brown varnish (back length: 29-5/8"), old repaired & unrepaired table cracks, 1-back corner & 1 top corner gone, occasional back support-pieces but no back liners, integral neck-block; resembles our violin by Waldron (dated 1818; died 1874), completely original including original fruitwood English-style pegs, bone nut & saddle, partial fingerboard, etc.; a good candidate for restoration and use as a Baroque cello; sold with a letter of provenance. Priced as-is needing restoration, (Our #26480), $2,000.
53. Cello, SOUTH GERMAN SCHOOL, 1st 1/2-18th century, lab: Carlo Antonio Testore, 2-piece back of mostly plain maple, ribs with some narrow curl, the head plain, 2-pie table mostly medium, varnish a deep reddish-brown over yellow, inked pufling lines, being sold as-is with many old crack restorations & worm, set up as a Baroque cello, string length: 681mm, stop: 389mm, (length of back: 28-3/16"), (Our #27288), $3,500.
54. Cello, VOIGTLAND SCHOOL, Saxony, c.1750, bears a repair label: C.F.Hartmann/Manufacturer of Violins, Guitars, &c/Repaired Nazareth, PA/ 1870, two-piece maple back faint narrow figure, the ribs similar, the head plain, two-piece table of narrow grain broadening to the flanks, varnish reddish orange-brown, labeled on the neck block: This violoncello was in use in the Moravian Congregation at Nazareth/for nearly 100 years and in/a very deplorable state Nazareth 18-8?; presently in poor condition, but historically interesting; sold as-is, (Our #30258), $3,000.
55. Cello, Z. L. HODGES, Taunton, Mass., 1824, lab: BASS-VIOLS,/MADE & REPAIRED BY/Z.L.HODGES,/TAUNTON,MASS., and dated 1824, 1-piece maple? back of narrow-medium ascending from center, ribs & interesting deeply cut head of plain grain; 2-piece table of irregular grain; varnish orange-brown;, inked simulated purfling; brass geared tuners; integral -style neck block, long elegant corners; period tailpiece; non-moticed ribs; skillfully cut Italian-style soundholes; original neck, but fingerboard & bridge replaced, length of back: 753mm, (Our #23319), $3,000.
56. Cello/Bass Viol, AMERICAN, PROBABLY, c.1790-, unlabeled, 2-piece back of slab-cut poplar, ribs chestnut?, table of 1-piece slab cut pine, washed- out dark red paint finish, 702, 364, 265, 403, greatly resembles a Bassetti Tirolese illustrated on p.283 of Strumenti per Mozart, Longo Editore 1991, (Our #23311), $2,200.
57. Church Bass, ABRAHAM PRESCOTT, Deerfield, NH, c.1837, one piece slab cut maple back, plain ribs of similar wood, two-piece table, scroll is typical of thes maker & unfinished in the back without the additional turn in the ears, length of back-780mm, string length about 690mm, with the original 1837 Prescott advertising label: ABRAHAM PRESCOTT/ DOUBLE BASS, VIOLIN AND VIOLON-/CELLO MAKER/ DEERFIELD, N.H., as well as a later label from the shop of K.W. Jones, the back length works for either a large cello or smallish church bass; requires restoration, (Our #28551), $3,500.
58. Church Bass, MOSES TEWEKSBURY, Chester, N.H., 1840s, two-piece back of partly slab-cut maple of medium curl, the ribs faintly marked, the head plain with peared brass-plate tuners, two-piece spruce table of medium grain, the varnish a reddish brown, length of back: 30-15/16", with Baroque-style neck but later fingerboard, requires restoration to rib cracks & back corner, and complete set-up, otherwise in very good condition; labelled: MOSES A. TEWEKSBURY MANUFACTURER AND REPAIRER OF / Bass & Double Bass Viol & Violins, (Our #27194), $2,500.
Violins, Violas, & Folk Fiddles
59. Pochette, ENGLISH, London, c.1760-80, unlabelled, overall length is 400mm (16"), not presently set up to be playable, but in very good overall condition, (Our #23305), $2,500.
60. Pochette, SALVATORE MOSCHELLA, Cremona, 2001, of eccentric outline, the single-piece back of handsome maple of medium curl, the ribs & head of similar wood, the fingerboard with crosshatched pattern inlay, length of back: 253mm, total length: 458mm, a very fine reproduction after a pochette by Antonio Stradivari, accompanied by a certificate from the maker, (Our #31221), $2,000.
61. Quinton, PARIS OR MIRECOURT, c.1750, with 5 strings, two- piece back of narrow horizontal grain, ribs of slightly broader curl, two- piece top of fine grain broadening slightly to flanks, the plain maple head is flat at the back with channels over the top of the scroll ; ebony fingerboard and tailpiece; with a repair label: Raccomode par Antoine/ Chevallet d'Annecy 1825; length of back: 376mm (incorporating button area); string length: 324mm; modern case, (Our #30441), $9,500.
62. Viola d'Amore, MICHAEL IGNATIUS STADLMANN, Vienna, 1801, Seven playing strings & seven sympathetic strings which run below the fingerboard; completely original, and in an unusually fine state of preservation. Michael Stadlmann was born in 1756, the son of violin maker Johann Joseph, & died in 1813., (Our #25750), $10,000.
63. Violin, AMERICAN, Mid-19th century, unlabelled, 2-piece back of plain beech?, ribs similar; commercial German head; two-piece back of broad grain broadening toward the flanks; dark reddish brown varnish, this is an interesting historical fiddle, but is not presently set up to be playable; if you wish to have it set up, we are happy to do so, and will provide a quote for set-up charges, (Our #23254), $350.
64. Violin, DAVID HOPF, Klingenthal, c.1790-1800, unlabeled, one-piece slab/quartered back of narrow curl ascending from left to right, ribs similar, head fine irregular curl, two-piece spruce table of irregular grain. Scale length 313mm, with his typically excentric corners & soundholes, a remarkably intact example of a transitional violin in original condition, original neck and neck angle, set-up with gut strings, string length-315mm, (Our #27536), $4,500.
65. Violin, ENGLISH, London, c.1680-1720, 1-piece back narrow descending from left to right, the ribs and head of faint medium curl, 2-piece table of faint medium-broad curl, varnish a light golden-orange brown over a golden ground, Baroque set-up with original neck and bass-bar, and bears some similarity to the work of William Baker & John Grice, London makers of the late 17th & early 18th centuries, (Our #23168), $7,500.
66. Violin, GEBRUDER LIPPOLD, Neukirchen, 1824, one-piece maple back of attractive medium curl descending from left to right, ribs broader, head plain, two-piece table medium broadening toward the flanks, reddish-brown varnish, a good Saxon violin, suitable for use as a classical style violin, overall period original (neck, bass-bar, pegs, etc.) & in very good condition but requires a fingerboard & some minor restorations; with a scale length of 315mm, (Our #24651), $2,500.
67. Violin, GERMAN, 19th Century, one-piece back of broad curl, the ribs& head of faint narrow, orange brown varnish, 158mm, 90mm, 50mm, 70mm, A tiny violin, but not a child's instrument. More likely, this is a model or sample violin used either for exhibition or sales purposes, requires some restoration (length of back: 6-1/4", total length:10-1/2"), (Our #26574), $350.
68. Violin, GERMAN, c.1850, 2-piece back of medium curl descending from the joint, ribs of medium curl, 2 piece top of narrow-medium grain, head faint medium curl, red-brown varnish over gold ground, this is possibly a Child's violin (about 1/16-size) but most likely a maker's sample, particularly well crafted, in French fitted wooden coffin case, with a nickel-mounted bow of the Knopf school (head with cheek crack); string length-200mm, (Our #24827), $1,200.
69. Violin, MILTON E. WALDRON, Paris, New York, 1818, labeled: M.E. Waldron/ Maker of Violins/ Paris, Sauquoit/ Oneida County/ N.Y. 1818, 2-piece back plain without purfling, ribs and simplified head plain, 2-piece table without purfling of medium grain narrowing to flanks, red-brown varnish, it retains its original Baroque neck & ebonized fingerboard, requires repairs and setup, an interesting violin by this early Oneida County violin maker, it greatly resembles the unusual work of 17th century German maker Johann Adam Popel of Bruck, it is strangely very similar to our cello by Samuel Clark (Westmoreland NY), (Our #23825), $1,200.
70. Violin, RICHARD TOBIN, Dublin or London, c.1800, 2-piece back of slab-cut maple of broad irregular curl, the ribs of similar wood, the 2-piece table of broad grain, the varnish a golden-brown, 358,208,115,169, a cornerless figure-8 form violin, stamped on the back below the button: TOBIN/SHUG LANE/LONDON, (Our #26377), $1,500.
71. Violin, SMALLIDGE, H.H., Shutesbury, MA, 1884, lab: H.H. SMALLIDGE/ SHUTESBURY/ 1884 MASS., two-piece back of medium curl ascending from the center, ribs similar, highly unusual large head of plain grain & with no volute to back like Testore scrolls, six-piece table of fine grain, neck not mortised, LOB 359mm, this is an interesting historical fiddle, but is not presently set up to be playable; if you wish to have it set up, we are happy to do so, and will provide a quote for set-up charges, (Our #23262), $500.
72. Violin Exerciser, ANONYMOUS, American, prob, 20th century, Patented, maple neck with ebony fingerboard in which are pairs of brass tacks on springs at the fingering positions, spruce stick from neck to chinrest, (Our #V98120), $150.
73. Violin, Child Size, AMERICAN, 1st half 19th c., chestnut?, baroque neck, crudely made, reddish milk paint with green painted purfling, the top is decorated with two large painted stars, an anchor and a "W"", bone saddle, overall length:11-5/8" (493mm), (Note: this is an interesting historical fiddle, but not presently set up to be playable), (Our #23247), $250.
74. Violin, Folk, ALLEN PARKER, Waterloo, NY, May, 1953, 1 piece back, plain slab cut, ribs plain, plain head, 1 piece spruce top of medium grain broadening somewhat to the right flank, thick red-orange varnish, 365, 208, 119, 158, this is an interesting historical fiddle, but is not presently set up to be playable; if you wish to have it set up, we are happy to do so, and will provide a quote for set-up charges, (Our #23279), $250.
Music Teacher
Zithers & Autoharps
75. Ch'in, China, A type of Chinese zither, similar to a She (Se). Long, hollow wooden instrument with a curved wooden face and flat back. Twenty strings attached by small nails. Strings held taut by two crescent-moon shaped wooden bridges at each end. L: 29in.. W: 8in.. D: 2 1/2in., (Our #28529), $
76. Streichzither, GERMAN, mid-19th century, bowed zither, unlabelled, heart shaped with 2 teardrop sound holes, rosewood veneer with purfling & stained maple edges, celluloid binding around top & soundholes, ebonized spruce back, fretted fingerboard, ototal length 472mm, width 299mm, riginal wood box, (Our #23234), $450.
77. Streichzither, GERMAN, 19th cent, bowed zither, unlabelled, spruce heart-shaped body lacquered black with rosewood grain-painted top with 2 sound holes, curved fretboard with 7 pearl position markers, 4 strings tuned by pins, 3 turned feet, length 488mm, width 269mm, (Our #23233), $500.
78. Violin-Uke, MARX MUSIC CO., ukelin style instrument with 24 strings arranged in rows of 4 pins, wood body sprayed in gold & reddish-brown w/decals, round sound hole, in box with instructions, new condition, this was acquired from the auction of Marx Co. when the company's assets were disbursed, (Our #FO7254), $80.
79. Zither, A. (ADOLF) LARSSON, Finland, c.1910, labelled: A.Larsson/FINSPONG/PRAKTI-ZITRAN N:06/PATENT, black lacquer w/polychrome transfer medallion showing an ocean liner with floral swags, rays & stars, other transfer decoration, OL 545, OW 372, OD 69mm, (Our #23240), $150.
80. Zither, TIEFFENBRUNNER, GEORG, Mittenwald, concert zither, 5 tuning pins for fingerboard, 27 aditional strings, black-stained body, grain painted top, long open top crack, long open back crack, otherwise very good condition, original box coming unglued, (Our #23239), $250.
81. Grand Harmonicon, AMERICAN, Baltimore, c.1830, for 28 glasses, of which 27 are present, & one with a crack, the classically carved Empire style mahogany cabinet in the form of a pier table on large paw feet, in the style of Francis Hopkinson Smith, (Our #31180), $5,000.
82. Tambourines, pair, 19th century, unstamped, rims painted red with gilt design, heads painted with amorous scenes, the heads are complete but torn, (Our #26540), $150.