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Historical Stringed and Fretted Instruments
1. Arch Lute, IN THE STYLE OF BARRY, London, c.1810, This arch lute has a seven-string neck with a four-string extension. The top is spruce and the back is probably sycamore made in three staves with gilt line decoration around each section. The table is also decorated with a painted gilt border. The neck is painted black and the ebony fingerboard has twelve frets. The soundhole is inset with a gilt feathered plume inset in the form of the Prince of Wales emblem. Measurements: 16" length of back, 11-7/8" width. (Our #23384) $4,000.
2. Chitarrone, ANTONIUS DE BARDAXI, LABELED, Venice or Padua, 17th c. and later, This chitarrone labeled: ANTONIUS DE BARDAXI/ 2 DECEMB. 1592 has a lute body of 27 fluted yew-wood staves with ebony spacers. The later table has bone inlay and an ornate earlier gothic parchment rose. The original lute neck is made of ebony with bone spacers and the fingerboard is decorated with a bone and ebony Greco-Roman urn, flower, and gryphon motif. The ebonized neck extension has 10 playing strings and 6 extended strings. The later table and neck extension were likely made by Leopoldo Franciolini of Florence. Length: 139.4 cm. Case not included. (Our #22745) $6,000.
3. Chitarrone, LEOPOLDO FRANCIOLINI, Florence, c.1880 or earlier, The lute body may be earlier Italian work or the entire instrument may perhaps be by Franciolini. The neck extension, table, decorations, etc. were most likely made by the Franciolini workshop c. 1880. The body has twenty-five yew wood ribs plus the clasp and the neck (below the peg box). There is a spruce table, a fretted parchment Gothic rose, and decoratively engraved ivory inlays. The later chittarone neck extension has eleven strings over the neck and six harp strings. The head has a carved-woman’s-head finial. Measurements: 21" body, 43-1/2" neck. (Our #23836) $3,500.
4. Chitarrone, PADUA OR VENICE SCHOOL, mid-17th century & later, The original back of this lute is comprised of twenty-nine fluted staves made of yew wood with ebony spacers. It was converted from a Padua or Venice School lute by Leopoldo Franciolini of Florence. It has the original ebony-veneered neck with ivory spacers, and an ebonized neck extension with eleven playing strings and six extended strings. The fingerboard has two panels of horn & bone inlay and a center panel of an engraved allegorical scene. The later table inset has an early gothic rose. The peg box terminates in a carved head. (Our #22366) $6,000.
5. Chitarrone, VENICE OR PADUA, c.1600 and later, This original lute body is comprised of fluted yew wood staves and ebony spacers. It has a reproduction triple-rose spruce table after Tieffenbrunner. The neck is made of ebony with stringing and inlays. Measurements: overall length: 71.25", overall width: 14-7/8". (Our #23385) $12,000.
6. Guitare-Harpe, MORDAUNT LEVIEN, Paris, c.1825, This highly decorative "Guitare-Harpe" has a darkly stained spruce top with a wide gilt-painted border of flowers and vines and a similar decoration around the carved gilt rosette and bridge. It has seven strings (one bass), twelve ivory frets and four capo di tasto positions. The bowed back has three sections of either maple or sycamore with a dark grain-painted finish and gilt-line decoration. It is numbered 65 and painted on the heel: LEVIEN/ Inventor & Professor on the neck, and on the body over the soundhole Patronised/ by the/ Society of Arts, N. 65. This instrument is similar to the one illustrated on p. 167 of Instrumentistes et Luthiers Parisiens but minus the applied head medallion. Condition notes: the applied gilt Apollo head ornament on the headstock is mssing, the nut is missing, and the top has one crack between the bridge and bottom edge; otherwise in excellent condition. (Our #23382) $4,000.
7. Lap Harp, G. J. HOLBROOK, New York, c.1887, This instrument resembles two aeolian harps hinged together. It is made of rosewood with spruce soundboard, has long oblong sound holes, and sits on four small metal feet. The plate on the side is inscribed: THE G.J. HOLBROOK CO./ PAT MAR 1st/ 1887/ NEW YORK. Measurements: length 30", width 8-3/4", depth 4-1/4". Condition notes: The bridges need regluing. (Our #24721) $850.
8. Lute, GEORG AMAN, Augsburg, c.1736, This lute/guitar has a body made of nine maple staves of medium curl and a one piece spruce top. It has a round ebonized neck and an ebony fingerboard with twelve full frets and two partial frets over the body (only four of the frets are present and one of the partial frets). The slightly flared symmetrical headstock has a rounded cutout at the top and six pegs (one is mismatched and the rest are square). The ebony pin bridge has added scrolled foliate extensions on either side. The labels read: Georg Aman / Lauten und/ Geigenmacher / in Augsburg/ 17–, and the second label which looks to be a repair label: -------/ Anton / Senior/ Dusseldorf (1817?). Measurements: overall length: 38-3/4", body length: 21", width: 12-3/8", scale length: 26-7/16". Requires restoration to be playable. (Our #29652) $4,500.
9. Lute, GOFF & COBBY, London, 1955, This thirteen-course Baroque Lute has fifteen figured fluted maple staves and a maple clasp. The spruce table has an ornate gilt fretted rose, a mahogany neck with an ebony fingerboard and eight metal frets followed by six ebony partial frets. It has a rosewood tie-bridge and eleven double & two single courses (24 rosewood pegs). Measurements: width: 370mm, length of body: 530mm, scale length: 670mm, pegbox: 432mm. The label reads: T. R. C. GOFF ET J. C. COBBY/ FECERUNT LONDINI/ MCMLV. This lute is similar to those produced by makers that were commissioned by Julian Bream. It is in very good condition with the exception of an open center seam below the bridge. Comes in the original trap-door case. (Our #30629) $2,000.
10. Lyre-Guitar, FRENCH, Paris or Mirecourt, early 19th century, This French lyre guitar in remarkably fine condition has a maple back and sides, a spruce top, and an ebony neck with brass supports connected to the body. It also has an ebony fingerboard, an ebony peghead with six original ebony pegs, and an ebony bridge. It is in a very pure state of preservation and comes in the original wooden case. (Our #27524) $4,500.
11. Prim, DOBRANIC & VARDIAN, Cleveland, Ohio, This prim has a one-piece body of maple, and a spruce top with a black border inlaid with black dots. The Viennese style head has four tuners. Measurements: scale length: 14". (Our #23387) $375.
12. Prim, EASTERN EUROPEAN, 19th century, This prim has a rustic one-piece body and neck of either poplar or maple, and a spruce top. The rather crude scroll has 1-1/2 turns for four strings and there is a floral engraved tuner plate. Measurements: total length: 592mm. (Our #23406) $300.
13. San Hsien, China, This long-necked Chinese lute has three strings that are tuned to C, F, and Bb or C, Eb, and Bb. It has a body with a heavy, metal rim covered with wood veneer and two skin heads attached with small metal tacks. It also has a wooden neck and three carved hexagonal tuning pegs. Condition: one skin head is torn. Measurements: total length: 37", length of body: 7". (Our #28528) $300.
14. Viola da Terra, MANUEL SILVA, PROBABLY, New Bedford, c.1950, This instrument from the Portugese islands of the Azores was probably made in the U.S. It has a three-piece spruce top, mahogany back and sides, and both a multi-colored inlay and a walnut inlay. Measurements: scale length: 549mm, lower bout: 289mm, center bout: 174mm, upper bout: 226mm. Condition: two cracks in the back, one long crack in the top, and in need of set-up. (Our #23391) $800.
15. Viola da Terra, SILVA, PROBABLY BY, New Bedford?, c.1950?, This unlabeled instrument is from the Portugese islands of the Azores but was most likely made in the U.S. It is made for twelve strings and has a spruce top, mahogany back and sides with no binding and a walnut inlay. There are twelve frets to the body and nine over the body. "Gibson Girl" is in the headstock. Measurements: scale length: 549mm, lower bout: 277mm, middle: 169mm, upper bout: 214mm. (Our #23392) $1,000.
16. Viola D'Amore, JOHANN GEORG HELLMER, Prague, 1778, This viola d’amore labeled: Carolus Hellmer/fecit Prague 1778 has a one-piece flat back and a two-piece spruce top of fine grain with a border of alternating ebony and ivory or bone inlay. The flared ebony fingerboard has a scalloped edge. The pegbox has seven strings with seven additional sympathetic strings in the peghead extension which terminates in an oversized Grecian woman’s head. Measurements: length of back: 376mm, lower bout: 232mm, center bout: 117mm, upper bout: 192mm. Condition: requires restoration to be playable. (Our #30108) HOLD
Citterns
17. Bandurria, ADAM HERMANOS, Valencia, This bandurria labeled: : FABRICA DE/CUERDAS Y BORDONES/ADAM HERMANOS/Calles de S.Vicente 101 VALENCIA has a pear-shaped body with a two-piece back & sides made of cypress with ebonized bindings. The solid head has twelve strings, and the fretboard has twelve total frets. There is also a tie bridge. Measurements: length of back: 280mm, width of body: 250mm, total length: 587mm. Condition: requires restoration to open seams, three missing frets, and the bridge is unglued. (Our #25414) $750.
18. Cittern, ENGLISH, 1st part 19th century, The cittern-shaped body is made of maple and is unlabeled. The body and maple neck are divided by half round turned columns and the whole body is covered with an applied floral display. The round head has ten strings with steel pins, and the ebonized board has twelve frets in brass. Measurements: soundhole: 70mm, total length: 645mm, back length: 403mm. (Our #23398) $850.
19. Cittern, J.& G. VOGLER, London, 1770, This cittern bears an original label and has inscribed on the back of the head in ink: j. and G. Vogler in, Glasshouse Street, London. The spruce top has painted purfling and colored wood bindings and a brass and ivory rosette. The flamed maple back and sides have fancy colored wood inlays. It has a flamed maple neck and scroll and the top of head is probably a later addition. There are enclosed brass machine heads with the tuning of the strings stamped on the metal. The fancy tortoiseshell and mother of pearl fingerboard has twelve metal frets and a small brass and ebony capo taster, in addition to a probably later ebony and bone bridge. Condition: 7cm repaired crack on back, 5cm repaired worm run on side; rosette is in good condition, and the tuners work well. Measurements: total length: 96.5 cm, scale length: 45 cm, width: 29.4 cm, depth at neck joint: 6 cm, depth at the bottom: 6.7 cm, nut: 4.7cm. (Our #27456) $3,000.
20. Cittern, LONGMAN & BRODERIP, The back of this cittern’s neck is stamped with the Longman & Broderip stamp (LONGMAN & BRODERIP/No26 CHEAPSIDE 8-/No13 HAYMARKET/LONDON) and was possibly made by Perry. It has a one-piece sycamore back of narrow curl and sycamore ribs of medium curl. The two-piece top is made of spruce with painted purfling, painted concentric circles and a nice original inset rose of ivory and ebony (or ebonized wood). The radiused ebony fingerboard has twelve frets and four capo di tasto positions, ten strings with watch-key tuners, and a simple finial with canted corners and a center pearl square. Condition: bridge is mostly missing; requires some restoration. Scale length: 420mm. (Our #27229) $2,000.
21. Cittern/Wald-Zither, GERMAN, early 19th century, This unlabeled Wald-Zither has a spruce table and back with painted designs on the table. The fingerboard has thin iron frets and four double and one single course. The rose is made of cut leather and the underside of the neck is cut away on the bass side. Requires extensive restoration. (Our #23397) $400.
Little Drummer Boy
Drums
22. Bass Drum, ABNER STEVENS, Massachusetts, c.1807, This bass drum has red rims on an originally polychromed body which is now quite dark. The label address appears to say "...Lebanon Springs" and is dated 1807. It has been decorated with patterns in brass studs, which is typical for this maker, who is known to have worked in Hancock and Pittsfield. Measurements: head diameter: 23", depth: 22.5". Requires restoration. (Our #23408) $1,800.
23. Bass Drum, AMERICAN, POSSIBLY BY STEVENS, c.1800-1820, This bass drum has a brown painted wooden body with brass stud decorations and rope tensioners. The hoops are painted red and there are twelve rope tension points and a small iron handle. Measurements: head diam 25-1/4", depth 23-1/2". Requires restoration. (Our #23413) $850.
24. Bodhran, ROUNDSTONE, New, Has a non-tunable 14" painted design head (Malachy Kerans "D" design) and a 2-3/4" deep rim. (Our #28830) $80.
25. Bodhran, ROUNDSTONE, New, This Bodhran has an 18" decorated head, a 4" deep body, and includes a beater and a "how to" booklet. (Our #28833) $175.
26. Bodhran, ROUNDSTONE, New, This Bodhran has an 18" plain head, a 4" deep body, and includes a beater and a "how to" booklet. (Our #28832) $150.
27. Tabor & Drum, UNMARKED, probably French, mid 18th century, The fruitwood/boxwood tabor has integral turned rings & an onion shaped fipple on a one piece body. There are two top tone holes and one register hole in the back. The fipple mouthpiece section has a brass repair insert in the windway. Length: 307mm. The hand drum hashas a 8- 3/4" skin head and a darkly painted tin rim which is 2-1/2" deep. There are wooden tension hoops and missing string tensioners. Condition: Numerous repairs and worm damage to the tension hoops, one of which we have only half in fragments. (Our #23414) $1,500.
28. Tambourines, pair, 19th century, This unstamped pair of tambourines has complete but torn heads that are painted with amorous scenes. The rims are painted red with gilt design. Measurements: diameter: 10", depth: 1-3/4". (Our #26540) $150.
Dulcimers
29. Cimbalom, SHUNDA, V., Hungary, c.1880, This Cimbalom has walnut veneers and turned walnut legs. It stands about 34" high and measures 50" by 28". The pin blocks & soundboard need replacement. (Our #23420) $400.
30. Hammered Dulcimer, AMERICAN, PROBABLY PENNSYLVANIA, early 19th century, This hammered dulcimer, probably by Busson, has a standard rectangular polychromed wood body with either satin-wood or boxwood stringing and floral marquetry. There are fifty-five hand wrought iron tuning pins, two soundholes with six cut circular designs, and hinged covers over pin-blocks. The five-fold leather bellows have decorative papers, and there are ten natural and nine accidental levers with pearl caps. There are two long brass levers with two brass levers for bass. The base is laquered black with white. Measurements: length: 310mm, lower width: 39", upper width: 22-5/8", sides: 13". (Our #23419) $2,200.
31. Hammered Dulcimer, PENNSYLVANIA GERMAN, mid 19th century, This pine trapezoidal hammered dulcimer has twelve quad courses and three double courses. It has painted stencil designs on the table, three round bridges, and circular soundholes with six satellite holes. Measurements: lower width 40", upper width 20-1/2", sides 17". (Our #23418) $650.
32. Hammered Dulcimer, PENNSYLVANIA GERMAN, 19th century, This unlabeled hammered dulcimer has a trapezoidal sound board of spruce inset into birdseye veneer. There are fifty-eight piano-style steel tuning pins, two outer and tow inner bridges, and two 3-leaf-clover soundholes. Comes in a rectangular case that measures: 39-1/4" long, 15-1/8" wide, 3" deep. Board measurements: 31-3/4" x 13-3/4" 13-1/2". (Our #23417) $500.
Flutina & Dancer
Free Reeds
33. Concertina, SPECIAL DELUXE, LACHENAL & CO., London, c.1914, This English system treble concertina has forty-eight silver capped buttons and inside is marked: LACHENAL & CO. London, 8 Lit. St. James St, Grays Inn Rd W.C., and the plate on the outside of the right hand side reads: A.O. WINDSOR/ SPECIAL DELUXE/ 94 NEWHALL ST/ BIRMINGHAM. There are bevelled ebony ends with gold embossed black leather bellows with five folds and decorative printed papers. The ends inlaid at the corners have engraved silver floral motifs and there are gold embossed black leather thumb straps with decorative screws. Comes with the original ebonized box with green lining. (Our #30522) $1,000.
34. Concertina, Aeola Model No.18, WHEATSTONE, London, c.1906-1908, This octagonal English-system Aeola concertina has fully fretted and raised ebony ends, and an extended treble with fifty-six metal buttons. There are five-fold black leather bellows and it is in concert pitch. Condition notes: the highest key is missing reeds and is now an air button. One thumb-strap repaired but usable; this would benefit from new thumb-straps and some tuning touch-up. Overall very good condition. Comes in a worn but original brown square leather box. (Our #31276) $2,500.
35. Concertina, English System Concertina, WHEATSTONE, London, 1855, This English system concertina has forty-eight silver capped buttons, bevelled and fretted rosewood ends with gold plated (or brass) floral pattern inlays at the corners, and five-fold green leather bellows with decorative papers. The exposed section of the bellows has embossed and gilt decoration. The Wheatstone ledger gives its date of manufacture as: 24 March 1855. Comes in the original hexagonal mahogany case. (Our #29710) $600.
36. Concertina, 3-E, WHEATSTONE, London, c.1959, This English system concertina has hexagonal metal ends, forty-eight metal buttons, steel reeds, and six-fold black leather bellows in really fine condition. There is very little evidence of wear or use, and the leather thumb straps are both in fine original condition. Overall original and excellent condition. Comes in the original case. (Our #28055) $2,450.
37. Rocking Melodeon, BARTLETT, Concord, NH, This rocking melodeon has rosewood and maple veneers. There are twenty-nine natural and twenty accidental keys all with white buttons. Condition notes: needs new bellows. Comes in the original reddish painted case with the original Dearborn & Bartlett label. (Our #28076) $1,200.
38. Rocking Melodeon, CHARLES AUSTIN, Concord, c.1840, This rocking melodeon is a petit model and has rosewood sides and top borders with maple panels. There are cloth bellows and twenty-three round white buttons and sixteen with red circles as accidentals. We believe Austin may have worked with or was trained by Abraham Prescott; these are also known as "elbow organs" or "lap organs". Overall very good condition. (Our #23568) $1,800.
39. Rocking Melodian, ABRAHAM PRESCOTT, Concord, c.1845, Also known as a lap organ, this rocking melodeon has a reddish-painted pine box, a maple body, and two figured maple covers with four vent holes each. Decorative rings at their borders are chipped on two holes. There are twenty-nine natural buttons, twenty buttons for accidentals, and a baffle lever marked with Prescott’s name. The maple body measures: 22-1/2" x10-1/2". The bellows are in need of restoration. (Our #27354) $1,000.
Harp
Harps
40. Harp, ERARD, PROBABLY, Paris, 1775-1800, This single action harp has thirty-nine strings, eight pedals and a ninth pedal for louvers. The soundboard is decorated with painted vines & flowers. The base is on small brass hairy paw feet and the gilt capital has a rams head and sunflowers. This could possibly be a very early Erard, with the forks unexposed behind a brass plate. (Our #24155) $8,500.
41. Harp, GERMAN, late 19th century, This hook harp has thirty-seven strings and a grain painted body and column. The spruce soundboard has three pairs of pinwheel rosettes and painted decoration. This is from the collection of Erich Lachmann and described in the hardcover catalogue of his collection (page 2), which we also have available. The pillar height is 59.5" and the body height is 46". (Our #28226) $850.
42. Harp, PENNSYLVANIA GERMAN, 18th century, The color of this harp is a polychromed green over red with remnants of applied decoration and gold painted highlights. There are thirty-one strings and fifteen hooks or ditals (one is missing & one is broken off). The pegs for the strings, the string guides, and the hooks are all carved from wood. There is crochet-hook action, and three hand-wrought iron pedals connected to the crochet-hooks via cords inside the resonator. The body of five staves is pierced with geometric designs, and the table has ten sound holes. There is a fluted column with an acorn finial. The total height is 71 - 1/4". In need of restoration. (Our #24157) $5,000.
Hurdy Gurdy
43. Hurdy Gurdy, PIMPARD, Jenzat, France, 1881, This Hurdy Gurdy has a nine stave lute-form body of what is likely sycamore in alternating shades of light and dark stain. The top is edged with alternating ebony and bone pieces, and the head is an 18th century style curly haired woman. The crank has a horn handle and the pegs are made of rosewood. The label reads: Fabrique d'Instruments de Musique/ Maison Fondee en 1881 / Pimpard Cousin Fils/ a Jenzat (Allier)/ Reparez en 1926. The Keybox is stamped: PIMPARD/ JENZAT/ ALLIER. It is currently missing the wheel cover and not presently set up in a playable fashion but could easily be restored (in need of new strings, bridges, etc.). Sold as-is. (Our #23844) $3,500.
Keyboards
44. Melodeon, CARHART & NEEDHAM, This melodeon is in a rosewood veneered case and has 2/4 octagonal legs, thirty-six white keys, and twenty-five black keys. There is one pump and one swell pedal. Measurements: length: 46-1/4", width: 23-1/4", depth: 9", with legs: 31/3/4". (Our #KB8101) $500.
45. Melodeon, PRINCE & CO., GEORGE, New York, c.1850, This melodeon has very attractive rosewood veneers and is in nice overall condition but is in need of bellows. (Our #FO7242) $650.
American Bass Viols (Church Basses) & Cellos
46. Cello, AMERICAN, early 19th century, This is a very interesting early American cello or church bass. It has a two-piece wild irregular birdseye maple back, ribs of American maple of narrow curl, and a two-piece table of slab-cut spruce or pine. It also has a late 19th century German scroll. It is unpurfled, and has a reddish-brown varnish. Requires some restoration. (Our #23318) $2,500.
47. Cello, GEORGE CATLIN, Hartford, Conn., 1806, This very early and rare American cello is stamped below the button: Made by/GEORGE CATLIN/Hartford/Conn/1806. It has been converted to a more modern string length but could easily be reconverted to the original scale. It has a two-piece maple back of medium curl descending from left to right and an interesting head with spiral carved ears of similar wood. The ribs are of narrow curl and the two-piece table is of mostly fine grain. The varnish is a dark reddish brown color. Measurements: length of back: 730mm, lower bout: 418mm, center bout: 235mm, upper bout: 325mm; present scale length: 675mm. (Our #25633) $6,000.
48. Cello, SAMUEL CLARK, Westmoreland, NY, c.1830, This early American cello is a good candidate for restoration and use as a Baroque cello and is sold with a letter of provenance. It has a two-piece maple back with the bass flank of medium curl and the treble flank nearly plain. The ribs and head are of plain curl, and it has a two-piece table of medium grain. It is non-purfled and has a reddish brown varnish. It is completely original including original fruitwood English-style pegs, a bone nut and saddle, partial fingerboard, etc, and resembles our violin by Waldron (dated 1818; died 1874). Condition notes: old repaired and unrepaired table cracks, one back corner and one top corner gone; occasional back support pieces but no back liners; integral neck-block. Measurements: length of back: 752mm, lower bout: 428mm, center bout: 234mm, upper bout: 343mm. Priced as-is; needing restoration. (Our #26480) $2,000.
49. Cello, SOUTH GERMAN SCHOOL, 1st 1/2-18th century, (Our #27288) $3,500.
50. Cello, VOIGTLAND SCHOOL, Saxony, c.1750, This cello is 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 p..to/C.F.Hartmann Nazareth 18-8?. It also bears the repair label: C.F.Hartmann/Manufacturer of Violins, Guitars, &c/Repaired Nazareth, PA/ 1870. It has a two-piece maple back of faint narrow figure, similar ribs, a plain head, and a two-piece table of narrow grain broadening to the flanks. The varnish is a reddish orange-brown. Measurements: length of back: 737mm, lower bout: 416mm, center bout: 234mm, upper bout: 337mm. It is presently in poor condition, but historically interesting; sold as-is. (Our #30258) $3,000.
51. Cello, Z. L. HODGES, Taunton, Mass., 1824, This cello is labeled: BASS-VIOLS,/MADE & REPAIRED BY/Z.L.HODGES,/TAUNTON, MASS., and is dated 1824. It has a one-piece maple back of narrow-medium curl ascending from the center, similar ribs, and an interesting deeply cut head of plain grain. It has a two-piece table of irregular grain, inked simulated purfling, brass geared tuners, and an inegral-style neck block. The corners are long and elegant; there are non-moticed ribs, and the soundholes are skillfully cut in an Italian style. There is a period tailpiece and the neck is original but the fingerboard and bridge have been replaced. Length of back: 753mm. (Our #23319) $3,000.
52. Cello/Bass Viol, AMERICAN, PROBABLY, c.1790-, This unlabeled cello great resembles a Bassetti Tirolese illustrated on p. 283 of Strumenti per Mozart, Longo Editore 1991. It has a two-piece back of slab-cut poplar, ribs possibly made of chestnut, and a one-piece table of slab cut pine. It has a washed-out dark red paint finish. Measurements: length of back: 702mm, lower bout: 364mm, center bout: 265mm, upper bout: 403mm. (Our #23311) $2,200.
53. Church Bass, ABRAHAM PRESCOTT, Deerfield, NH, c.1837, The back length works for either a large cello or a smallish church bass. It has a one-piece slab cut maple back, plain ribs of similar wood, and a two-piece table. The scroll is typical of this maker and unfinished in the back without the additional turn in the ears. It has 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. Measurements: length of back: 780mm, string length: 690mm. Requires restoration. (Our #28551) $3,500.
54. Church Bass, MOSES TEWEKSBURY, Chester, N.H., 1840s, This church bass labeled: MOSES A. TEWEKSBURY/ MANUFACTURER AND REPAIRER OF/ Bass & Double Bass Viol & Violins/ CHESTER, N.H./ Manufactered 184_, has a two-piece back of party slab-cut maple of medium curl, faintly marked ribs, a plain head with peared brass-plate tuners, and a two-piece spruce table of medium grain. The varnish is a reddish brown color. It has a Baroque-style neck but later fingerboard. A complete set-up and restoration to rib cracks and the back corner would be required, but it is otherwise in very good condition. Measurements: length of back: 785mm, lower bout: 460mm, center bout: 255mm, upper bout: 355mm. (Our #27194) $2,500.
Violins, Violas, & Folk Fiddles
55. Pochette, ENGLISH, London, c.1760-80, This unlabeled pochette has a one-piece back of broad curl ascending from left to right, ribs of irregular curl, a plain head with ivory pegs, and a one-piece table of irregular medium-broad grain with the original tailpiece. The varnish is a golden orange brown. Measurements: overall length: 400mm (16"), length of back: 203mm, lower bout: 117mm, center bout: 74mm, upper bout 96mm. It is not presently set up to be playable but is in very good overall condition. (Our #23305) $2,500.
56. Pochette, SALVATORE MOSCHELLA, Cremona, 2001, This is a very fine reproduction after a pochette by Antonio Stradivari, and is accompanied by a certificate from the maker. It has an eccentric outline and a single-piece back of handsome maple of medium curl. The ribs and head are of similar wood, and the fingerboard has a crosshatched pattern inlay. Measurements: length of back: 253mm, total length: 458mm. (Our #31221) $2,000.
57. Quinton, PARIS OR MIRECOURT, c.1750, This quinton has five strings, a two-piece back of narrow horizontal grain, ribs of slightly broader curl, and a two-piece top of fine grain broadening slightly towards the flanks. The plain maple head is flat at the back with channels over the top of the scroll, and there is an ebony fingerboard and tailpiece. The repair label reads: Raccomode par Antoine/ Chevallet d'Annecy 1825. Measurements: length of back: 376mm (incorporating button area), string length: 324mm, lower bout: 209mm, center bout: 110mm, upper bout: 161mm. Comes in a modern case. (Our #30441) $9,500.
58. Viola d'Amore, MICHAEL IGNATIUS STADLMANN, Vienna, 1801, This viola d’amore has seven playing strings and seven sympathetic strings which run below the fingerboard. It was made by Michael Stadlmann (c. 1756-1813), son of violin maker Johann Joseph, and the most important member of a dynasty of Viennese luthiers. He was granted the title of Court Violin and Lute Maker in 1785, & played the contrabass in the Court Orchestra from 1799 to 1813. Condition: completely original and in an unusually fine state of preservation. (Our #25750) $10,000.
59. Violin, AMERICAN, Mid-19th century, (Our #23254) $350.
60. Violin, DAVID HOPF, Klingenthal, c.1790-1800, This is a remarkably intact example of a transitional violin in original condition and is presently set up with gut strings. It has the makers typically eccentric corners and soundholes, and the original neck and neck angle. It has a one-piece slab/quartered back of narrow curl ascending from left to right, ribs of similar wood, and a head of fine irregular curl. Measurements: string length: 315mm, length of back: 355mm, upper bout: 168mm, center bout: 112mm, lower bout: 208mm. (Our #27536) $4,500.
61. Violin, ENGLISH, London, c.1680-1720, This violin has a Baroque set-up with the original neck and bass-bar, and bears some similarity to the work of William Baker & John Grice, who were London makers of the late 17th & early 18th centuries. It has a one-piece back of narrow curl descending from left to right, ribs and head of faint medium curl, and a two-piece table of faint medium-broad grain narrowing at the flanks. The varnish is a light golden-orange brown over a golden ground. (Our #23168) $7,500.
62. Violin, GEBRUDER LIPPOLD, Neukirchen, 1824, This Saxon violin has a one-piece maple back of attractive medium curl descending from left to right, broader ribs, a head of plain curl, and a two-piece table of medium grain broadening toward the flanks with a reddish-brown varnish. It is suitable for use as a classical style violin and is overall period original, including the neck, bass-bar, and pegs. It is in very good condition but requires a fingerboard and some minor restorations. Scale length: 315mm. (Our #24651) $2,500.
63. Violin, GERMAN, 19th Century, This is a tiny violin, but not a child’s instrument. Most likely, this is a model or sample violin used either for exhibition or sales purposes. It has a one-piece back of broad curl, ribs and head of faint narrow curl, and an orange brown varnish. Measurements: length of back: 6-1/4", total length:10-1/2", lower bout: 90mm, center bout: 50mm, upper bout: 70mm. Requires some restoration. (Our #26574) $350.
64. Violin, GERMAN, c.1850, This is possibly a child’s violin (about 1/16th size) but most likely a maker’s sample and is particularly well crafted. It has a two-piece back of medium curl descending from the joint, ribs of medium curl, the head of faint medium curl, and a two-piece top of narrow-medium grain with a red-brown varnish over a gold ground. Comes in a French fitted wooden coffin case with a nickel-mounted bow of the Knopf school (head with a cheek crack). String length: 200mm. (Our #24827) $1,200.
65. Violin, MILTON E. WALDRON, Paris, New York, 1818, This is an interesting violin is by this early Oneida County violin maker and it greatly resembles the unusual work of 17th century German maker Johann Adam Popel of Bruck. It is also strangely very similar to our cello by Samuel Clark from Westmoreland, NY. It is labeled: M.E. Waldron/ Maker of Violins/ Paris, Sauquoit/ Oneida County/ N.Y. 1818. It has a two-piece plain back without purfling, plain ribs and a simplified head, and a two-piece table without purfling of medium grain narrowing to flanks. The varnish is a red-brown color. It retains its original Baroque neck and ebonized fingerboard. Measurements: length of back: 358mm, lower bout: 207mm, center bout: 115mm, upper bout: 165mm. Requires repairs and setup. Comes in the original wooden case. (Our #23825) $1,200.
66. Violin, RICHARD TOBIN, Dublin or London, c.1800, This cornerless figure-8 form violin has stamped on the back below the button: TOBIN/SHUG LANE/LONDON. IT has a two-piece back of slab-cut maple of broad irregular curl, ribs of a similar wood, and a two-piece table of broad grain with a golden brown varnish. Measurements: length of back: 358mm, lower bout: 208mm, center bout: 115mm, upper bout: 169mm. (Our #26377) $1,500.
67. Violin, SMALLIDGE, H.H., Shutesbury, MA, 1884, This interesting historical fiddle is labeled: H.H. SMALLIDGE/ SHUTESBURY/ 1884 MASS. It has a two-piece back of medium curl ascending from the center, similar ribs and a highly unusual lard head of plain grain with no volute to the back like Testore scrolls. The six-piece table has fine grain and the neck is not mortised. Although not presently set up to be playable, we would be happy to do so, and will provide a quote for set-up charges. Length of back: 359mm. (Our #23262) $500.
68. Violin Exerciser, ANONYMOUS, American, prob, 20th century, This patented violin exerciser has a maple neck with ebony fingerboard in which are pairs of brass tacks on springs at the fingering positions. There is a spruce stick from neck to chinrest. (Our #V98120) $150.
69. Violin, Child Size, AMERICAN, 1st half 19th c., This rather crudely made but nonetheless interesting historical fiddle is possibly made from chestnut. It has a baroque neck, a bone saddle, and a reddish milk paint with green painted purfling. The top is decorated with two large painted stars, an anchor, and a “W”. Overall length: 11-5/8" (493mm). It is not presently set up to be playable. (Our #23247) $250.
70. Violin, Folk, ALLEN PARKER, Waterloo, NY, May, 1953, This interesting historical fiddle has a one piece plain slab cut back, a plain head, and a one -piece spruce top of medium grain broadening somewhat to the right flank. The varnish is a thick red-orange color. Measurements: length of back: 365mm, lower bout: 208mm, center bout: 119mm, upper bout: 158mm. It is not presently set up to be playalbe; 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
71. Ch'in, China, A type of Chinese zither, similar to a She (Se). It is a long, hollow wooden instrument with a curved wooden face and flat back. Twenty strings are attached by small nails and held taut by two crescent-moon shaped wooden bridges at each end. Measurements: length: 29", width: 8", depth: 2-1/2". (Our #28529) $
72. Streichzither, GERMAN, mid-19th century, This unlabeled bowed zither is heart-shaped with two teardrop soundholes, and has rosewood veneer with purfling and stained maple edges. There is celluloid binding around the top and soundholes, and it has an ebonized spruce back and a fretted fingerboard. Measurements: total length: 472mm, width: 299mm. Comes in the original wood box. (Our #23234) $450.
73. Streichzither, GERMAN, 19th cent, This unlabeled bowed zither has a spruce heart-shaped body that is lacquered black with a rosewood grain-painted top. It has two soundholes and a curved fretboard with seven pearl position markers. The four strings are tuned by pins, and there are three turned feet. Measurements: length: 488mm, width: 269mm. (Our #23233) $500.
74. Violin-Uke, MARX MUSIC CO., This ukelin style instrument is labeled: VIOLIN-UKE/ PATENT APPLIED FOR/ GUARANTEED 5 YEARS/ $35.00/ MARXOCHIME COLONY/ NEW TROY, MICHIGAN. It has twenty-four strings arranged in rows of four pins and a round soundhole on a wood body sprayed in gold and reddish-brown with decals. It was acquired from the auction of Marx Co. When the company’s assets were disbursed. Comes in box with instructions and is in new condition. (Our #FO7254) $80.
75. Zither, A. (ADOLF) LARSSON, Finland, c.1910, This zither is labeled: A.Larsson/FINSPONG/PRAKTI-ZITRAN N:06/PATENT. It has black lacquer with a polychrome transfer medallion showing an ocean liner with floral swags, rays & stars, and other transfer decoration. Measurements: length: 545mm, width: 372mm, depth: 69mm. (Our #23240) $150.
76. Zither, TIEFFENBRUNNER, GEORG, Mittenwald, This concert zither has a black-stained body and a grain painted top. There are five tuning pins for the fingerboard, and twenty-seven additional strings. Condition: A long open top crack and a long open back crack; otherwise in very good condition. Comes in the original box (which is coming unglued). (Our #23239) $250.
Miscellaneous
77. Grand Harmonicon, AMERICAN, Baltimore, c.1830, This is a particularly fine and impressive set of Musical Glasses in the style of Francis Hopkinson Smith. It is fit for twenty-eight graduated glasses, of which twenty-seven are present, and one of which has a crack. It is in a classically carved Empire style mahogany cabinet in the form of a pier table on large paw feet. (Our #31180) $5,000.