• Violins Over $20,000
• Violins From $10,000 to $20,000
• Violins From $6,000 to $10,000
• Violins From $3,000 to $6,000
• Violins From $1,000 to $3,000
• Violins Under $1,000
• Violin Bows

We at Ifshin Violins have always been proud of our extensive collection of fine string instruments and bows. We currently are fortunate to have an unusually large selection of fine violins. If any of these fine violins are of interest to you, please give us a call. We will be delighted to give you more information. On instruments which include a thumbnail picture, you may click directly on the thumbnail to view a larger image. When you are finished, please use the back button on your browser to return to this page.

J.B. Guadagnini, Parma, 1760. After Stradivari and Guarneri del Gesu, the instruments of Giovanni Baptista Guadagnini are the most sought after both by soloists and collectors. Guadagnini worked in five different cities during his career. The year before this violin was made, Guadagnini had moved from Cremona to Parma at the invitation of the ducal court of the Bourbons. He had already developed a reputation as one of the greatest makers of his time. This fine example has a wonderful warm, rich tone and is in an excellent state of preservation.

Sanctus Seraphin, Venice, 1730. Next to the great Cremonese makers (Stradivari, Guarneri, Amati, etc.), the work of the makers of Venice are held in the highest esteem both by musicians and connoisseurs. His work stands out among the Venetian makers as being the most refined and elegant. This beautiful violin has a most striking one-piece back and has a rich, clear tone suitable for a soloist. We are especially proud to be able to offer this exceptional instrument.

Andrea Postacchini, Fermo, 1826 From his beginnings as a maker, Postacchini's work steadily improved and this violin was made when he was at his best. Our example has a brilliant, highly responsive tone of excellent quality.

Camillus Camilli, Mantua, 1738. This exceptional violin has the kind of tone that many soloists are seeking, brilliant with great richness, power, and great projection. It was in the possession of a soloist who used it in major competitions all over the world.

Enrico Rocca, Genoa, 1904. Although he was the son of the great Giuseppe Rocca, Enrico probably studied with Eugenio Praga. From the 1880's onward he won numerous medals and awards for his instruments. This violin is in very good condition and has the maker's original inscriptions in ink inside on the top and back. The tone is vibrant, brilliant, and responsive.

Angelo Soliani, Modena, 1790. This beautiful violin is the best work we have seen by Soliani. It was made on the model of J.B. Guadagnini. The varnish is a striking red-orange and the tone is full, warm, and rich. This is an outstanding violin for the professional musician.

Stefano Scarampella, Mantua, 1919. Arguably the greatest Italian violin maker of the late 19th and early 20th Centuries, Stefano Scarampella's work is always interesting. He was not a prolific maker and started his career relatively late in live. His work is in great demand because of the exceptional tonal quality of his instruments. This excellent example has a brilliant tone that is unusually responsive.

Riccardo Antoniazzi, Milan, 1907. Son of Gaetano and brother of Romeo, Riccardo is generally considered the best and most important maker of his family. This violin is in unusually good condition and has a brilliant, responsive tone.

Romeo Antoniazzi, Cremona, 1910. Romeo Antoniazzi worked both with his father Gaetano and his brother Riccardo. He also made a number of instruments for Leandro Bisiach. Over the years, we have had a number of violins by Antoniazzi but this violin but this violin may well be the best of all. It is in almost perfect condition with only minimal wear to the varnish and no repairs. The tone is also exceptional, brilliant with depth and character, powerful and very responsive.

Auguste Sebastien Philippe Bernardel, Paris, 1834. In the 19th Century the most important violin makers were in Paris. It was the music capital of the world. A.S.P. Bernardel trained in Mirecourt and went to Paris while still in his teens to work with the great Nicolas Lupot. After nine years he opened his own shop. This unusually fine violin is reminiscent of Lupot's work and has a powerful, brilliant tone. It is a great violin for either a soloist or for a professional symphony orchestra musician.

Georges Chanot, Paris, 1846. Georges Chanot was one of the most important Parisian makers of the 19th Century. His work is always in demand. This unusually fine example was made on the Stradivari pattern with especially beautiful wood. The tone is warm and rich, yet especially responsive.

Lorenzo Bellafontana, Genoa, 1948. This interesting violin was made during Bellafontana's best period (1945-50) during which he developed his personal style. He studied with the great Oreste Candi and was helped by Cesare Candi and Giuseppe Lecchi. He was also the Curator of the "Cannon" Guarneri, the violin of the great Paganini. This violin is in excellent condition and has a powerful, brilliant tone.

Rudolfo Fredi, Rome, 1913. A member of the nobility, Count Rudolfo Fredi was probably the best Roman maker of his time. This violin has a warm, full tone with great character. This instrument is in very good condition.

Emilio Petraglia, Buenos Aires, 1918. Emilio Petraglia was one of a number of Italians who were lured to Argentina for the tremendous opportunities available there and immigrated to Buenos Aires from Calabria while still in his teens. He studied violin making with his countryman Giovanni Capalbo starting when he first arrived. This violin is an interesting early work by this maker and has an excellent tone and is in fine condition.

George Gemunder, New York, 1857. This violin represents Gemunder at his best. This violin still shows the influence of the several years he spent in the J.B. Vuillaume workshop in Paris. This violin is in excellent condition and has a vibrant tone.

George Gemunder, New York, 1875.

Panormo School, possibly George Panormo. This violin bears a label of Vencenzo Panormo. We believe it to be by a member of the Panormo family, possibly Vincenzo's son George. The sound is very warm and rich.

Giuseppe Rossi, Rome, early 20th Century. This maker was highly esteemed in his own time, having won medals at seven important competitions between 1893 and 1918. He was also the teacher and mentor of the legendary maker and restorer Fernando Saconi. This violin has a fine, warm tone with a great deal of depth. The instrument is in very good condition.

Charles Résuche, Bordeaux, 1900. Résuche was noted for the elegance and beauty of his workmanship and as an expert copyist. This lovely violin, modeled after Guarneri, is very striking in both workmanship and tone. He worked for the best makers in Paris and Lyon before coming to Bordeaux three years before this violin was made.

Jacques Boquay, Paris, 171_. As 18th Century Italian violins become more expensive and unaffordable for many, Parisian violins of that era are becoming more and more in demand and often represent an excellent value. This violin has a beautiful and vibrant tone that is especially responsive.

Manlio Rovescalli, Milan, 1928. This beautifully made instrument has great charm and a nice warm tone.

Carel Boromäus Dvorák, Prague, 1904. Dvorák is generally considered the best Prague maker of his time. He worked for a number of great makers including several years with Silvestre in Paris. This beautiful violin shares many characteristics with the best Parisian work of the late 19th Century. The tone is brilliant, powerful and very responsive.

Concetto Puglisi, Catania, 1923. We offer two violins by Puglisi which we feel are an excellent value in a quality Italian violin. With both instruments, the tone is warm and surprisingly responsive.

Giuseppe Castagnino, Chiavari (Genoa), 1962. Castagnino had a long career as a maker and won medals and awards at numerous competitions. He was influenced by a number of makers and spent a brief period with Giuseppe Fiorini in Munich. This violin has a warm, full tone.

Giuseppe Lucci, Rome, 1960. This beautiful violin was made when Lucci was creating his best work. It has an especially deep red-orange varnish and nice, responsive, rich tone.

George Craske, possibly Stockport, England, latter 19th Century. Craske was a very prolific maker who worked anonymously for much of his career. After he died, W.E. Hill & Sons purchased and labeled all of his instruments. None of these instruments are dated. The workmanship of Craske's instruments can vary a great deal. This is one of the best examples we have seen. The tone is warm and rich.

Stentor, Nicolas Vuillaume, Mirecourt, 1856. The Stentor violins were made in the workshop of Nicolas Vuillaume to be sold in the shop of his brother, J.B. Vuillaume, in Paris, as well as other shops. The demand for the Stentor instruments has been increasing dramatically in recent years due to their excellent workmanship and tone. This example has a powerful, highly responsive, vibrant tone.

School of Nemessanyi, probably Hungarian.

Marcello Bellei Two years ago, Mr. Ifshin met this gifted maker in Europe and was most impressed with his work. He is clearly one of the most talented makers of his generation. In fact, our faith in his work is so strong that we have five excellent examples. He studied with Scrollavezza at the school in Parma. We currently have a selection of Marcello's violins.

Silvio Levaggi, Cremona, 2007. This violin is one of the most striking in appearance we have ever seen. The workmanship is absolutely flawless and beautiful. We met this gifted maker over a year ago and were so impressed with his work that we ordered a violin. It took over a year to get it. It was worth the wait! The back and sides are of a most interesting bird's eye maple of small figure. The tone is big and responsive but with warmth and depth.

Mattia Paolo Riva, Varese, 2007. This elegant and beautiful violin is a reproduction of a violin by Garimberti, whose work is so appreciated by makers and connoisseurs.

Beate Kienitz, San Gimignano, 2006. Beate grew up in Rome, but was trained in Germany at the Mittenwald School. She has worked at important shops in Germany and London restoring fine old instruments. She returned to Italy in '91 where she has concentrated on making. Her work displays the best of both the German and Italian traditions. This violin displays elegant, flawless workmanship and a powerful, responsive tone.

Maurizio Tadioli, Cremona, 2007 & 2008. Tadioli has become one of the most respected and successful of the current Cremona makers. He specializes in reproductions of the great Cremonese masters, especially Guarneri del Gesu. He has become one of our favorite contemporary makers and we currently have a selection of Maurizio Tadioli violins.

Lorenzo Rossi, Milan, 2007. Rossi graduated from the Parma school headed by Scrollevezza and has also studied with Greg Alf, Guy Rabut, and Carlos Arcieri in New York before opening his workshop. We have just received this violin and were immediately impressed with the beauty and elegance of the workmanship as well as the tone.

Marco Minnozzi, Ravenna, 2007. Marco Minnozzi has been making violins for over 25 years. He trained with Renato Scrollavezza in Parma and has worked with V. Nigogosian, Horacio Pineiro, and Rene Morel in New York. His work is sought after all over the world. This beautifully crafted violin has a full, warm tone.

Elisa Scrollavezza, Parma, 2008.

Leo Aschauer, Mittenwald, dated 1919. This important maker taught violin making at the Mittenwald School for many decades. He trained some of the best European makers working today. This violin shows superb craftsmanship and a fine brillinat, responsive tone.

Mario & Gandolof Militello, Buenos Aires, 1914. From the early to mid 20th Century, a number of excellent Italian violin makers settled in Argentina, where a vibrant cultural life was growing. The Militello Brothers trained in Italy with Antonio Sgarbi befor emigrating. Gandolof stayed until 1930, but Mario remained in Argentina until his death in 1987. The tone of this interesting violin is full, responsive, and has great depth.

Mario De Vincenzi, Genoa, 1982. This exceptionally beautiful violin, made very much in the style of the great Genoese makers, has a powerful, brilliant tone.

Maurice Bourguignon, Brussels, 1925. After apprenticing with Chevrier in Mirecourt (from age 13) and working at major shops in Paris, Bourguignon went to Brussels and worked with G. Mougenot. He took over his shop in 1910. During his career, he won numerous medals for his work. This violin is in superb condition and has a powerful, brilliant tone.

Alessandro Ciciliati, Ferrara, 2002 (several examples) Ciciliati is one of the foremost contemporary Italian makers. His work is always beautiful. We have had several of his violins and these are some of the best. The example shown is representative of the quality of workmanship you may expect from this master.

Honore Derazey, Mirecourt, c. 1850. This violin is an excellent example of this famous French maker's fine craftsmanship. The instrument has a huge, powerful tone that is lively and vibrant.

August Gemunder, New York, 1885. The members of the Gemunder family were the most important American makers of their time. August was tremendously successful both as a maker and dealer. His work was and is in great demand. This exceptional violin represents his personal work at its best. The tone is brilliant, powerful and responsive.

Alfredo Primavera, Cremona, 1988. Primavera has worked both in Cremona and the USA. He trained at the Cremona school and work with Capellini as well as the family shop in Philadelphia. The back, sides and scroll are of very beautiful Italian poplar.

Justin & Paul Diter, Marseilles, 1927. The Diter brothers worked together in Marseilles for a few years although Paul was primarily a bow maker. This attractive violin is in very good condition and has a warm, full tone.

Mattia Paolo Riva, Varese, 2008. We recently met this gifted maker and were very impressed with his work. This striking violin has a lustrous red-orange varnish. The tone is also impressive, powerful, brilliant, and tremendously responsive.

Scrollavezza & Zanré, Parma, 2007. Elisa's father Renato Scrollavezza founded the famous violin making school in Parma so she was deeply involved in the world of violin making from childhood. In 2002, Elisa formed a partnership with Andrea Zanré, also a Scrollavezza student. In their workshop in the historic center of Parma, they concentrate on making new instruments along with training the next generation of violin makers. Mr. Ifshin just chose three violins from their selection and we are delighted with them. We also chose two of the violins made in their Parma workshop under their direction which represent an excellent value.

Daniele Tonarelli, Cremona, 2007. After graduating from the school of violin making in Cremona thirteen years ago, Daniele Tonarelli has distinguished himself in a number of competitions around the world. This beautifully crafted violin is in the classic modern Cremona style. The tone is even, warm and clear.

Roberto Collini, Crema , 2007. Collini studied at the Cremona school with Scolari, Morassi, and Conia. Over the years he has won many medals at international competitions. We have two of his beautiful violins, both excellent Guarneri copies.

Marco Nolli, Cremona, 2000. Nolli, like many of the top Cremona makers, was fortunae to have been at the school when Stefano Conia and Giorgio Scolari were teaching there. Since graduation, he has won numberous medals at competitions all over Italy and has launched a very successful career. This violin is now a few years old and has been "played in." The tone is smooth, clear and responsive.

J & P Diter, Marseille, 1908. This striking violin has a beautiful red-orange varnish (made from Vuillaume's formula). The wood is also beautiful and the condition is superb. The tone is quick, responsive and brilliant.

Louis Guerson, Paris, 1747. Guerson was one of the important Parisian makers of the 18th Century. This fine violin has a smooth, warm tone.

Johann Ulrich Eberle, Prague, c. 1750. The Prague makers of the 18th Century are highly regarded for their beautiful workmanship. This violin has a beautiful clear, silvery tone. This violin is in a very good state of preservation.

Fabrizio Di Pietrantonio, Livorno, 2004. Born in Livorno in 1964, Pietrantonio worked with several important makers who trained him in the traditions of the Bisiach family and especially Igino Sderci. This violin is a reproduction of the model of J.B. Guadagnini and has a wonderful, rich tone of great character.

Charles Voiry, Toulouse, 1951. This violin is especially beautiful with a rich, ruby-red varnish and is in almost new condition. This tone is brilliant, powerful, clear and responsive.

Leonard Zeile, London, 1908. In the past, English violins were overlooked in favor of those from the more famous Italian and French makers. This has been changing as musicians realize that British instruments offer a real value. Although not much is known about Zeile, we feel that this violin has an exceptional tone, warm and rich.

Wolfgang Schiele, Munich, 2005. Born in Berlin, Schiele started playing the violin at the age of ten and studied violin making at the famous Mittenwald school. He gained experience in making and restoring at important shops in Paris, London, and New York and has had his own shop in Munich since 1990. Schiele is known for the beauty and accuracy of his workmanship. This violin has a brilliant, powerful, responsive tone.

labeled Giuseppe Russo, Naples, Probably Southern Italian, c. 19th Century. While we can't find any evidence of the existence of a maker by this name, we feel that it could be from that area of Italy. The tone of this interesting instrument is rich and dark, but very clear and focused, very much the "old Italian" sound.

Edward C. Campbell, Boiling Springs, PA, 1965. Ed Campbell is well known and respected by most of us in the violin world. He has been making fine violins as well as teaching aspiring makers in his shop in central PA since the late 1950's and has won three gold medals and numerous certificates for tone and workmanship at Violin Society of America competitions. This violin dates from his best period and shows the finest workmanship. It has a nice warm tone and is in excellent condition.

Thomas Meuwissen, Brussels, 2002. We have a beautifully made and varnished violin by this award winning maker. This instrument ahs a powerful, brilliant tone.

Giustino Dal Canto, Castelfranco di Sotto (Pisa), 1959.

Herman Geipel, Schonbach, c.1890. Geipel has become one of our favorite makers of the German/Bohemian school. This violin is a reproduction of the work of Gennaro Gagliano and is in almost perfect condition.

Henry Richard Knopf, New York, 1934. A member of a very famous family of violin and bow makers, H.R. Knopf studied with his father Heinrich and other important makers in Germany before coming to this country. He established what was to become a very important and successful shop in New York. Tonally, this violin has a brilliant, clear and responsive tone.

Herman Geipel, Brambach (Saxony), 1899. As you can see from the photos, this is an exceptionally beautiful violin and is the finest work by this maker we have seen. The tone quality is unusually fine, warm, and rich.

Alessandro Commendulli, Cremona, 2007. We just received two exceptional violins from this gifted maker. Commendulli graduated from the renowned school in Cremona and set up his own workshop several years ago. His workmanship is impeccable and for our violins, he chose unusually beautiful and striking maple for the back. The tone is warm and responsive.

Hans Edler, Munich, 1921. Before opening his own business in Munich, Edler studied with and worked for Giuseppe Fiorini, the great maker from Bologna. This violin shares many of the qualities of Fiorini's work.

Michele Buccelle, Cremona, 2007. Michele Buccelle graduated with highest honors from the Cremona violin making school in 1990 and has been working with Maurizio Tadioli since then. This violin is on the Guarneri model and is beautifully antiqued. The tone is clear and warm.

Ernst Heinrich Roth, Markneukirchen, 1926. The wonderful violins from the Roth workshops of the 1920's have become legendary. They are so beautifully made, with the best materials, that they are a real value. Had Roth instruments been made in Italy rather than Germany, they would be several times the price. This exceptional example is striking in appearance, is in almost flawless condition and has an especially nice tone.

Gustave August Ficker, Mittenwald, 1952. The Gustave August Ficker instruments were made for William Lewis & Son in Chicago. This violin, created on a Gagliano model, is one of the best we have seen.

Eugene Henry, Paris, 1879. William Henley describes Eugene Henry as "the best Parisian luthier of his day." The workmanship is elegant and beautiful with a sound to match.

Claudio Maria Mannolari, Cremona, 1999. This violin is in the classic modern Cremona style with the beautiful red-orange varnish so typical of the masters at the Cremona violin making school. It has a powerful, brilliant tone.

Paul Magenot, Mirecourt, 1908.

Charles Buthod, Mirecourt, late 19th Century. This exceptionally beautiful violin shows the elegance and charm of French violin making at its best. This violin is in superb condition.

Nicolas Duchene, Mirecourt, mid 19th Century.

Thomas Hoyer, Bubenreuth, 2005

Michela Veluti Tadioli, Cremona, 2007. Michela is the wife of Maurizio Tadioli and her work shares some stylistic similarities. And yet, she has her own personal working style. Because she is not yet as famous as her husband, her violins represent an exceptional value. This violin has a nice full, warm tone with a mature quality.

Scrollavezza & Zanré Workshop, Parma, 2007. Pressenda copy.

Ernst Heinrich Roth, Bubenreuth, 2003. One of the best known names in the violin world is that of Ernst Heinrich Roth. Beginning in the early 1920's, this workshop produced some of the best workshop violins to be found. Today, they maintain two workshops in Markneukirchen and Bubenreuth. With only five makers, they concentrate on high quality instruments. Jay Ifshin purchased this beautiful violin directly from Ernst Heinrich Roth IV.

Leon Mougenot, Mirecourt (labeled Paris), 1921. Before setting up his own workshop, Mougenot worked for the most important makers and dealers, including Hills in London. His work is highly respected for both workmanship and tone.

Old German, Oddone label.

branded E.H. Berlin, possibly from the shop of Emil Herrmann.

Johann Hermman Voigt, Stuttgart, c. 1920.

Carlo Nicolo Loso, Cremona, 2003.

Luigi Villa, Pisano (near Milan). We have several examples by this maker. See more detailed information.

J.N. Aschow, Oakland, 1915.

Alfred Lanini, San Jose, CA 1915. Although born in California, Lanini studied in Italy, first with Romeo Antoniazzi and then with Farotti in Milan from 1911 to 1914 before returning to San Jose. This violin is in almost new condition and has many characteristics of the maker's masters.

Franz Placht, Schönbach, 1772.

Willi Götz, Markneukirchen, 1931.

Romano Gaiani, Ferrara, 1995.

Thomas Hoyer, Bubenreuth, 2006.

August Heck, Chicago, 1889.
Scrollavezza & Zanré Workshop, Parma, 2007. Bergonzi copy.
Labeled Duiffoprugger, old French.

Daniel Delfour, Toulouse, 2002. This beautifully crafted violin has a brilliant, responsive tone. This is an exceptional value as this instrument has been priced to sell.

Labeled Joannes Scheverle, Prague, 1761.
Saxony, c. late 18th Century.
Robert Knisch, Vienna, 1927.
A. Foster, Sheffield, 1934.

Violins From $3,000 to $6,000

Alfred Lanini, San Jose, 1951.

Ignaz Lutz, San Francisco, 1922. Lutz originally came from Vienna and worked in several European capitals before moving to the U.S. Most of his violins were reproductions of the "Erlich" Stradivarius of 1724 which he owned for many years.

Ernst Heinrich Roth, Bubenreuth, 1958. Roth has always made violins in a variety of quality grades. This violin is one of their best. Built on the Guarneri del Gesu model, it is very slightly under normal dimensions (352 mm).

Thomas Hoyer, Bubenreuth, 2007.
Gustav August Ficker, Mittenwald, made for William Lewis & Son, 1959.

Heinrich Gill, model 66, Bubenreuth, 2008.





Breton, Mirecourt.
Old French, labeled Bailly.
Collin-Mezin, Mirecourt, 1946.
labeled Anton Schaendel
Label of Collin-Mezin, Mirecourt.
Herman Todt, Markneukirchen.
Copy of G. Guarneri, old French.
Didelot, Mirecourt, 1928.
label of Gustave Bernardel, Mirecourt.
Ernst Heinrich Roth, Bubenreuth/Erlangen, c. 1960.
Charrotte-Millot, Mirecourt.
Olav Brevik, Milwaukee, c. 1950.
P. Buscher, Mirecourt. 7/8 size.

Klaus Heffler, Forcheim, model 706.




Labeled Wilhelm T.H. Jura
Labeled Modello, R. & A. Gagliano.
Amati label, P. Beuscher.
Old German, Klotz school.
Copie de Stradivarius, Mirecourt.
Jacques Leclerc, Mirecourt.
Copy of Testore, Thibouville-Lamy, Mirecourt (7/8 size).
Paillot, Mirecourt.

Jay Haide, á l'ancienne, special model, made with the finest aged European wood. Stradivarius Label, Germany.
Hopf Family, Klingenthal, C. 1820.


Violins From $1,000 to $3,000


Unlabeled, Mirecourt, 7/8.
Neuner & Hornsteiner, Mittenwald, c. 1900. 7/8 size.
Stradivarius Copy, Markneukirchen, c. 1900.
Copie de Antonius Stradivarius, Mirecourt.
G. A. Pfretzschner, Markneukirchen, c. 1920.

Jay Haide, à l'ancienne,. Our latest reproduction in the à l'ancienne series is of a Tomasso Balestrieri from the Ifshin collection. These instruments are enjoyed by advanced students and have recently become possible as a nice sounding alternative for professional players that do not want to travel with more expensive instruments.

The popular Jay Haide 104 model is an excellent choice for an intermediate to advanced student.

Jay Haide, Model 101. This fully handmade instrument is an excellent choice for a promising player on a budget.

Alois Sandner, model #8121.