VIOLINS $10,000+
Violins above $10,000 can be considered rare and exquisite instruments crafted by the hands of master luthiers with years, if not decades of expertise in the art of violin making. These instruments are made using the finest quality woods and materials, carefully selected for their acoustic properties and visual appeal. The painstaking craftsmanship that goes into making such violins results in exceptional sound quality and aesthetics that captivate and inspire players and audiences alike. High-end violins like these are often sought after by professional musicians and collectors, who understand and appreciate the value and rarity of these fine instruments.
Please note that this is not necessarily a complete list of all the violins we have in stock. If you are interested in a specific price range, please email kathy@vermontviolins.com or call (802) 862-0349 or set up an appointment.
CARRIE SCOGGINS
One of the popular makers in the Celebrating Women in Lutherie exhibit, her violins are another good representative of the contemporary American trend to use native woods. The colorful tone of the violin and ringing voice go up all four strings. The lower end has particularly attractive depth. The violin’s quick response rate facilitates moving from Bach to Bartok in a program. It is a good match for chamber music or orchestral playing with its warmth and color. The oil varnish is an even chestnut brown over a golden ground. The two piece back has tightly curled maple. The violin would be a good fit for a conservatory or professional player.RICCARDO ANTONIAZZI - ITALY
Son of Ceruti pupil Gaetano Antoniazzi, Riccardo Antoniazzi was born in Cremona but moved to Milan around 1870. In 1880 he went to Nice, probably to work for Nicolò Bianchi, and returned in 1886. His early instruments are in the style of his father, but his best and most original work dates from around 1888 when he worked for his former pupil Leandro Bisiach. Despite Antoniazzi's fine craftsmanship, his career seems to have been overshadowed by Bisiach's success, and throughout his life, he primarily worked for other makers. In fact, many of the finest instruments dating from his time with the Bisiach workshop are not signed. After 1904 Antoniazzi worked for the firm of Monzino and Sons, and his instruments show less attention to detail, especially in the varnish. However, his work from this period is the most commonly known today and shows great personality.
Antoniazzi's models varied considerably, but his varnish was often either a yellow-orange or dark red. Four different labels are known, in addition to a brand with his initials, which dates from his time with the Monzino firm. One of the founders of the modern Milanese school, he had many followers and students, including Ferdinando Garimberti and Gaetano Sgarabotto.
ELISA SCROLLAVEZZA – 2021, ITALY (SOLD)
Elisa’s dedication to understanding and continuing traditional violin-making methods from the Parma, Italy region produces instruments of integrity and classical beauty. “Elios”, the name of this violin, refers to the sun, or in this case a sunny, spirited disposition. This violin responds quickly with a clear tone quality supported by a colorful palette in the upper positions. Projection is consistent through the different positions and strings. The model is a comfortable size, light, and easy to play on for long rehearsals. The traditional oil varnish is a warm, light umber evenly applied, not antiqued. This instrument would be ideal for a conservatory student or professional player.
RAYMOND MELANSON – 2021, MASSACHUSETTS
A respected, prolific maker from the Boston area, Ray Melanson has produced over 100 cellos, and roughly 400 instruments total. His instruments have steadily gone up in value as his reputation as one of America’s important makers grows, and his instruments are played around the world. This particular violin has an even, warm, colorful tone from the low to the upper registers. It plays easily, responding quickly in fast passages and with resonance in the slower pieces. The lightly antiqued oil varnish reminds us of our New England fall foliage, blending warm golds and reds. Often used by professional players, this instrument would also work well for a serious amateur or conservatory student.
PISTUCCI COPY - 1800s, TYROLEAN
EDREV, PLAMEN - 2007, CREMONA, ITALY
Plamen Edrev is a modern Italian master maker, working out of the Edrev Workshop based in Cremona. Son of Master Maker Edrio Edrev. Studied violin making at the Cremona Scuola Internazionale di Liuteria.
FRANCESCA TOTO 2008 - CREMONA, ITALY (SOLD)
Francesco Toto’s career started at age 18 with the study of guitar construction at the “A. Stradivari International School of Violin Making.”
Once exposed to violin making, his passion for making took over. “It has been years of passion for the pursuit of the perfect varnish and acoustic result, of trying and refining a thousand times, years in pursuit of the best woods, those with grain and flame which seem to speak, and years of professional comparison and exchange with select historic Cremonese violin making workshops in a continuous flow of life, art, and work.” He has consequently won numerous awards for his instruments, including Silver Medal in the 5th International Competition in Mittenwald – 2005; Gold Medal and 1st place overall in the Cello section in the 11th International Triennial Competition of String Instruments in Cremona – 2006; and a Gold Medal from the “Walter Stauffer” Musicology Centre for the instrument deemed most praiseworthy overall in acoustic terms in the 11th International Triennial Competition of String Instruments in Cremona – 2006.
This particular violin has a lively ringing tone which dances through pieces like the Bach Sonatas and Partitas. The colorful clarity of the notes makes it a delight to play.
ATELIER SCROLLAVEZZA - PARMA, ITALY (SOLD)
Scrollavezza & Zanrè, founded in 2002 in Parma by Elisa Scrollavezza and Andrea Zanrè, is active in the making, restoring, and dealing
MARTIN CORNELISSEN - 1984, Massachusetts
Marten Cornelissen was born in Holland just before WWII. His professional luthier training began in Czeckoslovakia with Vladimir Pilar. His talent attracted the attention of an American shop in Kansas City where he began work in the late 1960s. He is best known as a New England maker based in Northampton, Mass where his reputation and demand for his instruments grew rapidly. He built over 600 instruments, carefully selecting European woods. His customer base included famous musicians from the Julliard String Quartet, the Guarneri String quartet and Yehudi Menuhin. This particular violin was built in 1984, the peak of his career. The varnish is worn, but the violin is otherwise in great condition. Its rich, clear tone would be a good match for a Conservatory student, serious amateur, collector or professional.
MARIT DANIELSON - 2022, VERMONT
Marit Danielson studied violin from a very young age and then viola, which she pursued as a performance major with Emanuel Vardi at The Manhattan School of Music. She completed her undergraduate education at Bryn Mawr College, majoring in Art History and Philosophy. Violin making came as a natural progression, joining her playing education to her studies in aesthetics. Marit studied Violin Making first for two years at North Bennet Street School under Marilyn Wallin and Rodger Perrin, and then for three years in Ann Arbor with Joe Curtin and Gregg Alf when they had a combined shop.
At a time when makers have the option to use machines to speed their work along, Marit’s philosophy is to make her violins entirely with hand tools in the manner of the old masters. She even believes in taking the added time to cure her varnish in sunlight. Marit’s violins are enjoyed by serious players across the nation who respect this adherence to craftsmanship and tradition.
In addition to her own professional level violins Marit is one of a team of luthiers creating the Richelieu line of violins and violas for Vermont Violins. These are instruments entirely designed and crafted by the team in Vermont as an affordable quality instrument for the serious student. Marit finds there is much to be learned from creating a greater number of instruments as the team is carefully documenting wood sources, densities and plate thicknesses and evaluating their impact on tone quality. Marit has her shop in northern Vermont. When not making violins she enjoys taking walks and doing agility with her Norwich Terrier, Bromley, as well as gardening and training her young Connemara horse.
This violin is a beautiful example of contemporary American violin making. The violin has a bold, smooth sound with a lot of depth or color. The G has a particularly big, ringing tone. The wood, gaining traction with contemporary makers in the US, comes from domestic sources. The attractive wider grain spruce top gives an attractive aesthetic to the violin, and the depth of sound a lot of players are looking for. We recommend this violin for a conservatory level player or beyond.
