Gliga Vasile 4/4 Violin with Birdseye Maple Back, Sides, and Neck (Instrument Only)

This is an A. Dieudonne Violin made in Mirecourt in about 1933. Amédée Dominique Dieudonné is a French luthier who specializes in copying the works of Cremona masters.

This German-Made Helmut Illner A-Level Violin Carved and varnished in Germany according to the specifications of German luthier Helmut Illner. 

A violin made and labelled in 1917 by Leandro Bisiach (1864 – 1945) of Milan, an Italian violin maker born in Casale Monferratos, known as the father of violin makers in the Bisiach family.

Bearing the label "Laurentius Bellafontana fecit Genuae Anno Domini 1943," this violin is the work of Lorenzo (Laurentius) Bellafontana (1906–1979), a distinguished member of the Genoese school and a pupil of Oreste Candi. The Latin label translates to "Laurentius Bellafontana made [this] in Genoa in the year of Our Lord 1943" and includes his characteristic LBG monogram and handwritten signature. Bellafontana's violins are admired for their refined craftsmanship, warm Italian tone, elegant design, responsive playability, and rich orange-red varnish, making them highly regarded examples of 20th-century Italian violin making.

This violin is labelled "Antonius Vinaccia, Napoli in Via Constantinii, a. 1792" and shows evidence of being repaired in 1902. Antonio Vinaccia was a renowned instrument maker in Naples during the mid-18th to late 19th centuries. He was known for making violins in the style of Gagliano and exceptional mandolins. His craftsmanship is preserved in Naples's Museo Spagnuolo (Palazzo degli Studi). Antonio's sons, Gennaro and Gaetano, also became instrument makers.

Check out the Italian Copy of Geovanni Schwarz violin made about 1920. Geovanni Schwarz was born in 1865 in Padua, Italy who by the influence and tutelage of his uncle Eugenio Degani honed his skills, established his own workshop, and won a gold medal in 1916 in Rome Italy.

This French violin was made in 1922 by Amédée Dominique Dieudonné, who specialized in copying Cremona Masters and achieved a superior varnishing technique. He started his own workshop in Mirecourt after the First World War in the 1920s.

Over 25 years, Ryszard conducted numerous experiments, conducted intensive studies, gained valuable experiences, and was influenced by his colleagues, all of which contributed to his gradual perfection of the sound and quality of his instruments.