Violin by Lorenzo Locatelli

August 7, 2011 at 03:48 AM ·

Hi there,  I'm shopping for a violin and I went to a violin shop in my area today to try a few of them.... I came accross a Lorenzo Locatelli violin for 14,000 dlls and I fell in love but obvioulsy it is a lot of money to invest, so I was wondering if any of you know this violin maker and what do you think of the price and quality. Thank you!

Replies (48)

August 7, 2011 at 05:31 AM ·

This maker was not on my radar until recently. Here's a link to a violin of his on sale in Japan, where the retail prices are very high. Make what you can of the computer-generated English ! The standard of making in Cremona seems OK just now, and Locatelli's violin looks good. I wouldn't think $14k too much. I paid a maker a similar price last month for a new Cremona violin and am delighted with it.

August 7, 2011 at 06:50 AM ·

August 7, 2011 at 07:07 AM ·

 Sure is shiny.

What are 14,000 dlls? What currency is that?

Supposing you mean $US, then $14,000 is not a lot of money anymore for a contemporary fiddle. Whether it is "worth it" is hard to say. If he is selling them consistently for $14,000, then yes. If all his other ones here (forget the price in Japan--that's irrelevant) are $11,000, then it's overpriced.

To sum it up: if you find a reasonably well-constructed contemporary violin from a maker that has a decent track record that sounds good for $14,000, it's hard to go wrong.

August 7, 2011 at 09:08 AM ·

 @ Eric

Lorenzo Locatelli is too young to be in the "Dictionary of Twentieth Century Italian Violin Makers" by Marlin Brinser (© 1978). What a shame that any dictionary or thesaurus is out-of-date so soon after publication !

I have not noticed this maker on the website of the Consorzio Antonio Stradivari either, but it's clear he does exist:- his is not merely a fictitious name insterted into cheap'n'cheerful products from China or elsewhere.

The Japanese love "shiny" but many Italian makers make "antique" for the USA. I wonder what the violin referred to here is like ??

August 7, 2011 at 09:21 AM ·

There's one for sale here:

that you can compare for autheticity though I don't see a price - but why not contact them and ask - you could save money....

August 7, 2011 at 10:01 AM ·

 Lo and behold.

And the maetro speaks !

The violin that Brobst has is heavily antiqued - not shiny at all by the look of the photo. Unless I am mistaken it's a Guarneri del Gesù model, which Laura Vigato (another Italian maker) told me recently is much favoured in the USA.

August 7, 2011 at 10:29 AM ·

BTW the Locatelli above is listed in the $10-15K price range so, assuming its not the one you are looking at (I think its in a very different location and hence not) you seem to be at least in the same ball park.

August 7, 2011 at 12:38 PM ·

I just looked at the picture of the Locatelli on the Brobst web site.  It is in the 8 to 10000 dollar range.  Brobst's listed prices are on the high side so I imagine $14000 is over priced.

August 7, 2011 at 12:45 PM ·

The article in the "And the maestro speaks" link three posts above contains many inaccuracies or things which could be considered misleading, particularly relating to competition results, so take it with a grain of salt.

August 7, 2011 at 01:04 PM ·

Michael;  how weird - I'm just about certain that during the night it was in the 10-14K range... I'm going to bet its 10K....

August 7, 2011 at 01:41 PM ·


Why is there nothing written about it on the Brobst site?  I'm just a bit puzzled why they don't try to describe it at all.

August 7, 2011 at 02:32 PM ·

The article in the "And the maestro speaks" link three posts above contains many inaccuracies do so many articles written by journalists. For example, Francesco Toto DID win in 2006, but for a 'cello. The article was just adduced as evidence that the Lorenzo Locatelli really does exist, and is not a figment !!

The Italians don't always come out on top in the Cremona "Triennale" events. In 2009 the top violin was made by Marko Pennanan, from Finland, and second was Raymond Schreyer, Canada, followed by 1 from England and then another from the USA.

Myself, I have found a satisfactory compromise between performance versus price in instruments that happen to have been made in Italy, but I don't know how an assertion that Italian made fiddles are nowadays automatically superior can be supported. Luckily,perhaps, I never tried a Burgess or a Zyg, so will never know what I am missing !! 

Andy, avoid any must-have, "designer handbag" syndrome, don't be seduced by ideas of "status symbols", keep feet firmly on the ground and only buy if you really like playing the instrument on offer.

August 7, 2011 at 07:12 PM ·

Thanks you all for your posts!!! I love this site, you guys are awesome. I gotta say the violin sounds amazing but  it's my understanding violin shops charge for the maker but they don't particularly care about sound. In the same shop I found a French 1930 , I forget the name of the maker but it was 25,000 american dlls, I played it and the sound was ok but not amazing So, I need a new violin and I am really confused !!! I will say tho, I tried a couple of violins made by Angela Moneff, I wasn't impressed by one but  the next one was great. I've been thinking about comissioning a violin from the Villa guys but after this experience I am hesitating. Any thoughts?

August 7, 2011 at 08:05 PM ·

 Just the ONE thought :- you have tried and tested the Lorenzo Locatelli violin. If you commission a Villa, you cannot be entirely sure how the instrument will turn out.

August 7, 2011 at 08:19 PM ·

Andy:  I am no expert at all - except in having gone through the process you are in rather recently - so though I have little expertise I do at least have some experience!!  As you have obviously just found out here are two prime factors - that of the instrument and that of the investment.  If you are buying it mostly so that it will accumulate value then you should approach it that way and get the advice of experts in violin 'assets'.  But from what I read that is not your case - you want a beautiful instrument to play - as I did.  Initially I bought a 1936 french violin for ~7K which was very nice but after a couple of years I felt I had reached its limits and wanted a violin I could grow old with!  Fortunately, I had bought my instrument from a dealer that guaranteed 100% trade-in value - and I have to stress that if you want to be assured about the investment aspect - that you are not going to buy a lemon - that is clearly the way to go.  [Kudos to the dealers who do this by the way].  Of course that means if you do want to change you really are limited to the stock of that dealer - but at least you are not locked in.  Fortunately for me they had several modern violins and I finally settled on one by a Canadian luthier who lives right here in Toronto (and has since become a friend, hows that for value added :) ).  And I still dearly love my violin - it has a unique and generous tone and I have the amazing honour of being its first owner. 

From the little I have seen value wise modern luthiers violin costs either stay quite level or gradually increase.  Thus, they establish a market niche.  I'm sure there are examples where the value went down but that seems unusual (perhaps one of our luthiers here could comment).  But even in a worst case scenario I have the reassurement that I can still trade my instrument in. 


August 7, 2011 at 10:39 PM ·

Mr Beck wrote:

" do so many articles written by journalists. For example, Francesco Toto DID win in 2006, but for a 'cello."

So true!

I didn't mean to say anything about Lorenzo Locatelli, but more about other aspects of the article, such as:

"Now the Chinese are moving upmarket. Last year, Zhu Ming-Jiang from Beijing won the gold medal at the Violin Society of America awards.The silver also went to a Chinese contestant, and four of the 12 competitors given certificates of merit were Chinese. Chinese luthiers have dominated the event since 2004."

There are some very fine Chinese, and Chinese-American makers, but actually, 14 Silver Medals and 5 Gold Medals were awarded in that competition, so it's not like people from any one nation took first and second place, or dominated. Also,  far more than 12 Certificates Of Merit were awarded. And Europeans happened to take the top violin awards at the instrument making competition held in China last year.

Just for fun, here's a photo of me and my buddy Zhu, the one mentioned in the article, taken in Prague earlier this year.

August 8, 2011 at 04:27 AM ·

Another misleading suggestion was the one that the Cremona wood is "unique". I am sure David Burgess will agree that Balkan maple and spruce from the Val di Fiemme region can be obtained world-wide.

August 8, 2011 at 04:35 AM ·

 PS no "fun" pictures of me, please. Unlike my violins I am insufficiently good-looking.

August 8, 2011 at 08:04 AM ·

Hey, Davids,

What a great concept - how about a 'Luthier's calendar' for next year?  Violin making hunks with their musical and artistic progeny....


August 8, 2011 at 10:20 AM ·

Zhu is a good-looking guy, for sure, but at least I have a  cool violin necktie.  :-)  (one of my daughters purchased it for me at a thrift shop many years ago)

Yes, we can pretty much buy wood from any region we want, so there is no wood source which is unique to modern Cremonese makers.

August 8, 2011 at 11:51 AM ·

with this combination of  artistry and nationalistic competitiveness, perhaps luthiery should be introduced as part of olympic rhythmic gymnastics, violin makers juggling and twirling instruments as they perform 'pas de deux's.

David, is that a 3/4 tie?  :- {)

August 8, 2011 at 12:10 PM ·

Tamuz: David, is that a 3/4 tie? :- {)

..and wasn't it made in Italy?...


August 8, 2011 at 03:13 PM ·

Nationalistic competitiveness?

I figured it would be safest to be friends with Zhu. I certainly don't want to fight him, because as you can see, he's a brown belt, and I have no belt at all. LOL

Italian ties all have pictures of expensive cars with funny names, like Lamborrari. That's how the necktie experts can tell, but that's kind of a secret. The pictures of the cars aren't full-size either.

August 8, 2011 at 04:31 PM ·

david, nationalistic competitiveness with respect to the article posted not with the nice picture of mr zhu and your good self.  there is even an element of sinophobia in it (as in "the chinese are coming: aaaaaaaaaaaaaaaaaaaaaaaaaaaaaAAAAAAH")

this is most telling in the fact that the article lumps good chinese luthier work (who are on an equal par with other good american, european , italian luthiers int erms of quality -as recognzed by western  competitions even - and in terms of the money they charge for their work) with factory made instrument....all this cre-moaning cre-moaning.

August 8, 2011 at 05:40 PM ·

I don't mean to add to the discussion about European vs Chinese instruments.  But  I did a blind test at the shop and at this particular store I picked 2 instruments under my price range that sounded great, they both said Cremona, Italy and they both were made by the same  person with an Italian sounding name, I looked it up online and the instruments were made in China by a Chinese maker.

 Now, I am not saying Chinese instruments are bad because I have found some of them to have an amazing sound quality, but what I am saying is I find something inherently wrong about the way they have handled their recent improvement in craftsmanship. If the Chinese want to be taken seriously they should use their names and be honest about it and try to fight the bad reputation created before them, like many talented luthiers in China have done.

 Using an Italian sounding name and labeling the items "Cremona, Italy" is absolutely unethical, it shows desire to sell and not desire to be valued. And it is a pity also because I am shopping for an instrument that sounds great regardless of the maker but this behavior makes me suspicious. Personally I wouldn't buy a Chinese instrument unless it is from a reputable Chinese luthier, period.

August 8, 2011 at 06:27 PM ·

Andy, sure you have a point there, but  they're using the marketing gimmicks that the west has been using anyway after the passing of the true cremona. how many old german/french/etc  violins are labelled: Antonius Stradivarius, Cremona. Fecit Anno 17xx? yet, we buy them now on the basis of their quality irrespective of the label. i'm not defending the chinese maker/manufacturer with the made up italian name, but i'm saying why do you take him any less seriously than an old european violin maker who adopted the same strategy? the age of the violin does not lessen the validity of this. the only good thing about the age of the instrument, according to what i read, is that age would discloses, fully, the quality of the violin. violins that have been thinned will worsen (i read this in a few places), properly made violins will open up...but this doesnt need centuries. i would say, if its an instrument thats been played properly for a few months, this will be a good indicator.

, if you are not experienced enough to determine whether a new instrument is fine from the get go  (like myself)  best to buy a new instrument from a reputable lutheir/shop (that does exhanges and upgrades) whereas a well used (i dont want to say old) instrument more obviously shows its true colours (unless the shop/luthier is cheating somehow by doing something to the violin like making it too thin). so, really, just buy from a reputable shop that does exchanges and upgrades (per elise's post), you'll be safe either way.

August 8, 2011 at 08:21 PM ·


Using an Italian sounding name and labeling the items "Cremona, Italy" is absolutely unethical

The Chinese haven't succeed in business by being ethical (look at all the recent cases of adulterated food and shoddy bullet train construction), but by being practical. We are talking about marketing, and this type of branding happens all around us. 

The fact is, consumers associate certain geographic regions with quality in certain products, and a company ignores such realities at their own peril. Some camera lenses made in Korea are branded with names licensed from German companies (Schneider Kreuzach) because they know that consumers have associated the Germans with the finest lenses, and will continue to for some time. Clothing made in China is often branded with made-up Italian or French names. Perhaps some time in the future, the Chinese, like the Japanese now, will use Chinese-sounding names for their products. But don't expect it anytime soon.

August 8, 2011 at 09:18 PM ·

 To be fair, it's not just the Chinese; my violin claims to be from Italy, but it's much more likely that in this case, "Italy" was a suburb of Chicago--and mine was crafted in or no later than1909 (that part I'm sure of, having a clear provenance, even if no clear pedigree).

August 8, 2011 at 10:38 PM ·

Some Italian makers have names to die for, like another friend, Elisa Scrollavezza.

If I could only figure out how to incorporate a violin part into my name....

That's her real name though. Married, but kept her family name.

Photos available of she and her husband (also in the fiddle business), if enough people think it's interesting. Really neat people.

August 8, 2011 at 11:16 PM ·

I understand what you guys are saying, but my point is not about who has been faking what and when. The bottom line is I am a performer looking for a new violin. I don't care about names, year or origin, I care about getting the most sound for my money.

I have been testing violins from mostly modern makers because there is a lot of talent out there and for an affordable price you can get a violin with a powerful sound.  In my investigation I have found ZERO fake labels between the European/ North American modern luthiers, ( including very talented Mexican violin makers!) . And mysteriously I have found MANY Chinese luthiers doing it. I want to make clear I am not talking about cheap  $100 dlls student violins here! We are talking instruments sold for some serious money!

Regardless of how unethical and misleading this is, like I said before, the best sounding violins -other than Locatelli's- were the 2 chinese violins, the reason I didn't buy any of them is because the luthier will not stand behind his work, it doesn't matter whether I can exchange the violin or not, the bottom line is I am not a violin maker, I am a performer and as a performer I can only assume the reason a luthier won't put his name on his work is because the violin is either not well made and  will eventually have some major issue or it is factory made and the Italian name is sort of - I don't know- a company name (? ). In both cases I think we all can agree I would be paying for a problem.

The saddest thing is, the people at that store advertise those violins as Italian violins, how's that for ethics?

I am not Cre-moaning (lol), but all these facts make me  uncomfortable about VERY EXPENSIVE "Italian" instruments handcrafted in China. 

August 9, 2011 at 12:51 AM ·

Perhaps if we all yell it loud enough the (fine) Chinese luthiers will realize that by being straight up they will eventually establish both a trust and a respect for their violins, as there is now in many other countries.  It just takes time.

It reminds me of when you used to buy watches 'Made in Switzerland' that came from Japan.  They don't need to do that any more :-\

August 9, 2011 at 04:49 AM ·

What's in a name ? 

The price of Bert Smith (Coniston, England) crashed, despite lots of prestigious endorsement some 50 years ago. Had he labelled his violins "Alberto Fabbro" maybe the price would have stayed buoyant longer ! "Marco Tassini, fecit Italia" violins were revealed to have been made in Scotland and though well-made don't fetch a lot now. Andy is all too right to want to check out the "brand". Amid the hype and BS there's a grain of truth, IMHO.

An assistant in Beares London shop said "there's no substitute for an Italian violin" and I am prepared to stick my neck out and second this. I have found in my modest purchases the desireable "timbres" that makers elsewhere find so hard to reproduce. For years I performed on a Vuillaume that impressed folk so much that when I met the conductor of an orchestra I had left he asked if I would rejoin along with my "wonderful violin" - yet though it was a good instrument from the playing point of view it didn't sound anything like any Italian fiddle ! Cat among the pigeons, folks.

Haven't we lost sight of Andy's desire to know who Locatelli is and whether the price is in the right ball-park ? I hope the digressions have not dampened his enthusiasm for the violin.

After training, Italian luthiers usually work for a senior maker for some years before becoming established in their own right, when at first they have to sell at low prices. Judging from that Japanese Kurosawagakki website, Locatelli is in a medium price-bracket  suggesting that he might be relatively new on the block as an independent name. Surely the dealer offering the violin has some information ??

August 9, 2011 at 09:19 AM ·

 @Lyndon, my links above, including one to kurosawagakki in Japan, together with a link to the Brobst violin shop, provide strong evidence that this is a legitimate Italian "make". A price of not much over $10k would suggest that he is indeed fairly new on the block as an independent maker.

The Metzler violin is dated 2005. I'd expect Locatelli to be around 30 years old by now.

August 9, 2011 at 09:27 AM ·

 So what's in a name? Anyone here played in that Requiem by Joe Green? I expect many have.

August 9, 2011 at 09:33 AM ·

I enjoy the posts by Davide Borghese but I never played one of his violins.

So Andy is considering buying a fiddle by Lawrence Slightly-Loco ?? Or maybe Locatelli are the smallest rooms. Bog standard. My Italian is not great.

D. Ruscello.

August 9, 2011 at 10:07 AM ·

These days, there's not much that can be concluded  from the nationality of a maker. An Italian might get some training in the UK. An American might go to the German school. Some of the best Chinese makers have received some training in the US.

One of the largest and best-known "post-grad" instrument making workshops, with attendees from all over the world, takes place in Ohio (of all places) each summer. There's a rather high correlation between those who have attended this workshop, and those who win at the instrument making competitions.

To give a better sense of how geographic region doesn't mean much any more, here's a link showing the results of a recent Italian competition. I don't know what the nationality breakdown of contestants was this time, but when I judged this competition years ago, the bulk of the entries were Italian, and I think a German got the top prize that year..

The same can be seen in the competitions of The Violin Society of America, which is the largest and most respected international competition in the world (close to 500 entries last time:

(Sorry, the VSA web site was recently revised, and the results of the Competitions after 2004 seem to be missing at the moment.)

All things considered, some of the most important factors are who specifically a maker has trained with, and how zealous they have been about getting feedback and input on their work from the right people. Of course, as with any endeavor, how much natural talent a person has will come into play as well.

The competitions are interesting for another reason: Most people who offer maker recommendations really haven't tried that many. Musicians who judge the major competitions will have sampled a very large number, on that occasion alone.

I realize this fails to say anything specific about the maker in question (I can't do that), but perhaps it will help by giving some insight into the making world today.

August 9, 2011 at 01:58 PM ·

The globalisation of fiddle-making has been discussed on many a thread. What it comes down to, in this case, is that Andy should seriously contemplate buying the Lorenzo Locatelli instrument only if he is convinced he likes it, and not because it comes from Cremona. If he goes ahead, he might derive comfort from the fact that many of the more prestigious makers world-wide will be selling at a much higher price than $14k.

Two big problems for any purchaser are (a) it's possible for violins by the same maker to differ, and that applies even to great makers, such as Strad, so it's unreliable to buy by the name or nationality alone, and (b) the buyer has to run the gauntlet of other players all too ready with crisp and derogatory one-liners about almost any instrument. The hardest thing is to decide what you like and to stick with it ! 

August 9, 2011 at 02:10 PM ·

 David Beck suggests that many non-Italian violins made earlier in the 20th century have not stood the test of time as investments.  My question--is that due to (lack of) maker name or lack of sound and 'growth' as instruments.

No one mentions here that not all violins, whatever pedigree, "grow up" to be really good plays.  Some just flatten out after ~10-50 years.  Maybe Italian makers have a secret on that score, but surely even they don't bat 1000?

August 9, 2011 at 02:30 PM ·

David Beck suggests that many non-Italian violins made earlier in the 20th century have not stood the test of time as investments. 

That's not the impression I set out to convey. Yes, a Pedrazzini violin will be worth a lot more now than a Louis F. Milton of Bedford, and I think the price when new at Hawkes in London would have been about the same. Garimberti violins have shot up, whilst the price of, say, Alfred Vincent (whose new prices went very high thanks to the endorsement of Albert Sammons) has setled to a relatively modest level. Sothebys catalogues bear witness to a healthy appreciation in value of the better Italians of the 20th. century.

What my posts and those from David Burgess do show is that at violin-making contests nowadays the Italians don't always excel. Is the 21st. century a whole new ball-game?

I THINK I detect sounds in my new and newish Italian-made violins that remind me of quite expensive Italians of old, but I recognise (a) that I could just have struck lucky with my makers (b) that I might be kidding myself and (c) that there are so many expert makers around; I cannot possibly try them all out !

August 9, 2011 at 03:20 PM ·

but it would be good to seperate myth from fact, even if the fact is that myths do create facts in turn ie the contemporary italians, owing to their italianess do it the prices for their italianess may appreciate at a higher rate. in that case, it is best  for the favourably concerned to keep us living in a violinistically non secular world.

August 9, 2011 at 03:41 PM ·

A violin's reputation for sound depends on the expertise of the player who performs upon it. That's how the myths begin. Then in time, the dealers and the public have to pick up the pieces and deliver a verdict. Many folk are only too happy to put their money where their myth is.

I wouldn't want a Picasso at any price. No accounting for taste ! The antique market is reliant on myths, which they call provenance. To judge this new violin Andy has to get out the myth-balls.

August 9, 2011 at 04:44 PM ·

Perhaps its a bit surprising that no enterprizing businessman has set up a factory in italy that sells mass produced but authentic cremona violins (least I assume that is the case)!  Are there trade controls (as in the french wine industry for example) to stop that happening?  Since that might really undermine the mystique - and perhaps also the price...

August 9, 2011 at 05:16 PM ·

 I understand that there are controls governing the practice of violin-making in Cremona. Luthiers are allowed to produce only a certain maximum number of instruments per annum, and they must never use power-tools. What other "small print" exists I know not. How well are the regulations are policed? If a maker were to buy in from elsewhere then label and varnish the fiddles themselves it might be hard to detect. 

There have been enterprises in the past, such as the "Officina Claudio Monteverde" di Aristide Cavalli", a workshop employing numerous pupils. These instruments can be OK as far as I know. However, the City of Cremona knows only too well that it has a mystique and does all it can to preserve it. 

August 9, 2011 at 07:57 PM ·

That probably refers to the Violinmakers Consortium, or the " Consorzio Liutai" in Cremona. It represents less than half the makers in Cremona.

Elise, the potential marketing advantages of living in the city are already recognized and exploited. Many makers have moved there from other areas or countries. Obviously, a small city like that doesn't have enough local business to support that many makers (150 to 200?), so that isn't the draw. It isn't considered a learning center, any more than Salt Lake City, Mittenwald, Chicago, or Boston (other cities with violinmaking schools), so that isn't the draw either. There is no similar concentration of makers anywhere else, per capita, except some of the violin factory towns, mostly in China.

Many Cremonese instruments are sold via  a traveling exhibit, hosted by a local dealer when the exhibit visits their city.

Edit: Actually, the most respected shop for expertise and restoration in Cremona is Carlson and Neumann. Carlson is the curator for the Guarneri used by Paganini  (the Cannone), and he was born and grew up in the US. I can't remember Neumann"s background, except that I think he spent some time living in Canada, and isn't a Cremona native. (as the name would suggest)  ;-)

August 9, 2011 at 08:18 PM ·

There are many Cremona makers who aren't members of that "Consorzio", for instance Vanna Zambelli, Claudio Amighetti & Davide Sora, who has done rather well at the Triennale exhibitions & who quoted me €15,000 for a violin. (Thanks but no thanks !!)

The modern "Cremona" thing is a curious phenomenon, initially as much for tourism as for music, and kick-started by Mussolini, I understand. Prior to that revival the principal centres for Italian making were Milan and Turin, yet with a Gagliano tradition surviving in Naples. In the early days followers of the Jewish faith were banned from attending the Cremona School. 

There are other Italian violin-making schools in Italy:-  Florence, Rome, Milan, Parma and elsewhere, which are less widely publicised than is Cremona. 

May 17, 2013 at 05:40 AM · There is also a violin-making school in Sicily, at Marineo near Palermo. I understand the principal is Walter Cangialosi. Both G B Morassi senior and Simeone Morassi have had teaching sessions there, as well as Primon and Prilipko; and Cangialosi himself says he was a pupil of G B Morassi.

Cangialosi and the school specialise in medieval instruments, but I have two of Cangialosi's "modern" instruments, a Guarneri-model violin and a Stradivari-model viola, and they are really very good.

May 25, 2013 at 07:14 AM · Ever heard of Lorenzo Frassino Guado, whose labels bear the assertion that the instruments come from Cremona ?

I thought the name looked odd. Then I got out my Italian/English dictionary and found that Lawrence Ash Ford would be a plausible translation.

It seems that really is the case ! Many Guados went through auction hoses catalogued as being from Cremona. Actually Ashford is said to work near Bristol, UK.

I'm told the fiddles are quite OK.

I see posted already that I owned a "Marco Tassini fecit Italia" violin ; these were made in Scotland, I understand.

Emptors must keep on caveating.

June 1, 2013 at 05:10 PM · News:- Lot 127 in the recent (May 2013) Ingles and Hayday auction in London (UK) a Lorenzo Locatelli violin is recorded as having sold for £15,000 including buyer's premium.

[EDIT] That £15k price looks to have been a mistake - a recent check puts the price at just over £4k.

Ingles and Hayday is a new auction house opened by ex-Sotheby's Musical Instrument staff.

This discussion has been archived and is no longer accepting responses.

Facebook Twitter YouTube Instagram Email is made possible by...

Shar Music
Shar Music

Yamaha Silent Violin
Yamaha Silent Violin

Pirastro Strings
Pirastro Strings

Find a Summer Music Program
Find a Summer Music Program

Dimitri Musafia, Master Maker of Violin and Viola Cases
Dimitri Musafia, Master Maker of Violin and Viola Cases Business Directory Business Directory Guide to Online Learning Guide to Online Learning

Dominant Pro Strings

Antonio Strad Violin

Bay Fine Strings Violin Shop

Bobelock Cases


Los Angeles Violin Shop

Nazareth Gevorkian Violins

Metzler Violin Shop

Leatherwood Bespoke Rosin



Johnson String Instrument and Carriage House Violins

Potter Violins

String Masters

Bein & Company

Annapolis Bows & Violins

Laurie's Books

Discover the best of in these collections of editor Laurie Niles' exclusive interviews. Interviews Volume 1 Interviews Volume 1, with introduction by Hilary Hahn Interviews Volume 2 Interviews Volume 2, with introduction by Rachel Barton Pine