Dante Baldoni violin, 1929 Buenos Aires, signed by maker | Metzler Violins
full, mature, spirited
This is a staff pick! Julia recommends this violin for this price range.
About the Instrument
This violin has a gorgeous sound across all registers and is a delight to play, responsive and nimble, making it excellent for solo performances or blends easily when playing with a group. Its caramel varnish over a honey ground brings out a unique flame figure on its single piece quarter-cut maple back. Slightly less pronounced flames run across its ribs, neck, and scroll. The luthier included a hidden signature on the underside of the front plate, which is written by his hand in ink. It reads “Dante Baldoni / fece in B. Aires / anno 1929.” There are cracks on the front plate of this instrument, including near the alto side of the bridge and a wing crack. These are all reinforced by cleats with careful professional repair. All other portions are untouched. Overall, this violin is in well-repaired good condition.
Interior label reads: “Dante Baldoni / fece in Buenos Aires anno 1929”
Length: 357 mm
Upper Bouts: 163 mm
Middle: 110 mm
Lower Bouts: 204 mm
About the Maker
Dante Baldoni (1868-1940) was born in the Marche region of Italy in the town of Numana. Baldoni’s luthier training is unknown, and it is generally believed he was self-taught. In 1900, he moved to Buenos Aires, initially crafting and repairing stringed instruments. After 1915, Baldoni focused almost entirely on making his own instruments. He received commissions from Jan Kubelik and Ferenc von Vescey, highly respected musicians who performed in the city’s Teatro Colón. Baldoni’s instrument for Kubelik, in particular, had an impact on his work. Inspired by the 1715 “Emperor” Stradivari, Baldoni employed that model for many of his future instruments, as well as one he developed based on the Carcassi brothers in Florence. He distinguished himself from his European counterparts by using South American woods, and frequently employed spirit varnish and vegetable dyes, leaning toward reds and plums colors. After 1940, Baldoni raised the height of his archings and thinned the top and back of his instruments, as well as enlarged his f-holes, in hopes of pursing a distinct sound. The quality of his instruments—their structural grace and tonal maturity—quickly made them desirable to players across the globe even during Baldoni’s lifetime.
Original: $32,000.00
-65%$32,000.00
$11,200.00
Description
full, mature, spirited
This is a staff pick! Julia recommends this violin for this price range.
About the Instrument
This violin has a gorgeous sound across all registers and is a delight to play, responsive and nimble, making it excellent for solo performances or blends easily when playing with a group. Its caramel varnish over a honey ground brings out a unique flame figure on its single piece quarter-cut maple back. Slightly less pronounced flames run across its ribs, neck, and scroll. The luthier included a hidden signature on the underside of the front plate, which is written by his hand in ink. It reads “Dante Baldoni / fece in B. Aires / anno 1929.” There are cracks on the front plate of this instrument, including near the alto side of the bridge and a wing crack. These are all reinforced by cleats with careful professional repair. All other portions are untouched. Overall, this violin is in well-repaired good condition.
Interior label reads: “Dante Baldoni / fece in Buenos Aires anno 1929”
Length: 357 mm
Upper Bouts: 163 mm
Middle: 110 mm
Lower Bouts: 204 mm
About the Maker
Dante Baldoni (1868-1940) was born in the Marche region of Italy in the town of Numana. Baldoni’s luthier training is unknown, and it is generally believed he was self-taught. In 1900, he moved to Buenos Aires, initially crafting and repairing stringed instruments. After 1915, Baldoni focused almost entirely on making his own instruments. He received commissions from Jan Kubelik and Ferenc von Vescey, highly respected musicians who performed in the city’s Teatro Colón. Baldoni’s instrument for Kubelik, in particular, had an impact on his work. Inspired by the 1715 “Emperor” Stradivari, Baldoni employed that model for many of his future instruments, as well as one he developed based on the Carcassi brothers in Florence. He distinguished himself from his European counterparts by using South American woods, and frequently employed spirit varnish and vegetable dyes, leaning toward reds and plums colors. After 1940, Baldoni raised the height of his archings and thinned the top and back of his instruments, as well as enlarged his f-holes, in hopes of pursing a distinct sound. The quality of his instruments—their structural grace and tonal maturity—quickly made them desirable to players across the globe even during Baldoni’s lifetime.
