Jonathan Solars Fine Violins

Jonathan Solars Fine Violins Expert Dealers, Appraisers, and Consultants. Certified Member-Appraisers Association of America

An exceptional Cremonese violin by Vincenzo Rugeri, made in Cremona circa 1705, known as the ex “Le Brun.” Rugeri holds ...
05/01/2026

An exceptional Cremonese violin by Vincenzo Rugeri, made in Cremona circa 1705, known as the ex “Le Brun.” Rugeri holds a distinctive place in the Cremonese tradition: his best work combines an elegant, classical model with a direct, singing tonal core—an aesthetic and acoustic profile that feels unmistakably “Cremona.”
Examples firmly attributable to Rugeri’s own hand are comparatively few, and truly characteristic instruments are encountered only rarely on the market. For that reason, benchmark violins—those that define a maker’s style in the public imagination—carry special weight for players, collectors, and scholars alike.

This violin is widely regarded as one of those benchmarks. In fact, it is among the most widely recognized instruments by Rugeri: if you search his name, this is the violin that is so often pictured—an instrument that has come to represent the maker at his best.

From a making standpoint, Rugeri’s work is frequently discussed in relation to the Cremonese masters, and this violin is a strong illustration of that lineage. The arching reflects a clear dialogue with Stradivari’s approach—a disciplined, purposeful concept that supports both tonal focus and carrying power—while still retaining Rugeri’s own voice and character.

Musically, the ex “Le Brun” offers a refined balance of warmth and clarity with an immediate, responsive feel under the bow. The sound carries with ease, with a focused center that supports lyrical playing and brilliance when pushed—qualities that make the finest Rugeri instruments enduring favorites among discerning musicians and collectors.

Available by appointment in New York City.

Landscape Photo By Tiziana coppetti - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=94398715

Cathedral Photo By Meriadoc Brandibuck - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=93169580

A rare and characterful violin attributed to Matthys (Matthias) Hoffmans, made in Antwerp and dated c. 1720, representin...
04/24/2026

A rare and characterful violin attributed to Matthys (Matthias) Hoffmans, made in Antwerp and dated c. 1720, representing an intriguing example of mid-18th-century Northern European making. Instruments from this region and period are valued for their individuality: built with practical intent, shaped by local traditions, and often reflecting a selective engagement with the Italian models that were increasingly admired across Europe.

This violin offers a distinctive visual and musical personality, with a direct, speaking response and a focused tonal core that suits both chamber and ensemble playing. Its appeal lies in the combination of historical character and everyday usability—an instrument that feels grounded, honest, and purpose-built rather than ornamental.

For players and collectors drawn to uncommon makers and regional schools beyond the standard Italian canon, this Antwerp-dated Hoffmans presents a compelling opportunity to own a violin with real presence and period authenticity.

Available by appointment in New York City.

A rare and elegant Parisian violin by Claude Pierray, dated 1712, modeled after the refined tradition of Nicolo Amati. P...
04/17/2026

A rare and elegant Parisian violin by Claude Pierray, dated 1712, modeled after the refined tradition of Nicolo Amati. Pierray’s work represents the French school at a moment of exceptional sophistication, when Parisian makers absorbed Italian ideals while preserving a distinctly French sense of proportion, finish, and restraint.

Built on an Amati-inspired concept, this violin favors grace over exaggeration: a poised outline, balanced arching, and a visual harmony that feels immediately classical. The result is an instrument with a clear, articulate response and a focused, singing tone—well suited to players who value nuance, color, and elegance as much as power.

Pierray’s best instruments are prized for their rarity and their connection to the musical culture of early 18th-century Paris, and this 1712 example offers a particularly compelling blend of historical character and practical musical utility.

Available by appointment in New York City.

We are thrilled to announce a significant addition to the Jonathan Solars Fine Violins team: Sam Morel has officially jo...
04/15/2026

We are thrilled to announce a significant addition to the Jonathan Solars Fine Violins team: Sam Morel has officially joined us as our new Head of Conservation and Restoration!

At JSFV, we believe that behind every great performance is a luthier who understands the delicate balance between historical integrity and modern playability. Sam brings a meticulous eye to the bench, ensuring that whether an instrument is a 300-year-old Cremonese treasure or a contemporary masterpiece, it leaves our studio in peak voice.

Sam will be in our stories for an AMA on Friday!

There is a certain brand of anxiety that comes with looking at a fine Italian instrument and wondering if the varnish is...
04/10/2026

There is a certain brand of anxiety that comes with looking at a fine Italian instrument and wondering if the varnish is telling you the whole truth. Historically, we relied on UV light and a steady hand, but today we prefer to let the electromagnetic spectrum do the heavy lifting.

In the shop, we use Infrared (IR) inspection to cut through the noise. It is essentially a way to peer under the hood without the invasive necessity of disassembly. While a restorer’s goal is often to make their work disappear, our goal as appraisers is to find exactly where they’ve been.

By observing how different materials react to IR, we can map out the structural reality of a top plate—revealing filled losses, edge doubling, or the true extent of a post crack that was “hidden” decades ago. We take this work quite seriously behind the scenes, mostly so we can sleep better at night knowing our documentation is beyond reproach.

It’s clinical, it’s non-invasive, and it’s an essential part of what we call Digital Stewardship. If you’re coming by the office for an appraisal, feel free to ask about the scans. It’s fascinating stuff, provided you enjoy looking at wood as much as we do.

Italian beauty meets performance power. 🎻 This rare Giuseppe & Carlo Tononi (c. 1700–1710) captures the Bolognese tradit...
03/27/2026

Italian beauty meets performance power. 🎻 This rare Giuseppe & Carlo Tononi (c. 1700–1710) captures the Bolognese tradition at its most compelling: elegant, confident, and built for sound. With a warm tonal core and excellent projection, it’s a rare find for the serious performer. Now available in our New York City showroom.

Turin, 1924: While the era was defined by change, Annibale Fagnola was busy perfecting the “tribute.”Born into a large f...
03/24/2026

Turin, 1924: While the era was defined by change, Annibale Fagnola was busy perfecting the “tribute.”

Born into a large farming family, Fagnola took a scenic route to the workbench, apprenticing as a baker and a mechanic before finding his true calling in lutherie. It seems that technical precision stuck; by the time this violin was crafted, Fagnola’s reputation had already crossed the Atlantic to legendary dealers like Wurlitzer in New York.



This particular instrument is a stunning look at Fagnola’s “Guadagnini” phase. It is draped in that signature, deep red varnish—a texture and hue so rich it practically glows under stage lights. It isn’t just a copy; it’s a continuation of the Piedmontese legacy, echoing the work of Pressenda and Rocca while asserting Fagnola’s own modern authority.



Tonally, he was hitting a spectacular stride in the mid-1920s. This violin delivers the “Italian voice” performers crave: sophisticated, clear, and remarkably responsive. It’s robust, refined, and—unlike my attempt at sourdough—this former baker’s work has aged into an absolute masterpiece.



LOB: 352 mm



Available for trial by appointment in our Manhattan studio.

A fine Cremonese violin by Giuseppe Ceruti, dated 1825, representing one of the most important continuations of the Crem...
03/13/2026

A fine Cremonese violin by Giuseppe Ceruti, dated 1825, representing one of the most important continuations of the Cremona tradition into the 19th century. Ceruti’s work is admired for its confident craftsmanship and player-focused tonal concept—an Italian voice that remains warm, direct, and highly usable in modern performance settings.

This is a strong, characteristic example, made on a classic Italian model with a two-piece maple back of medium-width flame, matching ribs and scroll, and a two-piece spruce table with open grain narrowing toward the center. The varnish is beautifully textured, unpolished, and flawlessly intact brown-orange over a lighter ground, giving the instrument an appealing warmth and presence.

Selected for its strong Cremonese character and musical versatility, this is a good and characteristic example of Ceruti’s work from a period prized by players and collectors alike.

Available by appointment in New York City.

A powerful and characterful violin by Jean-Baptiste Vuillaume, made in Paris circa 1845 and modeled after Guarneri del G...
03/10/2026

A powerful and characterful violin by Jean-Baptiste Vuillaume, made in Paris circa 1845 and modeled after Guarneri del Gesù—the model most sought after in Vuillaume’s oeuvre and among the most desired by players today.

This violin prioritizes breadth, immediacy, and a focused core of sound, offering a direct, responsive feel under the bow with the capacity for brilliance when pushed. It is an instrument designed for serious performance: quick to speak, richly colored, and capable of carrying in a hall.

Available by appointment in New York City.

Caressa & Français — Prize Violin (Paris, 1911–1912)Presented to Noëla Cousin, First Prize — Paris Conservatoire Concert...
02/19/2026

Caressa & Français — Prize Violin (Paris, 1911–1912)
Presented to Noëla Cousin, First Prize — Paris
Conservatoire Concerto Competition

A pristine Prize Violin by Caressa & Français, made in Paris in 1911–1912 and presented to the violinist Noëla Cousin upon winning First Prize at the Paris Conservatoire Concerto Competition. Preserved in exceptional condition, it is both a superb example of the Parisian workshop tradition and a tangible piece of Conservatoire history.

Prize instruments occupy a special place in the French tradition. For generations, the great Parisian ateliers—following the model established by their predecessors—created instruments intended not only to reward achievement, but to launch careers: violins made to be reliable, responsive, and immediately compelling in the hands of a rising artist. In that context, a prize violin is more than a fine instrument; it is a statement of confidence from the Paris musical establishment, linking maker, institution, and performer in a single object.

This Caressa & Français violin embodies that purpose. It offers an articulate, quick response with a focused core of sound and the kind of balance that supports both solo repertoire and refined ensemble playing—qualities entirely consistent with an instrument made to succeed on a competition stage.

A rare opportunity to acquire a documented, historically significant Paris Prize Violin in pristine condition, with a clear and distinguished presentation history.

Available by appointment in New York City.

LOB: 359mm

You’re seeing what might just be (and actually is) the first cello bridge to carry our stamp. Yes, we’re as excited as y...
02/11/2026

You’re seeing what might just be (and actually is) the first cello bridge to carry our stamp. Yes, we’re as excited as you’d expect.

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1925 7th Avenue #8L
New York, NY

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Wednesday 10am - 6pm
Thursday 10am - 6pm
Friday 10am - 6pm

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