This is likely to be a 1748 Francois Lejeune violin. I will have a new certificate produced if you are going to buy the violin. The violin has a label of "Alessandro Gagliano." The 1972 certificate (see last photo) gives the attribution to Alessandro Gagliano.

But it is my opinion that the violin is likely to be by the hand of Francois Lejeune.

I found the violin to be very similar to two Strads, the 1710 Camposelice Stradavari (golden period) and 1669 Clissbee Stradavari, (early period) so I put these comparison photos up to show you.

I included the Clisbee, because of the similarity not only in their appearance but also their tonal quality, which I found remarkable, not to mention surprising. The tonal quality and sound volume of the Lejeune is akin to that of the Clisbee Strad—sweet, charming, and somewhat small.

The only real notable difference in the comparison, besides the huge difference in price (!) are the f-holes. Lejeune uses the longer Bescian style f-holes as seen on Rogeri violins but then so does Stradavarius in his early period. The f-holes on the Lejeune and the Clisbee match. You can see that Stradavarius changed the style of his f-holes by the time we come to the golden period. The Camposelice Strad has shorter wider f-holes. Take a close look at the photos and you will see for yourself.

To hear what I am talking about Google: Clarissa Bevilacqua Plays Bach on the 1669 Clisbee Stradavarius

In any case, you don't have to believe me. Try the violin yourself to hear and see what I’ve been writing about. See if I'm correct in my assessment. If you're not satisfied, then return the violin within 30 days, and I will refund your money minus shipping cost for an international purchase. (I offer free shipping for a domestic purchase.) 

Why buy from an auction house if you're not at the auction house to try out the instrument? That's buying blind; there are no returns; auction instruments are for the most part busted up junk. Most need additional dollars for repairs, for set-up, clean-up, and who knows what else, because you don’t know until the violin is taken apart! If the instrument has many cracks, worm damage (which is impossible to assess correctly just from looking at the exterior of the violin), then the cost will run into the tens of thousands of dollars and the wait time before you get your instrument returned from your luthier will be measured in years, not months! Why take on such risk? All auction houses have a no return policy; all liability rests with the buyer, regardless of any error made on a condition report. Any damage to the instrument while in transit is also on the buyer; and the buyer pays anywhere between 20% and 35% add-on to the hammer price! The winner at the auction house is always the auction house.

If you don't want to pay before playing the violin, fine, I understand! You can go to Essex Junction, Vermont, where the violin is located, and try it yourself. Play the violin for as long as you like. Make your decision then.

 Here is the preliminary dendrochronology report from the UK:

 

"I actually get very specific results, in the sense that both halves, which are from different trees, both react to instruments of a specific provenance and period. 

 

The latest visible ring at the centre joint, on the bass side dates from 1740 and on the treble, the latest original ring, which is towards the edge rather than the centre joint, dates much earlier at 1665.  To that date, you would have to add a few rings up to the very edge, which now seem replaced. I can estimate those replaced rings to about 5 or 6, to reach an estimated final original date on that treble side of very close to 1670.

 

The wood is absolutely typically from the batches used in France between 1730 and 1790. To my knowledge, I have not seen this response on wood on a genuine Italian 18th century, or German instrument, as it appears that these batches of timber only reached French workshops, before the revolution in 1789.

 

I almost never see this kind of response with instruments other than those of French pre-Révolution origin, so the violin is most likely French made between after about 1748/50 and before 1790."

 

Obviously the head should really look different on French instruments of that period, so it may be worth checking with UV light to see whether it has anything to do with the rest of the instrument.

 

Internal construction, corner blocks proportions and other details, should confirm this  provenance, strongly suggested by the results of the cross-matching tests."

 

Currently, the instrument is with my luthier, James Banicki Violins, in Essex Junction, Vermont. He did the restoration. Please feel free to call him. His number is available from his Facebook page. He can provide any additional information that you might need.

 

The LOB is 35.2

The bout measurements are on the certificate. If you need additional measurement, then let me know.

 

This is an excellent violin for a professional violinist or a violinist studying to become a professional. I was very surprised with how responsive the violin was arriving at my desired tonal colors, colors that I had in my head before playing the piece, and that I wanted to produce on the violin did not disappoint—wonderful warm overtones. A very sweet sound! And surprisingly like an old Italian! This is the kind of violin that most violinists look for who don't have tons of money to pay for an over-priced Italian violin. And believe me, they are overpriced! Such is the demand for Italian violins. But early French violins actually had better craftsman ship than did Italian violins from this same time period.

 

Don't miss this opportunity to own a beautiful early French violin with tonal qualities very much like the 1669 Clisbee Strad. That might indeed be the reason why early Lejeune violins have been deemed highly collectable and sought after for the past 150 years by both players and collectors alike.

 

From William Henley:

 

"LE JEUNE, FRANÇOIS

 

Worked at Paris, 1740-1780. Named his shop “At the Royal Harp”. Dean of the Luthiers’ Guild, 1765. Early dated violins rather esteemed by collectors. Modelling rather long and somewhat slender. Long Brescian type of sound-holes. Scroll also of long slender pattern with small volute. Beautiful golden amber varnish. Generally two-piece backs, the grain showing in wide lines. Tonal quality particularly sweet though perhaps small. Later dated instruments of more variable order in the matter of design and workmanship, some quite ordinary. Light yellow varnish not of the best quality. Also produced many excellent violas (body length, 15-7/16 inches) and five-stringed viols. Particularly celebrated for fine harps."

 

Why pay for an over-priced Italian violin, when you can own a violin that sounds remarkably like an early Strad for under 100K USD? This should be a no-brainer! And it will be for some lucky buyer! Let that buyer be you!