Cello by Yukio Ozaki, Japan. Ozaki
trained in Cremona Italy. This cello is a Gofriller model and easy
to play. It is an early example of the maker's work. CM#4557
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| Ozaki Front |
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| Ozaki Back |
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| Ozaki Side |
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| Ozaki F
hole |
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| Ozaki Scroll
Front |
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| Ozaki Scroll
Side |
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on the thumbnails for a larger picture.

Cello by Alfredo Contino, Naples 1919. CM#4964
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| Contino
Front |
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| Contino
Back |
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| Contino
Side |
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| Contino
F hole |
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| Contino
Scroll Front |
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| Contino
Scroll Side |
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| Contino
Label |
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on the thumbnails for a larger picture.

Cello by Evasio Guerra, Turin. CM#4970
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| Guerra Front |
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| Guerra Back |
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| Guerra Side |
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| Guerra F
hole |
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| Guerra Scroll
Front |
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| Guerra Scroll
Side |
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on the thumbnails for a larger picture.

Cello German, ca 1900. CM#4863
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| German Front |
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| German Back |
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| German Side |
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| German F
hole |
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| German Scroll
Front |
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| German Scroll
Side |
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on the thumbnails for a larger picture.

Cello by Paul Hilaire, Mirecourt,
1962. CM#4962
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| Hilaire
Front |
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| Hilaire
Back |
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| Hilaire
Side |
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| Hilaire
F hole |
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| Hilaire
Scroll Front |
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| Hilaire
Scroll Side |
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on the thumbnails for a larger picture.

Cello by Henning Christiansen,
Sagutuck, 1987. CM#4937
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| Christiansen
Front |
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| Christiansen
Back |
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| Christiansen
Side |
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| Christiansen
F hole |
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| Christiansen
Scroll Front |
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| Christiansen
Scroll Side |
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on the thumbnails for a larger picture.

Cello by Antonio Capela, Portugal,
1975. CM#4973
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| Capela Front |
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| Capela Back |
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| Capela Side |
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| Capela F
hole |
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| Capela Scroll
Front |
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| Capela Scroll
Side |
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on the thumbnails for a larger picture.

Modern Cellos by Walter Mahr
"Cellos...with a soul.... from
Bavaria." Mahr's cellos have a sweet and powerful tone. His tonal investigations
are evident in every example of his work. (Charles Magby offers
a substantial collection of fine cellos, violins and violas in various
grades made by Mahr.)
Cellos are modeled after the work
of Guarneri, Stradivari and Henrik Jacobs in a wide range of
qualities. He makes superior instruments for student players with a well-grained,
solid maple back, pine wood top and ebony fittings... up to superbly made
masterpieces with marvelously textured maple. Mahr's select tonal
wood is carefully seasoned up to 50 years. Mahr can vary the mixture of
his oil and spirit varnish according to the desired tonal properties required
by a player.
Walter Mahr's grandfather was a mandolin-maker
in Schonback. In addition, his great grandfather was a violinmaker. Walter
Mahr worked with master craftsman Ernst Heinrich Roth, the cello maker
Lothar Semmlinger and with Roderich Paesold.

Cello
by Walter Mahr, Bavaria, Germany, Jacobs model, Grade IV.
CM# 4710
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| Jacobs Front |
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| Jacobs Back |
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| Jacobs Side |
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| Jacobs F
hole |
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| Jacobs Scroll
Front |
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| Jacobs Scroll
Side |
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Cello
by Walter Mahr, Bavaria, Germany #350, Grade IV
CM# 4763
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| Mahr 350
Front |
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| Mahr 350
Back |
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| Mahr 350
Side |
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| Mahr 350
F hole |
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| Mahr 350
Scroll Front |
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| Mahr 350
Scroll Side |
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Cello
by Walter Mahr, Bavaria, Germany, condition is new.
Length is 74.7cm. It is an exciting copy of a Hendrik Jacobs cello of 1705.
This is the highest grade (#5) which is his Master level instrument.
This is a very fine copy.
The back, sides and scroll are of the very finest Bosnian maple.
The top is the most beautiful piece of Hazelfichte. The cello is
accented with snake wood fittings and a special carbon fiber end pin.
The sound is warm with a rich palette of colors and a great deal
of underlying power and depth. CM#4783
Cello
by Walter Mahr, Bavaria, Germany, condition is new.
Length is75.8cm. It is a magnificent copy of Joseph Guarnerius, Cremona, 1720.
While new, it sounds like a 200 years old cello!
Try it yourself. The
back is highly flamed Bosnian maple.
It is the very finest Bosnian maple.
The top is Hazelfichte, once again, of the highest order.
The varnish is a beautiful deep brown.
The tone is bottomless, colorful and prevailing.CM#4782
Carón
cellos are known for their carrying power in a hall and their incredible
ease of playing. It is the perfect cello for a professional
performer in any venue. David
Carón
says about his varnish:
"It is chemically stable. It is tough, but flexible.
It has a very high melting point. Most of all, because of its flexibility,
it produces a smooth, deep, open sound".
CM#4940
SOLD: Cello
by David Carón
#171, Taos, N.M., made in 2004. CM#4969
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| Caron 171
Front |
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| Caron 171
Back |
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| Caron 171
Side |
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| Caron 171
F hole |
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| Caron 171
Scroll Front |
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| Caron 171
Scroll Side |
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| Caron 171
Scroll Back |
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SOLD:
Cello by David Carón
#90, Taos, N.M., made in 1989. This
very fine example of David’s Work was made for a member of the Dallas
Symphony who has since retired. The
wood on this instrument is nothing short of spectacular, with highly flamed
Bosnian maple back, sides and scroll, and unusually tight, even grained
Engelmann spruce. The varnish
is David’s usual highly transparent reddish-orange brown Cremonese-style
oil varnish. If you need to
win a major symphony audition, you don’t have to look any further.
SOLD: Cello
by William Harris Lee, Chicago, Illinois, made in 1995. This
is an attractive cello. The front is of exceptional two-piece hazel
pine of even grain. The back is two-piece maple cut half on the
slab with appealing figure throughout. The sides and scroll are
of corresponding material. CM#4745
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