Ignatz Hoffmann 1774 Baroque with Leonhardt Certificate

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This is a Baroque violin from 1774, attributed to Ignatz Hoffmann.
It comes with a certificate of authenticity from Leonhardt.

This instrument has never been converted to a modern violin and has retained its Baroque form.
Its key feature is that it has been passed down in its Baroque specifications, rather than being modified to modern specifications and then re-Baroqued.

It was previously purchased for 2,000,000 yen, and subsequently underwent adjustments for performance.
As the original neck had become old, a craftsman recreated the tailpiece, fingerboard, and neck using maple.

We hope to pass this instrument on to someone who understands antique instruments, Baroque violins, and historical instruments.
This instrument is suitable not only for collectors but also for those who wish to play it.

Please check the photos for the condition.
As this is an old instrument, there are scratches and signs of use due to its age. Please refrain from purchasing if you are looking for a perfect, new condition.

It comes with a certificate of authenticity from Leonhardt.
Please refer to the certificate and the notation Ignatz Hoffmann to determine the maker and era.

A Baroque bow made of ebony by Takakura Sho is included.
This bow was custom-made for 165,000 yen.

I am selling this instrument due to a change in my work environment, which now leaves me with less time for early music.
I wish to pass it on to someone who will cherish it.

Ignatz Hoffmann the Younger (1736–1791)
A luthier active in Wölfelsdorf, Silesia, in the 18th century. As a member of the Hoffmann family of instrument makers, he inherited the skills of his father, Ignaz Hoffmann the Elder, and is said to have been involved in the construction of string instruments such as violins, lutes, and harps. His style is characterized by practicality and solid craftsmanship rooted in local tradition, rather than the ostentation found in the works of master luthiers in major cities. While care must be taken to distinguish between father and son and to avoid later misattributions, he holds an important position as a craftsman representing the instrument-making culture of the 18th-century Silesian region.