{"title":"Featured Products","description":"","products":[{"product_id":"andrea-sanctus-cello-rosin-by-cremona-in-america-u","title":"Cecilia ''Sanctus\" Rosin (Cello) | Metzler Violins","description":"\u003cp\u003eAndrea \"Sanctus\" is a unique rosin that combines two separate formulas in a single cake. The center part is an enhanced formula based on Andrea's popular \"SOLO,\" and is a physically softer and thicker rosin. The outer part is formulated to have a harder and drier texture, which gives a wonderful balance in sound while protecting the softer center rosin. As with all Andrea rosins, this product is hand-poured; made in the USA.\u003c\/p\u003e\n\u003cp\u003eSanctus is formulated to provide more possibilities in the sound of stringed instruments. This unique combination of two sophisticated rosin formulas provides the optimum balance for sound and bow control. These formulas have been put into two separate areas in one special rosin cake to show the clear definition of their roles. The outer ring formula has been designed to give a silky smooth playing feel and to produce a focused sound on the strings. The center formula responds and kicks in when the player demands more power and gutsiness from their instrument. The sound of these formulas when combined is noticeably more focused with enhanced tonal strength. Ultimately, it stimulates your musical mind to explore the endless possibilities in your sound.\u003c\/p\u003e","brand":"Andrea","offers":[{"title":"Default","offer_id":50816214073617,"sku":"RNCLCIASA","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/DSC00376.jpg?v=1772578055"},{"product_id":"lemurian-crafts-cello-stand-cherry-veneer-3-colors","title":"Lemurian Crafts cherry veneer cello stand,","description":"","brand":"Lemurian Crafts","offers":[{"title":"Blue","offer_id":50816366182673,"sku":"CSLC-BL","price":299.0,"currency_code":"USD","in_stock":true},{"title":"Burgundy","offer_id":50816366215441,"sku":"CSLC-BG","price":299.0,"currency_code":"USD","in_stock":true},{"title":"Green","offer_id":50816366248209,"sku":"CSLC-GR","price":299.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/25486.png?v=1734478394"},{"product_id":"michael-fischer-16-3-8-viola-2005-los-angeles-copy","title":"Michael Fischer 16 3\/8\" viola, 2005, Maggini copy, Los Angeles | Metzler Violins","description":"\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/-fegjaaz824\" width=\"560\" height=\"315\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cem\u003e[further details about this instrument are forthcoming]\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eAbout the Maker\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eJ. Michael G. Fischer\u003c\/strong\u003e (1954- ) is a living luthier who was born and raised in South Germany. At eighteen, Fischer attended the Mittenwald Violin Making School before moving to London to assist Dietrich Kessler at Withers, making viola-da-gambas and other baroque instruments. While in London, Fischer also worked with Charles Beare, the renowned luthier and violin dealer. While working in Beare’s shop, Fischer accomplished difficult restorations on the instruments there. Fischer moved to Los Angeles in the 1980s, working in Hans Weisshar’s atelier before opening his own shop in 1984 with a focus on restoration. It was while restoring a 1697 Mateo Gofriller violin, Fischer decided to make a copy for the joy of it. Since then, Fischer has made and sold over 300 copies of fine instruments alongside his efforts to restore and sell excellent stringed instruments and bows out of his atelier. Professionals worldwide play and praise his instruments, with testimonials from musicians such as Gil Shaham and Gidon Kremer. Fischer is a member of the American Federation of Violin and Bow Makers, Entente Internationale des Maitres Luthiers et Archetiers D'Art, and Verband Deutscher Geigenbauer und Bogenmacher e.V.\u003cbr\u003e\u003cbr\u003e\u003ca href=\"https:\/\/mfischerviolins.com\/\" rel=\"noopener\" target=\"_blank\"\u003ehttps:\/\/mfischerviolins.com\/\u003c\/a\u003e\u003cem\u003e\u003ca href=\"https:\/\/mfischerviolins.com\/\" rel=\"noopener\" target=\"_blank\"\u003e\u003c\/a\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"American","offers":[{"title":"Default","offer_id":50818521661713,"sku":"VA165#5419","price":35000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/metzler-viola-michael-fischer-va165-c133-1-front.jpg?v=1734532462"},{"product_id":"jean-grand-adam-silver-violin-bow-mirecourt-france","title":"Jean (Grand) ADAM silver violin bow, Mirecourt, FRANCE, Guillaume certificate of authenticity | Metzler Violins","description":"","brand":"French","offers":[{"title":"Default","offer_id":50818550759697,"sku":"BWVN-C134-5","price":90000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/Metzler-Bow-Jean-Adam-BWVN-90k-Tip.jpg?v=1769112188"},{"product_id":"stanley-kiernoziak-16-3-8-viola-2003-chicago-metzl","title":"Stanley Kiernoziak 16 3\/8\" viola, 2003, Chicago | Metzler Violins","description":"","brand":"American","offers":[{"title":"Default","offer_id":50818619408657,"sku":"VA165-U14-1","price":18500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/metzler-viola-stanley-kiernozia-va165-u14-1-front.jpg?v=1734533941"},{"product_id":"andre-vigneron-pere-violin-bow-ex-eugene-fodor-sal","title":"J.A. Vigneron père violin bow, ex Eugene Fodor, Childs \u0026 Warren certs. | Metzler Violins","description":"","brand":"French","offers":[{"title":"Default","offer_id":50818639757585,"sku":"BWVN-G144-6","price":25000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/Metzler-Bow-JA-Vigneron-Pere-BWVN-G144-6-Both.jpg?v=1779913570"},{"product_id":"david-wiebe-cello-100-woodstock-ny-2005-metzler-vi","title":"David Wiebe cello #100, Woodstock NY, 2005 | Metzler Violins","description":"\u003cp\u003e\u003cspan\u003eAbout the Maker\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_2_3 2_3 fusion-two-third\"\u003e\n\u003cdiv class=\"fusion-column-wrapper fusion-column-has-shadow fusion-flex-column-wrapper-legacy\"\u003e\n\u003cdiv class=\"fusion-text fusion-text-1\"\u003e\n\u003cp\u003eI was born in Beatrice, Nebraska, a small town south of the state capitol, Lincoln. My parents were active choral singers and they wanted their children to have the musical training and opportunities that they were unable to enjoy. My three sisters and I got music lessons and each played more than one instrument. I started out learning to play piano and beyond that, my choice of another instrument to play went from not feeling comfortable with the violin after trying it, to trying the cello and not really connecting with it, to seeing a bass for the first time in sixth grade and suddenly realizing I wanted to play it.\u003c\/p\u003e\n\u003cdiv id=\"attachment_423\" class=\"wp-caption alignleft\"\u003e\n\u003cimg class=\"size-full wp-image-423\" src=\"https:\/\/davidwiebeviolinmaker.com\/wp-content\/uploads\/2019\/12\/Lumber-Office.jpg\" sizes=\"(max-width: 366px) 100vw, 366px\" srcset=\"https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/Lumber-Office-200x116.jpg 200w, https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/Lumber-Office-300x174.jpg 300w, https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/Lumber-Office.jpg 366w\" alt=\"J.G. Wiebe Lumberyard\" width=\"366\" height=\"212\" aria-describedby=\"caption-attachment-423\"\u003e\n\u003cp id=\"caption-attachment-423\" class=\"wp-caption-text\"\u003eJ.G. Wiebe Lumberyard\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003eMy father’s family business was a lumberyard, started by my great grandfather. As a young boy, I grew up playing in the J. G. Wiebe Lumberyard and being around the fresh smell of lumber. My father, Oscar Wiebe, was interested in fine woods and their finishing, and I developed my interest in it by listening to him talk about his love of wood. My parents bought me an older, inexpensive bass to play in the 10th grade which had essentially been painted over its original varnish with brown paint. I started wondering if I could improve it by taking off the paint and returning it to something approximating original. I consulted with a violin repairman, Mark Pierce, in nearby Lincoln, Nebraska for advice and asked him about refinishing the bass. He guessed that even with my inexperience, I probably couldn’t make it any worse and maybe it would actually be improved. I began the refinishing process with Mr. Pierce as my advisor on the project and also drew on the additional advice of my father and other friends who were refinishers of antique furniture to guide me. It ended up really looking much better with its honey maple colored satin varnish from the hardware store . This got my interest started in string instrument repair.\u003c\/p\u003e\n\u003cp\u003eIn 1970, a year before I left for Mittenwald, Germany to attend the violinmaking school there, I began working to improve my German language skills, which I had grown up speaking and hearing in my family, in anticipation of actually going to school there. By then, I had begun my undergraduate studies as a Music Major in Double Bass performance at the Univeristy of Missouri, Columbia, which I left to study violinmaking.\u003c\/p\u003e\n\u003cp\u003eTraining to become a violinmaker in Mittenwald, Germany at the Staatliche Fachschule für Geigenbau was a very exciting time. Getting there made it my first trip to Europe. The German language I had studied was more oriented to the northern German speaking accent, so when I finally arrived in Mittenwald, which is on the southern most border with Austria, I was surprised to hear the language sounding so different, even at times, not understandable. Over time I learned the Bavarian sound of the language. My master at the school was Alois Hornsteiner. My friends in the school included Martin Bouette, Andrea Gaffino, Pierre Jacquier, Andreas Kaegi, Taro Kinoshita, Camilla Kurti, Christine Marmy, Tom Metzler, Francis Morris, Peter and Wendy Moes, among many others, all of whom have gone on the become respected professionals in the international violinmaking community. Living there during my training offered me opportunities to do some traveling around Europe, including a bicycle trip across Germany from south to north. Traveling through numerous European countries was a mind-expanding experience, broadening my understanding of different cultures and people.\u003c\/p\u003e\n\u003cdiv id=\"attachment_424\" class=\"wp-caption alignright\"\u003e\n\u003cimg class=\"size-full wp-image-424\" src=\"https:\/\/davidwiebeviolinmaker.com\/wp-content\/uploads\/2019\/12\/DavidPlan.jpg\" sizes=\"(max-width: 366px) 100vw, 366px\" srcset=\"https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/DavidPlan-200x215.jpg 200w, https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/DavidPlan-279x300.jpg 279w, https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/DavidPlan.jpg 366w\" alt=\"David Wiebe in Workshop\" width=\"366\" height=\"394\" aria-describedby=\"caption-attachment-424\"\u003e\n\u003cp id=\"caption-attachment-424\" class=\"wp-caption-text\"\u003eDavid Wiebe in Workshop\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003eAfter returning to the United States following my violinmaking training in Mittenwald, I opened a very small shop in my hometown of Beatrice, where I started taking in some violin, viola, cello, and bass repairs. It was discouraging to work on the poor quality and low level of most of the instruments that came into my shop. For one thing, I wasn’t trained to do repairs. Gradually I realized – making new instruments with beautiful wood, everything pristine and clean, was much more what I wanted to do. In Mittenwald, we had been taught to make new instruments, while being told that we should never try to make a living making them and should focus only on repairs. I wanted to try to make new instruments instead of repairing them. In this small shop, I made around 15 new instruments, including starting a bass.\u003c\/p\u003e\n\u003cp\u003eAfter working in Beatrice for three years, I wanted to have my shop in my home for the convenience of being able to work more around the clock whenever I wanted to, so I looked for a suitable house that would be able to contain both shop and home. I found a run-down Victorian house in the small town of David City, Nebraska, about 100 miles from my hometown and moved my home and workshop into there. My workbenches were in what had been the living room, I had floor to ceiling storage shelving in the former dining room, and a large bandsaw in the former laundry room at the back of the house. After several years of outgrowing the house and becoming weary of the constant dust and woodshavings all over the house, I built a new workshop in the backyard. Originally, I had conceived of only staying in David City for a few years before moving on to greener pastures but as it turned out, I ended up living and working there for 27 years. Over the course of those years, my desire to restore this landmark house back to its original beauty required extensive ongoing work to the outside, as well as the inside.\u003c\/p\u003e\n\u003cdiv id=\"attachment_425\" class=\"wp-caption alignleft\"\u003e\n\u003cimg class=\"size-full wp-image-425\" src=\"https:\/\/davidwiebeviolinmaker.com\/wp-content\/uploads\/2019\/12\/Oberlin-workshop.jpg\" sizes=\"(max-width: 366px) 100vw, 366px\" srcset=\"https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/Oberlin-workshop-177x142.jpg 177w, https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/Oberlin-workshop-200x160.jpg 200w, https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/Oberlin-workshop-300x240.jpg 300w, https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/Oberlin-workshop.jpg 366w\" alt=\"Oberlin Violin Makers Workshop\" width=\"366\" height=\"293\" aria-describedby=\"caption-attachment-425\"\u003e\n\u003cp id=\"caption-attachment-425\" class=\"wp-caption-text\"\u003eOberlin Violin Makers Workshop\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003eIsolation can be an element of the lifestyle of independent violinmakers. In my Nebraska location, I felt deprived of collegial contact. Violinmaker friends encouraged me to attend the Oberlin Violinmaking Workshop in the summer to get back into the active scene of contemporary violinmaking. This workshop is a high level gathering of professional violinmakers from around the world who come together with their violinmaking projects and tools, and everyone works together on their individual instruments in a large space. Another welcome bonus of this setting is the social aspect of working and living with colleagues and friends in the business. I went there first in the summer of 1999 and found it very stimulating and inspiring. Attending this workshop gave my work an infusion of new ideas, some improved methods and a new insight into the human element of our violinmaking world. Since then, I have gone back several years and made many new friends.\u003c\/p\u003e\n\u003cdiv id=\"attachment_426\" class=\"wp-caption alignright\"\u003e\n\u003cimg class=\"size-full wp-image-426\" src=\"https:\/\/davidwiebeviolinmaker.com\/wp-content\/uploads\/2019\/12\/David-Wiebe-Workshop.jpg\" sizes=\"(max-width: 366px) 100vw, 366px\" srcset=\"https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/David-Wiebe-Workshop-200x150.jpg 200w, https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/David-Wiebe-Workshop-300x225.jpg 300w, https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/David-Wiebe-Workshop.jpg 366w\" alt=\"David Wiebe's Workshop\" width=\"366\" height=\"275\" aria-describedby=\"caption-attachment-426\"\u003e\n\u003cp id=\"caption-attachment-426\" class=\"wp-caption-text\"\u003eDavid Wiebe’s workshop, exterior\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003eOne of the friends I made there came from the bowmaking workshop which runs concurrently with the violinmaking workshop. It was because of meeting the bowmaker Susan Lipkins that I ultimately moved my home, workshop and business to my current location of Woodstock, New York [see the section “About Susan Lipkins”].\u003c\/p\u003e\n\u003cp\u003eI moved here to Woodstock in 2002 and a year later we broke ground to build an addition to the house in Woodstock, which now contains the entire workshop and wood storage. Sue and I share this shop where we work together daily. In this new workshop, there is now space for a friend to use an extra bench and comfortably spread out to work. In the last part of the year 2005, the Norwegian violinmaker, Jacob von der Lippe came to Woodstock with his family for four months, which allowed us to work together. Jacob has a thriving business in Oslo, Norway, received his\u003c\/p\u003e\n\u003cdiv id=\"attachment_428\" class=\"wp-caption alignleft\"\u003e\n\u003cimg class=\"size-full wp-image-428\" src=\"https:\/\/davidwiebeviolinmaker.com\/wp-content\/uploads\/2019\/12\/David-Wiebe-WorkShop-02.jpg\" sizes=\"(max-width: 366px) 100vw, 366px\" srcset=\"https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/David-Wiebe-WorkShop-02-200x150.jpg 200w, https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/David-Wiebe-WorkShop-02-300x225.jpg 300w, https:\/\/violoncello.com\/wp-content\/uploads\/2019\/12\/David-Wiebe-WorkShop-02.jpg 366w\" alt=\"David Wiebe's Workshop\" width=\"366\" height=\"275\" aria-describedby=\"caption-attachment-428\"\u003e\n\u003cp id=\"caption-attachment-428\" class=\"wp-caption-text\"\u003eDavid Wiebe’s Workshop\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003etraining in Cremona, Italy, and we met at the Oberlin Violinmaking Workshop some years ago. During his stay here, he and I each made a cello side by side and exchanged ideas about methods and enjoyed discussions about construction concepts, instrument design ideas, and aspects of acoustical principles. We also made varnishes together and experimented with materials and methods. It was a stimulating international cultural exchange that benefited each of us.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"fusion-clearfix\"\u003e \u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"wp-caption alignright\"\u003e \u003c\/div\u003e\n\u003cdiv class=\"wp-caption alignright\"\u003eMeasurements:\u003c\/div\u003e\n\u003cdiv class=\"wp-caption alignright\"\u003e\n\u003cp\u003eLength 74.8cm\u003c\/p\u003e\n\u003cp\u003eLower bout 43.4cm\u003c\/p\u003e\n\u003cp\u003eMiddle bout 23.6cm\u003c\/p\u003e\n\u003cp\u003eUpper bout 34.1cm\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/zph4FO_Tk44?si=B5gSC93okqZHWPyl\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"American","offers":[{"title":"Default","offer_id":50818639888657,"sku":"CL-G144-4","price":68000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/david-wiebe-cello-100-woodstock-ny-2005-metzler-vi.jpg?v=1758848307"},{"product_id":"pirastro-korfkerrest-violin-shoulder-rest-new-mode","title":"Pirastro KorfkerRest violin shoulder rest, GERMANY | Metzler Violins","description":"","brand":"Pirastro","offers":[{"title":"Default","offer_id":50818744877329,"sku":"SRVNKOR","price":440.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/22777.png?v=1734535827"},{"product_id":"copy-of-cecilia-sanctus-violin-rosin-by-cremona-in","title":"Cecilia ''Signature\" Rosin (Violin) | Metzler Violins","description":"\u003cp\u003eThe new flagship formula of Cecilia Rosin which provides a unique bowing sensation when in contact with the string and a clearly defined reaction. This is the most significant new development in the rosin formulas from Cecilia \/ Andrea for the most demanding musicians. It helps the bow to give rich, full and expressive tones without excessive bite.\u003c\/p\u003e","brand":"Cecilia","offers":[{"title":"Default","offer_id":50819884351761,"sku":"RNVNCIASI","price":52.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/screen-shot-2021-12-07-at-120608-pm.png?v=1734547465"},{"product_id":"gand-bernardel-freres-violin-1881-ex-kaufman-paris","title":"GAND \u0026 BERNARDEL frères violin, 1881, Nr. 947, Andre Levi certificate, ex-Louis Kaufman, Paris | Metzler Violins","description":"\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/BvcRTM56gf8\" width=\"560\" height=\"315\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003esweet, versatile, clear\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eAbout the Instrument\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003eThis violin maintains a resonance across registers, making it a beautifully versatile instrument to play. A sweet clarity is balanced by a rich warmth. Its single piece back bears dazzling flames that list slightly to the upper right bout. The flames are similarly present on the ribs, neck, and scroll, the latter of which has blackened chamfers. The purfling is distinct against the reddish-brown varnish.\u003cbr\u003e\u003cbr\u003eInterior label reads: “Gand \u0026amp; Bernardel Fres \/ Luthiers du Conservatoire de Musique \/ No. 947. Paris 1881”\u003cbr\u003eLength: 360 mm \u003cbr\u003eUpper Bouts: 166 mm\u003cbr\u003eMiddle: 112 mm\u003cbr\u003eLower Bouts: 207 mm\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eAbout the Makers\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eCharles Nicolas Eugène Gand\u003c\/strong\u003e (1825-1892) and the brothers \u003cstrong\u003eGustave Bernardel \u003c\/strong\u003e(1832-1904) and \u003cstrong\u003eErnest Bernardel\u003c\/strong\u003e (1826-1899) were the founding members of this productive and prosperous 19th-century Parisian luthier workshop. The firm was established as Gand \u0026amp; Bernardel Frères in 1866, after the death of Charles Eugène's brother and the elder Bernardel’s retirement.\u003cbr\u003e\u003cbr\u003eCharles Eugène Gand studied under his father Charles François Gand (himself was a student of Nicolas Lupot) and his brother older Charles Adolphe. Gustave and Ernest Bernardel were also pupils of their father, Auguste Sebastien Philippe, who learned the craft from the elder Gand and Nicolas Lupot. Their friendship and ultimate source of their education, Nicolas Lupot, the founding father of French luthier tradition, strongly bound the two sets of brothers prior to their merging into a single firm.\u003cbr\u003e\u003cbr\u003eIn its decades of operation, Gand and Bernardel, made over a thousand instruments and bows of remarkable quality with the help of several excellent luthiers and bow makers in their employ. Their instruments are often based on classical Cremonese models. After Gand's death, Gustave Bernardel was the workshop’s sole proprietor until his retirement in 1901, when he sold Gand \u0026amp; Bernardel Frères to Cressa \u0026amp; Francais. \u003c\/p\u003e","brand":"French","offers":[{"title":"Default","offer_id":50819931111697,"sku":"VN#6165","price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/bernardel-947-1.jpg?v=1734548129"},{"product_id":"douglas-c-cox-16-viola-brattleboro-vt-2023-1069-metzler-violins","title":"Douglas Cox, 16\" viola, Brattleboro, VT, 2023, #1069 | Metzler Violins","description":"\u003cp class=\"p1\"\u003e\u003cem\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/cd-kYq3eiQk?si=Z9oV_IoH5UMFdINq\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003e[further details about this instrument are forthcoming]\u003cbr\u003e\u003c\/em\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e\u003cbr\u003eAbout the Instrument\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003eIt is built on an original pattern and is styled after the work of Guarneri del Gesu. It is built of well aged New England grown wood. The back is cut on the slab from one piece of maple with handsome medium width horizontal flames. The ribs and neck are of maple similar to that of the back. The table is of two pieces of spruce of mostly medium growth. The varnish is of a red-brown color over a golden ground and is shaded and imitated. The fittings are of boxwood with black trim.\u003cbr\u003e\u003cbr\u003eInterior Label Reads: “Douglas C. Cox, Brattleboro, Vermont, 2023, #1069” and is branded and initialed on the inside.\u003cbr\u003eLength: 410 mm\u003cbr\u003eUpper Bout: 195 mm\u003cbr\u003eMiddle Bout: 138 mm\u003cbr\u003eLower Bout: 246 mm\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"text-decoration: underline;\"\u003eAbout the Maker\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"x-el x-el-span c1-6c c1-6d c1-b c1-c c1-d c1-e c1-f c1-g\"\u003eDouglas Cox\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"x-el x-el-span c1-6c c1-6d c1-b c1-c c1-d c1-e c1-f c1-g\"\u003e(1948-) is a contemporary American luthier based in Brattleboro, Vermont who trained at the State Violin Making School in Mittenwald, Germany in the late 1960s. Cox returned to the United States and was head of repair and chief restorer for Boston's J. Bradley Taylor, Inc. for a decade, attending to some of the finest instruments in New England and servicing the violins for the region's professional musicians. Since 1981, Cox has focused on crafting his own instruments, building over 1,000 over the course of his career. He has earned numerous awards from the Violin Society of America and his instruments are played by musicians worldwide.\u003cbr\u003e\u003cbr\u003e\u003ca href=\"https:\/\/coxviolins.com\/\" rel=\"noopener\" target=\"_blank\"\u003ehttps:\/\/coxviolins.com\/\u003c\/a\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"American","offers":[{"title":"Default Title","offer_id":51846148882705,"sku":"VA16-C109-21","price":28000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/douglas-c-cox-16-viola-brattleboro-vt-2023-1069-me.jpg?v=1758836624"},{"product_id":"j-b-vuillaume-violin-1892-ex-ysaye-1850-paris-with-j-j-rampal-certificate","title":"J.B. Vuillaume violin #1892, ex-Ysaÿe, 1850, Paris, with J.J. Rampal certificate | Metzler Violins","description":"\u003cp\u003e\u003ciframe height=\"315\" width=\"560\" src=\"https:\/\/www.youtube.com\/embed\/8sZkC1g3j0I\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003egorgeous, mature, refined\u003c\/em\u003e\u003cbr\u003e \u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eAbout the Instrument\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003eThis violin has a soulful and mature sound, gorgeous across all ranges. Its refined versatility makes for a remarkable solo instrument. The back is formed by two pieces of handsome curly maple with strong, lively flames extending upward from the middle joint. The violin’s ribs are of matching material, as is the scroll, which is original and beautifully cut. Its jointed table is of the choicest spruce with a wide, even grain. The golden-brown varnish is of beautiful quality and naturally shaded. This Vuillaume violin, in the flat Stradivarius model, was previously owned by luminaries such as Eugène Ysaÿe, Joseph Achron, Hillard Lubie, V. Renski, Richard Strawn, Barbara Miller, and Peter Paul Prier. The instrument has a soundpost patch to its top plate and minor repairs on upper back seam and A-tuning peg. This violin is in an excellent and healthy state of preservation. Includes a Jean-Jacques Rampal certificate of authentication.\u003cbr\u003e\u003cbr\u003eInterior label reads: “Jean Baptiste Vuillaume a Paris \/ 3. rue Demours-Ternes \/ #1891” \u003cbr\u003eLength: 355 mm\u003cbr\u003eUpper Bouts: 167 mm\u003cbr\u003eMiddle: 112 mm\u003cbr\u003eLower Bouts: 207 mm\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eAbout the Maker\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003eThe influential and prolific French violin maker \u003cstrong\u003eJean-Baptiste Vuillaume\u003c\/strong\u003e (1798-1875) was born in Mirecourt, France and taught the essentials by his luthier father Claude François. In 1818, Vuillaume was brought to Paris by François Chanot, the inventor of the short-lived “guitar violin,” for Vuillaume to build his unique corner-less violins. It was in Paris where the young Vuillaume met and eventually began to work under Nicolas-Antoine Lété, soon signing violins in his own name despite being only a workman in the shop. Vuillaume and Lété briefly partnered, before Vuillaume struck out on his own in 1828. This was a year after he had earned a Silver Medal for copies of Amati and Stradivarius violins. He was following the tastes of the time for older Cremonese instruments among his clientele. \u003cbr\u003e\u003cbr\u003eVuillaume was quickly earning Gold and Silver Medal Awards at the Paris Exhibition. His industrious atelier producing upward of 150 instruments and 600 bows in a year, employing eighteen instrument and bow makers. Many accomplished luthiers began their work in Vuillaume’s shop on Rue Croix-des-Petits-Champs, including his younger brother Nicholas-François, Hippolyte Silvestre, Honoré Derazey, the Peccatte brothers, Georg Gemünder, and Charles Simonin, among others. His fastidiously run and prolific workshop thus had a profound impact on French and German luthiers. \u003cbr\u003e\u003cbr\u003eVuillaume’s instruments were often copies of Maggini, Amati, Stradivari, and Guarneri instruments, at times so expertly those thought to be authentic were Vuillaume copies. He located the choicest woods from Switzerland and Tyrol, and studied Stradivari varnish in order to better copy its beauty through its patina. His varnish in particular is of note, the recipes and methods for which were kept a guarded secret and applied with meticulous care. Eventually Vuillaume moved from Rue Croix-des-Petits-Champs to Rue Pierre Demours Les Ternes (where this instrument was made). \u003cbr\u003e\u003cbr\u003eVuillaume wasn’t only a master of violin making, but also earned renown for his violas, cellos, and basses. He was also an inventor, developing the octo-bass and hollow steel bows. He earned medals at Paris in 1827, 1829, 1833, 1834, 1839, and 1844. In 1851, he received the Council Medal at the 1851 London exposition and Medal of Honor at the 1855 Paris Exhibition, eventually earning the Légion d’honneur from the French Government. Over the course of his career, Vuillaume produced over 3,000 instruments, and notably successful as a dealer and connoisseur of stringed instruments. While violin making was a craft accomplished by many members of his family, Jean-Baptiste Vuillaume made the surname famous. His instruments are held in major museums across the world.\u003c\/p\u003e","brand":"French","offers":[{"title":"Default Title","offer_id":52189961060625,"sku":"VN-W100-1","price":360000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/keo8iqpu5gdgr1hqwax9.jpg?v=1757707445"},{"product_id":"joseph-alfred-lamy-silver-cello-bow-paris-bein-fushi-certificate-metzler-violins","title":"Joseph Alfred Lamy silver cello bow, Paris, 80.5g, Bein \u0026 Fushi certificate | Metzler Violins","description":null,"brand":"French","offers":[{"title":"Default Title","offer_id":52495826288913,"sku":"BWCL-E34-2","price":38000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/Metzler-Bow-Joseph-Alfred-Lamy-BWCL-E34-2-Tip.jpg?v=1761419936"},{"product_id":"william-salchow-ny-silver-cello-bow-rose-model-metzler-violins","title":"William SALCHOW NY silver cello bow, Rose model | Metzler Violins","description":"\u003cp\u003eWilliam Salchow was the first American to study the art of bow making in France. In 1959, he received a Fulbright Scholarship and traveled to Mirecourt, the cradle of French bow making, to learn the traditional style of the craft. He studied under Georges Barjonnet and Charles Alfred Bazin, both of whom came from a family of bowmakers.\u003c\/p\u003e\n\u003cfigure class=\"w-richtext-align-fullwidth w-richtext-figure-type-image\"\u003e\n\u003cdiv\u003e\u003cimg alt=\"\" data-w-id=\"d15b39bd-45ab-6ed2-87d6-bc51bca6e9a6\" style=\"opacity: 1; transform: translate3d(0px, 0px, 0px) scale3d(1, 1, 1) rotateX(0deg) rotateY(0deg) rotateZ(0deg) skew(0deg); transform-style: preserve-3d;\" loading=\"lazy\" src=\"https:\/\/salchowbows.com\/wp-content\/themes\/salchow-and-sons-live-3.1\/images\/Capture.JPG?v=1697083224750\"\u003e\u003c\/div\u003e\n\u003cfigcaption\u003e\"William Salchow and Barjonnet, Mirecourt France 1959\"\u003c\/figcaption\u003e\n\u003c\/figure\u003e\n\u003cp\u003eWhen he returned to America in 1960, William founded Salchow \u0026amp; Sons. Over the course of his half-century career, he perfected his technique and became the leading American bowmaker and teacher. William’s grandson Isaac began working in the shop at the age of 19 and is recognized as one of the world’s leading experts in French and German bows. \u003c\/p\u003e\n\u003cp\u003eThe bows that both Isaac and William have crafted are highly respected and sought after by discerning players. As bowmakers, Salchow \u0026amp; Sons innately understand the importance of the bow in music-making and the considerable investment required to own one. Because of this, we deeply value our role in caring for your bow.\u003c\/p\u003e\n\u003cp\u003eSince 2009, Isaac has continued the tradition inspired by the old masters. Under his leadership and expertise, the shop’s talented staff continues the Salchow family trade in the areas of repairs, certification, appraisals, and sales.\u003c\/p\u003e","brand":"American","offers":[{"title":"Default Title","offer_id":52495826321681,"sku":"BWCL-E34-3","price":12600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/Metzler-Bow-William-Salchow-BWCL-E34-3-Tip.jpg?v=1761422204"},{"product_id":"f-n-voirin-octagonal-cello-bow-silver-salchow-certificate-metzler-violins","title":"F.N. VOIRIN octagonal cello bow, silver, 73.1g, Salchow certificate | Metzler Violins","description":"\u003cdiv class=\"clearfix\"\u003e\n\u003cp class=\"details\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 1.1em;\"\u003eAfter his initial training and early work in Mirecourt, François Nicolas Voirin moved to Paris in 1855 to join his cousin Jean Baptiste Vuillaume. His work in the Vuillaume workshop gave him access to distinguished bow makers of the Peccatte school,\u003cspan class=\"read-more-content\"\u003e but Voirin was inspired largely by the work of Pierre Simon and of Vuillaume himself. Most of the firm's \"picture\" bows of this period, which feature an eye with a tiny lens microfilm of Vuillaume, are by Voirin. \u003cbr\u003e\u003cbr\u003eIn 1870 Voirin set up his own workshop and gradually his model began to change. Frogs continue to be in the style of Vuillaume, but heads are increasingly thin and refined for the rest of his career, which is an unusual transition for a bowmaker. In fact, Voirin's stylistic evolution is a fitting narrative for the prevailing transition between the square and powerful Peccatte school and more delicate Vuillaume school in the latter half of the 19th century.\u003cbr\u003e\u003cbr\u003eIn 1872 he hired Louis Thomassin to assist him and Joseph Lamy 'père' joined the shop four years later. Both worked alongside Voirin until his death in 1885. His bows, which he declined to sell to other firms with the exception of a few to Chanot, are stamped, \"F.N. Voirin à Paris.\" They are among the best and most important in the history of the trade.\u003c\/span\u003e\u003c\/p\u003e","brand":"French","offers":[{"title":"Default Title","offer_id":52608876085521,"sku":"BWCL#5885","price":54000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0908\/1149\/8769\/files\/Metzler-Bow-FN-VOIRIN-BWCL-5885-Tip.jpg?v=1761773682"}],"url":"https:\/\/metzlerviolins.com\/collections\/featured-products.oembed","provider":"Metzler Violin Shop Inc.","version":"1.0","type":"link"}