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instruments for sale

VN73: Violin
Maker: George Wulme-Hudson
Date: circa. 1925
Origin: London, England
Length of Back: 355mm, 14"
String Length: 326mm
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VC75: Cello
Maker: Georges Mougenot
Date: late 19th century
Origin: Brussels
Length of Back: 757mm
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VNB74: Violin Bow
Maker: Albert Fischer
Origin: Germany
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VA70: Viola
Maker: Michael Scoggins
Date: 1988
Origin: Salt Lake City Utah
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p) 507.413.3495

makers of fine string instruments & bows


Martin Beilke (1897- 1979)

Bowmaker Martin Beilke spending most of his working career in Minneapolis. He was a self-taught violin maker and bow maker, but is best known for his bows - usually Tourte or Pecatte models. He made frequent visits to Simone Sacconi and Rembert Wurlitzer, and became a bow expert in his own right. He is considered one of America's preeminent early bow makers.


Francois Nicolas Voirin (1833-1885)

Francois-Nicolas was born in Mirecourt on October 1, 1833. At the age of 12 he began working for Jean Simon. He moved to Paris and worked in the workshop of Vuillaume from 1855 to 1870 where he succeeded Nicolas Maline and revolutionized bow design and construction. After his tenure at the Vuillaume shop, he established his own business at 3 rue du Bouloi, Paris, where he worked until his sudden death. He was a prolific maker and is generally regarded as the most important bowmaker of the second half of the 19th century. His bows are of superb quality. Voirin produced a radically different bow from Francois Tourte. A slimmer head with the camber moved closer to head, yielding a stronger stick and reducing the thickness of the shaft especially at the heel. Primarily, Voirin made bows with the Vuillaume-style frog. - "Wikipedia"

Malcolm Taylor (1934-2012)

Taylor was an esteemed British bow maker who worked at W.E. Hill & Sons in London. From 1949 to1973, he was making many of their top grade bows along with other well-known bow makers. He left Hill & Sons in 1973, moved to Devon, there he started to write his own name on his bows.



David Folland living maker

David Wiebe living maker

William Forster II (1739-1808) was known as "Old Forster" to distinguish him from his son William III, he himself was the son of William Forster I, who is credited with the earliest surviving instruments by a member of the family. According to the family biography composed by his grandson Simon Andrew Forster, William II made violins, along with spinning wheels and gun stocks, in addition to being a successful music publisher. He established his business in the 1760s, and by 1785 his son William III was assisting him in the shop, which became known as "Forster & Son." Simon Andrew Forster attested that William II produced three levels of instrument, the lowest of which resembles his father's undistinguished work, with painted purfling that in some cases has been replaced by the inlaid variety. The best of his work shows superior craftsmanship and a vibrant reddish-brown oil varnish. Stainer and Amati models, or some combination thereof, are most typical.

Arthur Toman (1947-2004)
Mr. Toman was born in Meriden, Conn. He began playing the violin at an early age and traveled throughout New England performing and teaching music as a member of the Red Barn Fiddlers. He attended the Violin Making School of America in Salt Lake City Utah, and then had an apprenticeship in New York City with violinmaker Rene Morel. He opened his own workshop in Mt. Vernon, N.Y., in 1982, and in 1986 he moved his shop to Newton. Mr. Toman fashioned instruments prized for their beauty and sound in a workshop redolent of varnish and freshly sawed wood. He made his instruments the old-fashioned way, by hand and without power tools a process that took about three months each.
-Boston Globe

Kurt Lothar Meisel (1929-2011)
Born in Klingenthal, Worked from 1957 Owatonna, Minnesota USA. Son and pupil of Kurt Oswald. Worked for Karl Hoellinger in Kiel, Germany 1949-1952 and for Sidney Evans in Birmingham, UK 1952-1953. Emigrated to the USA 1953, working for Scherl & Roth in Cleveland, Ohio. Established with his father in Owatonna, Minnesota from 1957. He completed more than 200 instruments.

Igino (Iginius) Sderci (1884 - 1983) was born in Florence, Italy. From his earliest childhood he was interested in music & art. He studied sculpture in Siena and had a gift for wood carving. He devoted his entire career to making violins and made his fist violin without any supervision. Sderci was a prolific maker, making more than 700 instruments. He won many gold medals in his lifetime including several at the prestigious Stradivarius Exhibition at Cremona in 1937.

Sderci was taken under the wing of Leandro Bisiach who valued the young man's skills highly. In 1917 he went to his workshop in Milan. Under his guidance he refined his skills and worked with Leandro Bisiach for about 14 years before leaving for to establish his own workshop in Florence. Igino Sderci copied the models of Stradivarius and Guarneri, his instruments are full of character and made with utmost care. Without exception he used wood of the highest quality and fine varnish mainly of an amber-yellow shade.

 William Robert Scott

“With the audacity of youth, Scott presented a homemade viola to lutherie legends René Morel, Jacques Francais, Max Frirsz, and Vahakn Nigogosian. The feedback was generally positive, but they could tell Scott had no formal schooling. Likewise, in 1982, Scott entered a competition in which he won two certificates.

Two years later, he joined Hans Weisshaar in Los Angeles, where he apprenticed for two years. Working there provided Scott access to great instruments and an opportunity to examine and restore them. After two years, Scott returned to the Twin Cities and opened his own workshop where he continues to build violins, violas, and cellos based on famous historical models.

The work has paid off: Along with critical acclaim, Scott has garnered some impressive wins in competitions over the years. Most recently, at the Violin Society of America, he struck gold in 2000, 2004, and 2006—all for his violas. The 2000 and 2004 gold medals were awarded for his 16- inch Guadagnini interpretations, and the 2006 gold medal was for his 161/2-inch Andrea Guarneri ‘Conte Vitale’ copy. Winning gold in three competitions earned Scott the distinction ‘Hors Concours,’ French for ‘out of the competition.’”

-From an article in
Strings Magazine, 2007

William Whedbee (b. 1952)

“I was born in Hawaii in 1952 and came to Chicago in 1970 to attend the University of Chicago, graduating in 1974. During my years there I studied with Italian sculptor Virginio Ferrari and with musicologist Howard Brown. This combined interest in music and wood-sculpture led to my traveling to Cremona, Italy in 1976 to train at the Institute of Violin Making under Scarpini, Bulfari, Conia and Morassi.

I returned to Chicago in 1979 at the invitation of William Harris Lee to found and develop a violin-making workshop there. I returned to Chicago in 1979 at the invitation of William Harris Lee to found and develop a violin-making workshop there. During my twelve years with Lee, I personally built more than 400 violins, violas and cellos, as well as training and supervising nearly twenty violin-makers from around the world. I was also privileged to bring into the shop such fine makers as Tetsuo Matsuda, Gary Garavaglia, Bernardo Gutterman, and Michael Darnton. Since 1992 I have worked independently in my own workshop on Chicago's North Side, focusing primarily on building cellos in response to growing demand from players and teachers. I have now completed more than 140. The tone of my cellos meets with high praise from cellists and teachers around the world, including Alan Harris, Stephen Kates, Franz Helmerson, Hans Jorgen Jensen, Yehuda Hanani, Owen Carmen, Tanya Carey, Helga Winold, Richard Hirschl, and others. They are sought by students and professionals from Korea to Norway, and from Canada to Mexico.”

Fabienne Gauchet

Originally from Ducey, France, Gauchet trained at the Newark School of Violin Making and worked at Atelier de lutherie Talensac, Nantes, France, and Hills Fine Strings, Calgary, Canada. She is currently on staff at Wilder & Davis, and since 2000 has had her own workshop where she makes violins, violas, and cellos.

George Wulme-Hudson

Here is a fabulous article about this very interesting classic English maker Published in The Strad Magazine  Vol. 95 No. 1138  Feb. 1985



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