All Lutherie articles
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FocusWhat violin does Nemanja Radulović play?
Luthier Francesco Coquoz shares thoughts on Radulović’s violin
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Premium ❘ FeatureMaking history: Pressenda double bass
Until now, it was believed that the Turin-based luthier Giovanni Francesco Pressenda had never made a double bass. Tsutomu Miyasaka reveals how an instrument was recently identified that rewrote the story
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Premium ❘ FeatureMaking Matters: an expert team varnishes a copy of the ‘Farina’ Montagnana cello
Mark Schnurr looks back at the process of varnishing a copy of the 1730 ‘Farina’ Montagnana cello at the 2024 Oberlin Violin Making Workshop
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Premium ❘ FeatureIn Focus: An 1822 violin by Georges Chanot I
Jonathan Marolle examines the French maker’s early instrument
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Premium ❘ FeatureMy Space: Francisco Núñez Gómez’s Santa Ana workshop
The maker presents his shop, located in Costa Rica
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Premium ❘ FeatureTrade Secrets: Making a paper template for a scroll
A procedure that allows for accurate reproduction as well as being a stimulant to creativity
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Focus’A distinctive golden aura’: cellist Jamie Walton on the 1642 Nicolò Amati cello
Jamie Walton, the current custodian of the Amati cello, reflects on its sound and projection
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Premium ❘ ArticleAnalysis February 2026: A decision on the fate of pernambuco
With the recent decision to keep pernambuco wood on CITES Appendix II, but with added restrictions, what are the implications for bow makers, dealers, auction houses and musicians?
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Premium ❘ FeatureIn the layers of light: the ground coat
What is the ground coat – and more importantly, what is it for? Pierre Flavetta examines the properties and visual effects of this mysterious pre-varnish instrument coating
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NewsWinners announced at Philharmonie de Paris 2026 viola making competition
Andreas Hampel took the top prize in the French capital, with Piotr Pielaszek, Marcus Klimke and Jonathan Magerl also picking up awards
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Premium ❘ FeatureSeven, they are seven: Nicolò Amati cello 1642
One of only seven known cellos by Nicolò Amati, this 1642 example is in an excellent state of preservation. Alberto Giordano examines its history and provenance, while Barthélemy Garnier discovers what its condition can tell us about the old Cremonese working methods, and Francesco Piasentini discusses CT-scanning the cello
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Focus‘Never will I part with it as long as I live’: Paganini’s quartet of Strads
Tully Potter takes a closer look at the four Stradivari instruments formerly owned by Paganini, and later played by the Paganini Quartet
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Premium ❘ FeatureBending the rules: arching constructions
How can luthiers create an instrument’s arching from scratch? Sebastian Gonzalez presents a possible solution to an age-old dilemma, using simple formulas and the latest technology
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Premium ❘ FeatureDiscovering a Stradivari and Guarneri - From the archive: January 1896
John Tiplady Carrodus died in 1895. Violin dealer David Laurie recalls how he discovered a Stradivari and Guarneri that he sold to the renowned violinist
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Premium ❘ FeatureMy Space: Jordan Lambert’s Tahiti workshop
The luthier presents his shop in ’Ātihā, Mo’orea
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Premium ❘ FocusAuction Report January 2026: Lights in the darkness
A brace of Gaglianos and a cavalcade of Sartory bows were among the highlights of London’s October sales, as Kevin MacDonald reports
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Premium ❘ FeatureTrade Secrets: Extending the reach of metal F-clamps
Making wooden jaws for a lighter, safer long-reach clamping alternative
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Focus‘The closest thing to the human voice’: violinist Stella Chen on her Strads
Our January 2026 cover star discusses the Stradivari violins she has played throughout her career
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Premium ❘ FeatureIn Focus: 1821 violin by Carl Nicolaus Sawicki
Wolfhart Schuster examines an instrument by the Polish maker
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Premium ❘ FeatureMaking Matters: How to make a big-sounding viola for smaller players
Maj-Lisa Herzberg presents her innovative solution to the question of how to build a big-sounding viola for a small person
