Lord Wilton’ Guarneri ‘del Gesù’ violin 1742 poster
Once the concert instrument of Yehudi Menuhin, this magnificent violin makes an interesting contrast with the ‘Alard’ of the same year
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‘Rovelli’ Guarneri ‘del Gesù’ violin 1742 poster
The 1742 'Rovelli' can be considered a twin to the 'Alard' Guarneri from the same year. Named for the 19th-century Italian virtuoso Pietro Rovelli, it has most recently been the principal performing instrument of Liya Petrova.
'The "Rovelli" and the "Alard" were built on the same mould, covered with the same golden-brown oil-based varnish, and purfled with the same poplar strips. Their heads are much alike, as are their short corners, their channelled edges and their blackened rib mitres.' – Frédéric Chaudière in the July 2026 edition of The Strad.
Nicolò Amati cello 1642 poster
One of only seven surviving cellos by Nicolò Amati, this is one of the few Baroque cellos that has never been altered or cut down. Now played by British cellist Jamie Walton, it is a stunning instrument in an excellent state of preservation.
'This extraordinary instrument from 1642 is striking in every possible way: the sculpture of the full and powerful archings; the simple and elegant edges; the balance of the design of the f-holes; the elegance of the scroll cut; and the varnish, from which the observer’s eye cannot detach itself' - Alberto Giordano in the February 2026 issue of The Strad.
‘Kreisler’ Guarneri ‘del Gesù’ violin 1733 poster
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Jacob Stainer violin 1679 poster
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‘Kochanski’ Guarneri ‘del Gesù’ violin 1741 poster
One of The Strad's most popular posters is now available with brand new artwork showing the 1741 'Kochanski' Guarneri ‘del Gesù’ in all its glory.
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Nicolò Amati violin 1666 poster
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‘Milanollo’ Stradivari violin 1728 poster
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‘De Munck’ Stradivari cello 1730 poster
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‘Alard’ Guarneri ‘del Gesù’ violin 1742 poster
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G.P. Maggini violin c.1630 poster
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‘Schneider’ Gofriller cello 1693 poster
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Carlo Giuseppe Testore violin c.1703 poster
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Pietro Guarneri of Mantua violin 1704 poster
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Andrea Amati violin c.1566 poster
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‘Kruse’ Stradivari violin 1721 poster
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Domenico Montagnana violin 1717 poster
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Gasparo da Salò double bass c.1550 poster
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Carlo Bergonzi violin 1736 Poster
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Brothers Amati cello c.1600 poster
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Antonio Stradivari ‘Titian’ violin 1715 poster
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Jacob Stainer tenor viola c. 1650 poster
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Guarneri ‘del Gesù’ ‘Cessole’ violin 1736 poster
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Antonio Stradivari ‘Messiah’ violin 1716 poster
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Guarneri ‘del Gesù’ ‘Plowden’ violin 1735 poster
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Antonio Stradivari ‘Saveuse’ cello 1726 poster
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Francesco Rugeri violin 1686
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Jean-Baptiste Vuillaume cello 1865 poster
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Antonio Stradivari ‘Huberman’ violin 1713 poster
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Guarneri ‘del Gesù’ ‘Brusilow’ violin 1743 poster
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Antonio Stradivari ‘Benvenuti’ Violin 1727 poster
Full-colour micro-CT scans, with all the scanned images actual-size reproductions of the instrument.
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‘Armingaud, Fernández Blanco’ Guarneri ‘del Gesù’ violin 1732 poster
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Antonio Stradivari ‘Dancla’ violin 1708 poster
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‘Vieuxtemps’ Guarneri ‘del Gesù’ 1741 poster
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Antonio Stradivari ‘Cecil’ violin 1724 poster
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Antonio Stradivari ‘Gustav Mahler’ viola 1672 poster
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Nicolò Amati ‘Romanov’ Viola 1677 Poster
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Antonio Stradivari 1694 ‘Benecke’ violin
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Antonio Stradivari ‘Willemotte’ violin 1734
Poster includes measurements, thickness maps and life-size CT scans.
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Carlo Bergonzi ‘Baron Knoop’ violin 1735 poster
Includes measurements, thickness and arching maps and life-size micro-CT scans.
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Antonio Stradivari ‘Archinto’ viola 1696 poster
Includes measurements, thickness and arching maps.
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G.B. Guadagnini ‘Cozio’ viola 1773 poster
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Girolamo Amati II violin 1671 poster
The son of Nicolò Amati, Girolamo Amati II was the last instrument maker of the illustrious Amati dynasty. Although he made fewer violins than his forebears, the ones that have survived show the work of a skilled luthier in his prime. This violin, made in the early part of his career, is a pristine example of his craftsmanship and shows many stylistic similarities to the work of his father. It is now housed in the Royal Academy of Music.
’The maple is delicately figured on the back and ribs, and plain for the neck-block. It has been perfectly quarter-cut. Unevenly scattered bearclaw figure ruffles the surface of the one-piece spruce front' – Barbara Meyer in the July 2022 issue
Read more in The Strad
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Antonio Stradivari ‘Harrison’ violin 1693 poster
A perfect example of Stradivari's Long Pattern, the 'Harrison' was for many years the principal performing instrument of Kyung Wha Chung. It is now part of the collection of the National Music Museum in Vermillion, South Dakota, US.
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Antonio Stradivari ‘King Carlos IV’ violin 1709 poster – NEW IN
The ‘King Carlos IV’ is one of the few instruments remaining from the collection of the Spanish king, who ruled from 1788 to 1808. Made during Stradivari’s ‘golden period’, it is one of the rare examples that is so well preserved that its sound is seldom matched by other violins of the era. The maple back has deep, wide flames descending slightly, which shimmer like water in the light. The scroll is incredibly round and bold, displaying an ultimate strength in making.
****NEW IN**** Now shippingSubscribe to The Strad and receive a FREE copy of this poster with your first issue (July 2023)
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Antonio Stradivari ‘Boissier, Sarasate’ violin 1713 poster
Made during Antonio's Stradivari's so-called 'golden period', the 1713 'Boissier, Sarasate' is in an excellent state of preservation. Housed in the museum of the Madrid Royal Conservatoire, it has rarely been played since it was left to the music school by its last owner, the Spanish virtuoso Pablo Sarasate. This poster includes full outlines and measurements taken from a state-of-the-art 3D scan of the instrument.
'The surface retains a very good amount of varnish. It is remarkable that it has not been ‘protected’ with a layer of French polish, making it ever more outstanding and appreciated in today’s shop standards. The colour of the varnish is a light reddish-brown over Stradivari’s wonderful golden ground.' – Roberto Jardón Rico in the January 2024 issue of The StradOur posters are shipped separately from other products. One tube can hold up to 10 posters. Save on postage costs by purchasing up to 10 posters per tube today.
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Carlo Bergonzi ‘Salabue, Martzy’ violin 1733 poster
This stunning instrument, still in immaculate condition, bears all the hallmarks of the luthier Carlo Bergonzi, who moved into Antonio Stradivari's workshop following the latter's death. The famed instrument collector Count Cozio di Salabue called it 'my largest and most beautiful Bergonzi'. It was later used as the principal performing instrument of Hungarian virtuoso Johanna Martzy (1924–79).
'The f-holes of the ‘Salabue, Martzy’ are bold and distinctive. In concept, they derive from a Stradivari model but the stems are more angled and the wings are broader' - Jason Price in the July 2024 edition of The Strad.
***Product not included in any current discount offers***
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Montagnana c.1720–Guarneri ‘del Gesù’ c.1742 ‘Paderewski, Wendling’ violin
This is a unique instrument with a body by Montagnana and a top plate by Guarneri 'del Gesù'. Artists such as Vilde Frang, Isabelle Faust and Augustin Dumay have unanimously praised the violin's sound, recognising its unmistakably ‘del Gesù’ character, with dark basses, great projection and a particularly warm and open E string.
'The large Venetian model combined with the distinctive ‘del Gesù’ front arching, well-preserved thickness and f-holes, offers a particularly attractive and inspiring reference model.' - Balthazar Soulier in the January 2025 issue.
Domenico Montagnana ‘Farina’ cello 1730 poster
Domenico Montagnana was possibly the greatest cello maker in history, and the 1730 'Farina' was made during the period when he was at the height of his powers. Unlike most Montagnana cellos, it has never been cut down and retains its original proportions. Now owned by the Cincinnati Symphony Orchestra, the instrument has a very powerful sound with a wide array of colours. Previous owners have included May Mukle, one of the first successful female cello soloists.
'The abundant famous Venetian varnish is of a rich, dark red colour, with a fascinating array of textures and patinas. In the areas where the varnish has worn off, a beautiful golden amber ground is revealed. As with most uncut Montagnana cellos, the outline is wide in the upper bouts and corners, and deeply swept in at the C-bouts, with big, broad lower bouts.' - John Waddle and Steve Sirr in the July 2025 edition of The Strad.
'When making recordings, the sound engineer has to turn down my microphone because it sounds up to eight decibels louder than any other cello' - Ilya Finkelshteyn, principal cellist, Cincinnati Symphony Orchestra
Find out how more than 30 luthiers collaborated to build a copy of the c.1730 ‘Farina’ in the November 2023 Strad magazine article, "COPYING A MONTAGNANA CELLO – Robin Aitchison reports from the annual Oberlin Violin Makers Workshop"