Prices,  10-2017  ($)
                   Instrument    Original Maker      Date     String Length*    Traditional     Essential 

Small Bass          H. Jaye                 1624              67                  9,500            7600

 Bass                    H. Jaye              c.1620              69                   9,800           7,850 

 Bass                     R. Meares           1660              69                        "                   "   

 Bass                    H. Jaye                 1619              74                 10,200           8,200

7 String Bass      M. Collichon        1683            69-70               9,700            8,300

          7 String Bass      M. Collichon        1691            72-73              10,000           8,500

           Tenor                    J. Rose                1598                58                 8,500            6,800

           Tenor                   H. Jaye               c.1660              54                      "                    "   

           Treble                J. Hoskins               1608               39                   7,600           6,100

           Treble                  H. Jaye                c.1620               37                      "                   "   

           Pardessus         M. Collichon         c.1680              33                      "                   "   

*all string length can be varied in small amounts.   
 My viols are built from fine, well seasoned woods, with a 5 or 7 piece “bent front” of European or Engelmann spruce;  backs, ribs and neck of figured European maple; a traditional "open" scroll; double purfling on front and back for English viols; ebony veneered fingerboard and tailpiece and finished with a  slight patina of age, using colored pigments and oil varnish and fitted with ebony pegs.

The the 7 string Collichons are made with single purfling on the front and can be made with figured walnut and cherry, as were the originals.

My Viols are derived from original instruments in shapes, dimensions, proportions, and "conception." The idea of making true copies is a complicated topic worthy of an  in depth discussion. Very few original instruments survive in original condition with their original construction and parts intact. What is not known about a particular historical instrument is derived from observations of other similar surviving instruments and iconography of the time and place.

     I also can do additional, decorative purfling work, copied or derived from original designs but I believe in keeping the decorations on the body minimal, as I am concerned about it's effect on the acoustics of the instrument.

       All the models I make are available in what I refer to as my "Essential" style instruments. The idea is to simplify or eliminate certain decorative and (what I consider) other non-essential elements in order to make an instrument that plays, sounds and performs just as well as my fully decorated viols. I feel the end result  looks the part and still has all the "essential" elements.  

      These are not student instruments. All the wood and construction are of the same quality as my traditional, fully decorated instruments. Some people may even prefer the understated look of these instruments.  With my own simple scroll design, some of the elements, like non-veneered maple fingerboards, were historically common, as was walnut and cherry used for backs and ribs.

       Using the same fine, well seasoned woods for tops, backs, ribs and necks and careful construction methods and finish, the differences from the my "Historical" copies are:

1. one single decorative purfling inlay on the front only (original Collichon instruments already had this)
2. a solid figured maple or cherry fingerboard and tailpiece (originally fairly common) 
3. a simplified, "original" scroll design
4. original or optional scalloped'  "C"  or flame sound holes
5. other options include 2, 3 piece (or more) backs of alternating woods, of maple, walnut or cherry;  partially or fully bound fingerboards and tailpieces, unique finish colours... 

      A customised mix of traditional and "essential" elements is possible..

      Normally I supply custom fit cases from Kingham Case of England. A good case is necessary to protect the instrument from damage and is the easiest way to control its exposure to humidity changes. The case is provided at my cost and is in addition to the instrument price and varies with exchange rates. For those who need a flight case for air travel, there are other options for this. I cannot fully guarantee an instrument without a good quality, well fitting hard-shell case. Please contact me for further discussion about cases.

       For orders, a deposit of 10% of the instrument price is requested to put you on the list and give you
an approximate completion time for your instrument. When I begin the instrument, another 20-30% may be requested. The remainder is due at the time of delivery. Current waiting time is about 6 months.

   My instruments are covered by a lifetime warranty to the original owner.