Henry Richard Knopf

Made in 1903, New York by German maker Henry Richard Knopf and is healthy after restoration.  It features PegHeds, a Horvat tailpiece, Chris Dungey endpin.  Contact us for more details.
Back length 760 mm
Upper bouts  340 mm
Lower bouts  430 mm
String length  715 mm

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  • Horvat & Gunst

    From our Professional Series, we start with a European white cello, and our luthier takes over.  The top is removed and interior work performed by Damir Horvat, then it’s hand varnished for a beautiful finish.  Chuck Herin installs all our Pegheds.  The setup includes a ConCarbo unidirectional CF tailpiece, a Belgian bridge, Versum/Rondo Strings, and a NHM fitting for 10mm endpin (10 varieties of rod from which to choose).

    Back length  760 mm
    Upper bouts  360 mm
    Lower bouts  445 mm
    String length  700 mm

  • Bronek Cison

    Grancino model (2014), made in Chicago by Polish luthier Bronek Cison features a beautiful one-piece back.  Pegheds (with stubby C for those used to Posture Pegs) have been installed by Chuck Herin.

    Back length  750 mm
    Upper bouts  345 mm
    Lower bouts  445 mm
    String length  695 mm

  • 7/8ths size Scott Cao

    This model 017 (2016) is carved of Chinese tonewoods and has been set up here with ebony Pegheds, a French bridge, Akusticus tailpiece, and a NHM composite fitting with 8mm carbon fiber endpin.  7/8th cellos vary in dimensions and proportions which is good, because so do cellists.  Pay attention to the string length if your current cello isn’t a good fit for your hand and intonation.  We can discuss the other dimensions that matter if you contact us.  But it’s how they all come together to fit you.

    Back length  725 mm
    Upper bouts  335 mm
    Lower couts  425 mm
    String length  675mm

  • 5-String Cello

    Having received inquiries about converting a cello to a 5-string, we took a new 4-string to Chuck Herin of PegHeads fame.  He installed Pegheds and made a special fingerboard that obviates the need to replace the neck.  It is wider with a radius that allows for standard spacing between all strings.  The slight overhang of the fingerboard can be seen in the back view of the cello, but it in no way interferes with playing.  You don’t make contact with the edge, and cellists who have tried the cello like the fact the neck remains thin.  This is a prototype.  The idea of the conversion is to take a cello you know and love, but want to add the 5th string.