A Living Passion

Being a luthier, for me, means creating a living connection between nature, craftsmanship, and music. It means honoring a heritage while staying deeply connected to the present. It is shaping wood to reveal a voice. It is meeting musicians, supporting them, and inspiring one another. It is a profession of passion, precision, silence, and song.

"To embody the song of the bird."

"Incarner le chant de l'oiseau"

“Incarner le chant de l’oiseau”

My Approach

It may all have started during my childhood, at the age of butterfly hunting, when my grandmother gave me my first knife. From that moment on, my love for manual work, nature, and creating with my hands never left me.

Based in Provence since 2013, after a journey that took me from Mirecourt to Paris and then to London at Florian Leonhard Fine Violins, I have now been making string instruments for more than 20 years. My work focuses mainly on violins, but also violas and cellos.

A Path Between Art and Craft

My background was first musical, with a degree in musicology. I then completed full training at the National School of Lutherie in Mirecourt, which gave me solid foundations in a craft that is built over time. Being a luthier means combining gesture and listening, technical precision and artistic intuition.

The Song of the Bird

I like to say that my work is about embodying the song of a bird — bringing something greater than oneself, a voice, into a handmade object. A wooden instrument that radiates, vibrates, and projects. An instrument that resonates not only in the ears, but in the heart and the body.
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From the forest where spruce and maple grow, to the concert hall, passing through the workshop, there is a wonderful chain made of living matter, know-how, and human emotion. I am proud to be one link in that chain — the one that connects nature to the expression of human nature through music.

Between Precision and Intuition

Every instrument begins with the choice of wood. Then, around fifteen structural parameters that shape the sound must be carefully considered. These choices are rational — I measure density and resonance — but they are also sensory and intuitive. Something escapes me and guides me at the same time. The wood inspires me.

I allow myself to follow a movement, a desire, an impulse wherever it appears in the making process. I work with Balkan maple and Italian spruce. But the true material of my work is sound. I sculpt a sound — unique and alive — in harmony with the musician who will bring it to life. My gestures aim to be fluid, calm, almost like a dance. I like to believe that the state of mind in which I work — focus, peace, intuition — remains embedded in the instrument.

A living relationship with the musician

Every musician is unique — with their own temperament, sonic world, and expectations. I enjoy meeting them, listening to them play, observing them closely, in order to better understand what suits them, what they are looking for… and sometimes even what they don't yet dare to express. My work then consists in creating a custom-made instrument, one that meets the artist’s expectations, but also offers surprises — opening new doors and allowing them to develop their art with freedom and fluidity. This exchange continues over time, through fine-tuning and adjustments. It becomes a kind of dialogue, a co-creation, where each brings their own language, their listening, their sensitivity.

INSTRUMENTS

STRADIVARI

Kruse 1721 Model
Original Instrument & Handcrafted Copy

Deux violons en bois antique placés côte à côte sur un fond gris.Deux violons en bois avec dos brillant de couleur ambrée vus de l'arrière sur fond gris.Deux dos de violons en bois avec une finition brillante, posés sur des supports transparents.Dos de deux violons en bois avec des finitions en vernis brillant sur des supports transparents.Deux violons anciens en bois marron exposés sur des supports transparents devant un fond gris.Deux violons en bois sculpté aux reflets chauds posés sur des socles transparents, vus de dos sur fond gris.Deux violons en bois verni exposés sur des supports transparents devant un fond gris.Deux violons anciens en bois brun sur des supports transparents devant un fond gris.
Stradivari
Original & copie d'établi

The Heritage of the Masters

My work is inspired by the magnificent instruments of the great Italian masters such as Stradivari, Guarneri, Amati, Gagliano, Balestrieri, Ruggieri, and Guadagnini. I have been fortunate to study original instruments that passed through my workshop, allowing me to examine them in detail through photographs, precise measurements, and molds.

This research also extends to varnish, where I seek to recreate its patina and history, giving new instruments the soul and depth of those that have crossed centuries.

GAGLIANO

Year 1737
Original Instrument & Handcrafted Copy

Deux violons anciens en bois brun sur des supports transparents, fond gris.Deux violons anciens avec des corps en bois marron clair sur des supports transparents, fond gris.Deux violons en bois anciens placés sur des supports transparents devant un mur en pierre.Deux violons anciens en bois posés sur des supports transparents devant un mur en pierre beige.Deux chevilles et volutes en bois d'instruments à cordes posés devant un mur en pierre flou.Détail des chevilles d'accordage de deux violons en bois avec un mur en pierre flou en arrière-plan.Gros plan sur la volute et les chevilles de réglage en bois d'un violon posé sur une surface grise avec un mur en pierre flou en arrière-plan.Le haut du manche en bois poli d'un violon avec la volute et les chevilles visibles.Deux violons en bois ancien posés l'un sur l'autre avec une surface usée visible.Deux violons anciens en bois posés sur une table grise devant un mur en pierre claire.
Gagliano
Original & copie d'établi

Spécialisé dans la copie d’instruments anciens, mon travail s’inspire directement des chefs-d’œuvre passés entre mes mains : des instruments de maîtres italiens tels que Stradivari, Guarneri, Amati ou Gagliano.

L’étude minutieuse de ces modèles me permet d’en relever les moindres détails et d’en saisir l’esprit. Le vernis participe aussi à cette quête : sa patine et son histoire donnent à chaque création neuve l’âme d’un instrument plusieurs fois centenaire.

Stradivari Model

The Stradivari model is a symbol of excellence and harmony. It stands out for its majestic aesthetic, symmetrical lines, and refined craftsmanship. Its warm, balanced, and precise tone offers great harmonic richness: deep bass, silky midrange, and clear, brilliant highs. Its powerful yet subtle projection makes it ideal for large concert halls.

Dos d'un violon en bois brillant avec des détails de grain et une volute décorative sur la tête.
Violon Stradivarius faceVue arrière d'un violon en bois verni exhibant le grain détaillé du bois.Partie supérieure en bois verni d'un violon avec la volute et les chevilles d'accordage.Col de violon en bois verni avec la volute enroulée et les chevilles d'accordage visibles.
Tête et chevilles d'accordage en bois d'un violon vu de côté.Gros plan sur la volute et les mécaniques en bois d'un violon.Gros plan sur la volute et les chevilles d'accord d'un violon en bois verni.Vue en gros plan de la volute et des chevilles en bois d'un violon ancien.
Un violon en bois ancien posé verticalement avec détails visibles de la volute, des mécaniques et des cordes.
Violon brun ancien posé sur un support transparent devant un fond gris.Dos brillant et veiné d'un violon en bois sur fond clair.Violoncelle en bois brun vu de face sur fond clair.Vue arrière d'un violon en bois clair avec des nuances chaudes sur fond blanc.Col de violon en bois avec des chevilles d'accord sur fond clair.

Guarneri Model

The Guarneri del Gesù model is distinguished by its bold aesthetic and strong, assertive lines. Its sound is dark, dense, and powerful, with a rich and expressive texture. Earthy and dramatic, it offers great depth in the lower register, intensity in the highs, and exceptional responsiveness to nuance.

Dos d'un violon en bois verni avec des détails de grain visibles sur fond clair.Violon classique en bois brun avec cordes et chevalet visibles sur fond clair.
Violon ancien en bois avec cinq cordes et une finition patinée.Dos brillant en bois d'un violon avec des nuances de brun et d'orange, présenté sur fond clair.Volute en bois de la tête d'un violon avec des chevilles noires et une fine finition brillante.Volute en bois foncé et verni de la tête d'un violon avec mécaniques.
Gros plan sur la volute en bois d'un violon avec les chevilles d'accord.Gros plan sur la volute et les chevilles d'une tête de violon en bois poli.La volute et les chevilles d'accordage en bois sombre d'un violon vu de face sur fond clair.Col de violon en bois avec quatre chevilles d’accord foncées sur fond blanc.
Dos d'un violon en bois verni de couleur marron sur fond clair.Violon en bois ancien avec quatre cordes sur fond clair.Dos d'un violon en bois brillant avec des nuances de brun et orange sur fond clair.Violon en bois ancien avec une finition brun doré sur fond clair.Gros plan sur la volute et les mécaniques en bois d'un violon.Dos d'un violon en bois aux nuances chaudes posé verticalement sur un support transparent.Violon en bois avec quatre cordes vu de face sur fond blanc.Violon en bois avec un fond beige clair.Dos d'un violon en bois avec un magnifique motif de grain sous un éclairage naturel sur fond blanc.Partie supérieure en spirale en bois d'un violon avec chevilles d’accord sur fond gris.

Amati Model

Classic elegance and refinement define the Nicolo Amati model, emblematic of 17th-century violin making. Recognizable by its rounded forms and delicate aesthetic, it produces a pure, luminous tone that allows for great subtlety of expression. This violin charms with its nobility of sound, sensitivity, and depth.

Vue arrière d'un violon en bois avec un fini brillant et des détails de grain visibles.Violon en bois avec une finition vieillie, vu de face sur un fond gris.
Volute en bois sculpté d'un violon avec des chevilles noires sur un fond gris.Vue rapprochée de la volute et des mécaniques en bois d'un violon sur fond gris.Gros plan sur la tête d'un violon en bois avec les chevilles de réglage et les cordes visibles.
Violon en bois brun sur un support transparent avec un fond gris uni.Dos d'un violon en bois verni avec un fond beige clair.Violon en bois brun sur un support transparent devant un fond gris.Vue arrière d'un violon en bois posé sur un support transparent devant un fond gris.Gros plan sur la volute et les chevilles en bois d'un violon avec quatre cordes.Partie supérieure d'un violon en bois avec les chevilles d'accord visibles sur un fond gris texturé.Partie supérieure en bois brun poli du manche d'un violon avec la volute en spirale et les chevilles d'accordage.

Gagliano Model

The Gagliano model represents Neapolitan lutherie of the 18th century. It offers a warm, expressive sound, with rich midrange and bright clarity in the upper register. Its balanced projection and flexibility make it an ideal choice for lyrical playing.

Dos d'un violon en bois verni aux reflets dorés sur fond gris.Violon en bois avec table d'harmonie usée et cordes tendues sur fond gris.
Violon en bois brun vu de face avec ses cordes et son chevalet.Dos d'un violon en bois avec des motifs de grain distincts.
Plan rapproché de la tête d'un violon en bois avec ses quatre chevilles de réglage visibles.Gros plan sur la volute et les mécaniques en bois noir d'un violon ancien.Plan rapproché du cheviller d'un violon en bois avec des mécaniques noires sur fond gris.

Testimonials

Marie Duquesnoy

Principal Second Violin, Rotterdam Philharmonic Orchestra

“This violin marked a turning point in my development as a musician from the very first weeks...“

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Marie Duquesnoy
Principal Second Violin, Rotterdam Philharmonic Orchestra

This violin marked a turning point in my development as a musician from the very first weeks. I very quickly felt that I knew the instrument and could fully trust it. I particularly appreciate the warmth, presence, and stability of my violin.
Only two months after receiving it, I won First Prize at the Flaine International Competition during the summer academy. What struck me most was that all the professors present came to congratulate me, but very quickly asked: ‘What violin are you playing? It sounds amazing!’ Their surprise when they learned that the violin was only two months old was huge, and several of them later ordered instruments from Bogidar.
This violin has accompanied me since 2017 through my admission to the Paris Conservatory, my master’s degree in Germany, the Paris Orchestra Academy, and the Royal Concertgebouw Orchestra Academy in Amsterdam. It still accompanies me today on stage, notably with the Rotterdam Philharmonic Orchestra and with the Esh Quartet at the Queen Elisabeth Music Chapel.

Romance Leroy

Violinist, Orchestre National du Capitole de Toulouse

"Since 2014, my violin has accompanied me on my musical path. It is not just an instrument: it has become a part of me…“

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Romance Leroy
Violinist, Orchestre National du Capitole de Toulouse

Since 2014, my violin has accompanied me on my musical path. It is not just an instrument: it has become a part of me, an extension of my body, thanks to Bogidar’s talent and attentive listening, which allowed him to give it all the qualities and singularities I was looking for.
I have gone through many crucial stages of my musical and personal development with this violin, and every day we continue to grow together. Although I know it by heart, my exploration continues daily with great pleasure, and its warm, brilliant tone never ceases to surprise me.
It adapts perfectly to all musical settings, from solo repertoire where its brilliance truly shines, to chamber music where its roundness blends beautifully with other timbres, and even in the orchestra where it integrates seamlessly into the sound.
I am convinced that I could not have found a better partnership. Our journey together will be long and filled with beautiful music.

Crédit photo Pierre Beteille

Valentin Seignez-Bacquet

Violinist

“I met Bogidar in 2017 during my studies at the CNSM, and since then it has been a true joy to play one of his violins…“

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Valentin Seignez-Bacquet
Violinist

I met Bogidar in 2017 during my studies at the CNSM, and since then it has been a true joy to play one of his violins. His work combines finesse, accuracy, and a deep understanding of the musician’s needs.
Always attentive and focused on the smallest details, Bogidar constantly seeks to bring out the very best in each player. More than just a professional relationship, he has also become a true friend, whose kindness and passion can be felt in every one of his violins.

Yumiko Yumiba

Violinist Soloist

"From the moment I first played the violin, I was captivated by its beautiful tone…“

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Yumiko Yumiba
Violinist Soloist

From the moment I first played the violin, I was captivated by its beautiful tone. I am really grateful that this instrument has become my own.
Since then I have continued my musical journey with this instrument. The more I develop as a violinist, the more new sounds I discover. It is powerful as well as beautiful. When I performed a violin concerto at the Severance Music Center in Cleveland, the sound resonated beautifully throughout the large concert hall. I am excited to continue my musical journey with this violin.

Yves Desmons

Violinist, teacher, former concertmaster of the Opéra de Marseille Orchestra

"I met Bogidar about ten years ago and was immediately captivated by the beauty and sound quality of his violins…"

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Yves Desmons
Violinist, teacher, former concertmaster of the Opéra de Marseille Orchestra

I met Bogidar about ten years ago and was immediately captivated by the beauty and sound quality of his violins.
I ordered both a Stradivari model and an Amati model, and the pleasure of playing them is truly unique and authentic. Today, I appreciate these instruments so much that I have set aside my Italian Gagliano violin.
In addition to being a talented luthier, Bogidar is a wonderful person, and I am delighted to share this experience.

Patrick Chemla

Violinist

"It was not only the aesthetic beauty of Bogidar Vermand’s violins that impressed me during our first encounter…"

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Patrick Chemla
Violinist

It was not only the aesthetic beauty of Bogidar Vermand’s violins that impressed me during our first meeting, but also their remarkable, varied, rich, and complex timbre, as well as the depth and breadth of their sound.
Bogidar Vermand made two instruments for me — a Guarneri del Gesù model and a Stradivari model — which I play with great joy. These are instruments of outstanding craftsmanship and full, generous sound, providing ease and comfort in playing, and allowing violinists to fully open the path to musical expression.

https://www.patrick-chemla.net/

Manuel Solans

Musician and pedagogue

"From our very first meeting in 2012, I was won over by the sincerity and quality of our exchanges…"

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Manuel Solans
Musicien et pédagogue

From our very first meeting in 2012, I was won over by the sincerity and quality of our exchanges, but above all by the efficiency and responsiveness of Bogidar Vermand in sound research.
This has been fundamental to our relationship, as it can sometimes be difficult for a musician in search of a ‘soulmate’ instrument to express how unsuitable their current instrument may feel.
Richness, generosity, timbre, and tonal balance are now constant characteristics of Bogidar Vermand’s instruments.
The diversity of his models — Amati, Gagliano, Guarneri, Ruggeri, Stradivari — offers a remarkable range of instruments with very different characters and contrasting sound personalities. Each musician can find an instrument that reveals their inner voice and the sound they are seeking.
This diversity also allows everyone to find an instrument perfectly suited to their physique and playing comfort.Many of my former students, now professional musicians and sometimes soloists, continue their careers with an instrument by Bogidar Vermand chosen during their studies.
This is why, in my view, Bogidar Vermand represents one of the vital forces of contemporary lutherie today.

Stefan Stalanowski

Former concertmaster of the Orchestre National de Lille

"After hearing my friend Yves Desmons perform the Korngold Concerto on a Stradivari model violin made by Bogidar Vermand…"

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Stefan Stalanowski
Former concertmaster of the Orchestre National de Lille – Prizewinner of the Wieniawski, Paganini, Jacques Thibaud and Prague Spring compétitions

After hearing my friend Yves Desmons perform the Korngold Concerto on a Stradivari model violin made by Bogidar Vermand, and being deeply impressed by its sound qualities, I acquired a Guarneri del Gesù model from him in January 2024.
Its sound is broad and powerful, with beautiful low registers. When playing it, I rediscovered the type of sound found in Henryk Szeryng’s recordings of Bach’s Sonatas and Partitas, particularly in the Chaconne.
Through this copy, one finds the typical sound qualities of Guarneri del Gesù, beyond its very successful aesthetic. Despite its youth, the instrument is evolving extremely well, which promises extraordinary qualities for the future.

Sophie Maurel

Violinist, Orchestre National de l’Opéra de Paris

"My first encounter with Bogidar dates back about ten years, when I wished to acquire a copy of my violin…"

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Sophie Maurel
Violinist, Orchestre National de l’Opéra de Paris

My first encounter with Bogidar dates back about ten years, when I wished to acquire a copy of my violin. The result was fantastic, both in terms of visual resemblance to the original and closeness to its sound.
Since then, I have had many opportunities and great pleasure trying several models in his workshop (Guarneri, Stradivari, Gagliano, Amati). Beyond aesthetic fidelity, what truly impresses is the richness and personality of the sound.
What stands out is the controlled power and extraordinary projection, making these instruments alive, sensitive, luminous, and richly responsive to the musician’s playing.
I remain deeply impressed by Bogidar’s work and the constant evolution of his creations. As a lover of lyrical repertoire, I am particularly sensitive to the depth of tone and emotional intensity that emerges.
The trust built with Bogidar is essential. His listening, precision in adjustments, and fine understanding of musicians’ needs make all the difference. This results in instruments of great nobility of sound.

Giovanni Radivo

Concertmaster, Orchestre National de Lyon

"Bogidar’s violin is both beautiful and powerful. Its expressive sound can be broad and deep, but also velvety and ethereal…"

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Giovanni Radivo
Concertmaster, Orchestre National de Lyon

Bogidar’s violin is both beautiful and powerful. Its expressive sound can be broad and deep, but also velvety and ethereal, allowing me to develop a wide palette of colors. It is the ideal partner for my concerts.

Alexandre Boyenval

Passionate violinist

"Having had the chance, pleasure, and honor of playing Bogidar’s instruments for over 15 years…"

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Alexandre Boyenval
Passionate violinist

Having had the chance, pleasure, and honor of playing Bogidar’s instruments for over 15 years, I can only testify to their exceptional aesthetic and sound quality.
Currently the happy owner of a beautiful Del Gesù-inspired model, I am amazed every day when opening the case. The sound is broad and rich, with deep lows and silky highs. The instrument’s capacity for tonal evolution seems limitless, and it responds perfectly regardless of the strings used.

Lucia Barathova

Violinist, Orchestre National de Lille

"It was by chance that Bogidar’s violin crossed my path. While accompanying a friend to a lutherie exhibition…"

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Lucia Barathova
Violinist, Orchestre National de Lille

It was by chance that Bogidar’s violin crossed my path. While accompanying a friend to a lutherie exhibition, I tried his violins and immediately fell in love with the Stradivari model.Its warm yet powerful sound completely charmed me. I felt as if I had been playing this violin all my life.

ORDERING AN INSTRUMENT

A Living Relationship with the Musician

My work is made to order, with lead times that vary depending on my current schedule.
Once your place is reserved, we take the time to define together the key aspects of your project: the model, the choice of woods, the varnish, the fittings... all important decisions I enjoy sharing with each musician. Upon delivery, you benefit from a trial period.
This is the perfect time to test the instrument, compare it, fine-tune the setup, and discover its full potential. It’s essential that you feel fully convinced before confirming the purchase of your future musical companion.
In the vast majority of cases — over 99% of orders — the meeting between musician and instrument happens naturally. Welcome, then, to the family! I do not ask for a deposit: what matters most to me is the musician’s genuine desire to receive an inspiring instrument. That, in my eyes, is the key to any meaningful creation.
Feel free to contact me for current lead times and pricing.

Contact

Antonio Stradivari 1721 “Kruse”et sa copie d’établi Bogidar Vermand 2017

Gros plan sur la volute en bois et les chevilles d'un violon avec quatre cordes visibles.

Workshop

Chien couché dans un panier sur un rebord de fenêtre baigné de soleil, avec un violon posé sur une table en premier plan.Atelier de luthier lumineux avec un violon non verni sur une grande table en bois et des lampes vertes articulées.Gros plan sur la tête et les clés d'un violon en bois avec plusieurs violons flous en arrière-plan.Deux violons anciens posés sur une table avec une grande plante et un tableau en arrière-plan.Gros plan sur les corps en bois richement grainés de deux violons anciens avec cordes visibles.Rangée de volutes blanches de violon en bois exposées sur un support en bois.Deux mains ajustant la corde d'un violon sur le chevalet en bois.Un homme en tablier tenant un violon face arrière assis à côté d'un chien, avec deux autres violons exposés derrière lui devant une fenêtre.
Mains ajustant une corde violette d'un violon posé sur une surface verte.Atelier de luthier avec un établi en bois, des outils suspendus sur un panneau en liège et un violon en cours de fabrication.Main tenant une poignée en bois parmi une rangée d'outils d'ébénisterie alignés sur un établi en bois dans un atelier de lutherie.Atelier de luthier avec établi en bois équipé d'outils, lampes vertes, violon en cours de fabrication, et étagères contenant des violons finis et des matériaux.Artisan sculptant à la main le manche en bois clair d'un violon.Quatre violons en bois posés alignés sur une table en atelier de luthier avec outils flous en arrière-plan.Un violon en bois ancien est posé devant un cadre contenant une peinture abstraite aux teintes grises, bleues et brunes, sur une surface en marbre.Gros plan sur plusieurs violons suspendus en bois verni, avec mise au point sur les corps et les cordes.Salle lumineuse avec fenêtres voûtées, deux fauteuils en cuir marron sur un tapis, plante verte et table avec plusieurs violons posés dessus.Quatre violons en bois posés en ligne sur une surface réfléchissante.Quatre violons accrochés sur un mur vert avec deux archets posés sur une surface en bois clair en dessous, accompagnés de deux cartes de visite.Deux violons anciens en bois posés sur une table, avec un décor flou en arrière-plan.Quatre violons en bois ancien alignés sur une surface en bois avec des outils flous en arrière-plan.Un violoncelle en bois poli posé sur une table en marbre dans une pièce lumineuse avec des chaises en cuir rouge et une grande fenêtre donnant sur un jardin.Gros plan sur un violon en bois avec reflet dans une vitrine.Une personne utilise un rabot manuel pour travailler une planche de bois sur un établi, avec des copeaux de bois visibles au premier plan.Plusieurs violons en bois poli alignés sur une surface en marbre.Deux violons anciens posés sur des supports noirs sur une surface en marbre avec un fond beige.Détails des dos en bois brillant de plusieurs violons alignés.Plusieurs violons en bois ancien alignés les uns derrière les autres.Artisan travaillant le bois d'un violon avec un outil de sculpture.Armoire en bois avec plusieurs tiroirs vitrines contenant des bocaux de différentes tailles remplis d’épices, herbes et ingrédients divers.Plusieurs violons anciens alignés sur une surface réfléchissante, avec mise au point sur le premier violon.Deux étagères murales en bois avec des chevilles et silhouettes de violons en cours de fabrication, sous une photo de deux violons finis.Deux cartes de visite blanches avec le logo et le nom Bogidar Vermand Luthier, et une carte sombre avec un QR code posées sur une table en bois avec deux archets de violon en arrière-plan.Quatre violons en bois posés sur une surface réfléchissante avec un fond clair.

Contact

Bogidar VERMAND 
80 Rue du Capitaine Crillon
84410 Crillon-le-Brave
+336 64 04 67 56
contact@bogidarvermand.com