Considering that the quality of most products is crashing like a meteor, Sur La Table is still my…read morego to resource for outstanding kitchenware. Sure, you'll pay handsomely for the privilege but if you don't want the disposable fashion virus invading your cooking space and enjoy the feel of quality items that work, consider it an investment in your sanity. Five easy stars.

The worst cooking class I have ever been in the last 5 years. The station is made for 4 people, but…read morethere is space and ingredients only for one person to cook, therefore the others have to watch. All the ingredients are already cut and prepared, very basic knowledge are taught. Basically it is a watching cooking class. Not worthy at all.

clear that the case was dismissed for that reason alone:…read moreZaret has not pleaded special damages and, therefore, his claim cannot survive.4 4 Because Plaintiff has failed to plead an essential element of the cause of action, the Court shall not reach the other substantive and procedural issues discussed in Defendants' motions to dismiss. The Court never took exception to Dr. Zaret's abundant showing of McKay Strad's authenticity. Dr. Zaret's violin appears to be a genuine Stradivarius from the Master's later years. All indications are positive. Having been held in the same hands from 1924 to 1998, it was never registered. Nevertheless we adduced compelling evidence which was unrefuted: 1. 2. 3. 4. 5. Length of Back: the ideal length of back (LOB) for a violin is 353-355 mm. The McKay has been measured at 355 mm (Injejian), 356.6 mm (Pavia) and 357 mm (David Hill). The differential results from the manner in which the angle of the arch in the instrument neck is reconciled. Condition: both experts (Injejian and Fein) opined that the instrument is in excellent condition, meaning it's one of the very few concert quality Strads. Those in poor condition become artifacts. The McKay is performance quality. Attribution/ Authenticity: this feature is a primary determinant of value and requires a consensus of experts. This is reflected in the fact that once violin's genuineness is questioned, a substantial drop in its market valuation can be observed (Sagot-Duvauroux et al., 1992)In the instant D.R. Hill & Son, Injejian, and Fein attribute the instrument to Stradivari and his workshop. Robson, given his essential premise (Cochineal= Stradivari) agrees. Bonsey agreed prior to Leonhard's intervention. . Leonhard and Beare disagree, but for different reasons, with Leonhard saying it's a German copy of Ruggieri circa 1890's and Beare placing it origin earlier on in France. Leonhard nonetheless offered to prove authenticity if given a financial interest. Varnish: This variable is probably as important as any other among violin-related aspects of value (Anderson, 1974). It relates to sound potential. As stated above, Mr. Robson and the University of Pavia made positive identifications of Cochineal Varnish coating the violin and attesting to its maker as Stradivari and his Workshop. Mr. Beare cited varnish as his immediate reason for authenticating the Huberman Strad. Provenance/History: a prestigious provenance can be interpreted as a proof of superior quality and authenticity, and thus positively affect its price (de la Barre et al., 1994). Previous owners' reputation and whether the instrument actually performed in important concert halls reduce the likelihood of future challenges to authenticity. W.E. Hill & Sons in its day was the preeminent authority on rare violins. Its business records on Stradivari are unsurpassed. David Hill, heir to those records, recertified the McKay Strad in 2015. Mr. Hill certified that the violin was certified authentic by his predecessor not later than the 1890's. Her certified "good preservation" and 357 mm LOB. A famous collector, one Gordon McKay of Boston owned the

Stop scrolling and just go ahead and book an appointment with David. He's the one you're looking…read morefor. David is extremely knowledgable, very fair in his pricing, gentle with instruments and a pure delight to meet with. He even educated me on some design elements of my instrument I had no idea about. I couldn't have asked for better.

Terrific, exceptional, museum-quality work and restoration. The owners, Anatoly and Regina, are…read moreexperts in their craft. Not only are they a pleasure to work with (every time I meet with them they treat me like family), but they are extremely talented and do flawless work. I had bought antique soap dishes and porcelain that my cleaning lady broke, and not only did they reassure me they could restore my (very sentimental) belongings, but they actually delivered. Other reviewers note that there are no "rush jobs," and I would agree. They do take their time, but when it comes to fragile materials, you don't want your job to be rushed. Very impressed with them and hoping they can continue their business for as long as they have been in it - a very long time!

Although I initially enjoyed meeting the owner Anatoly I was very very disapppointed with my…read moreexperience with Ark Restoration. Not by their work, since I didn't actually have any work done, but with simple communication and professionalism. I stopped by in person in the summer of 2013 to ask if a small section of porcelain from a brass bed frame could be repaired. Anatoly said it would be difficult... especially since I did want to spend a lot.. but he said he would look into it and get back to me. I never heard from Anatoly once. I called him about 4 times over 7 months and he said there was no update. Whne I called to see if there was any update good or bad he said 'Try me again in a month or so'. That was it. Now some 7 months later without a single call to say 'Hey I can't help you' or a 'No luck but I'm still trying' I called him and got the usual 'I don't have anything for you' I told him how disappointed that I never recieved a single call or update even if it was to say he couldn't help. And I told him to keep the piece. I don't know if his lack of professionalism or common decency as a business owner was due to my project not being a lucrative piece for him. Or perhaps his workload being such that he didn't have a spare minute or two to update a customer... all I can say is, despite being my being very friendly and checking in with him, I felt ignored and unimportant.

Just a bit of a public service announcement, it's not actually a Gallery open to public display…read moreanymore. But, if you're looking to purchase pieces, you can book an appointment and I guess they'll discuss however all that goes. It seems like a very friendly place though, just from the short time I spent talking with someone there about Klimt information.

Visited them to view their "More Than Coffee Was Served", cafe culture of Vienna. Wonderful…read morepieces, beautiful sketches, painting, writings. There were a few Gustav Klimt pieces that were a unexpected plus.

They sure overcharge for bad - mediocre services. Went to get my eyelet fixed and for some reason…read moreno matter how much I try to tighten the bow it won't tighten to where I want it to be. My friend went to get her bow fixed here and they somehow managed to damage it and made her pay for the expenses. I have gotten excellent bow repairs for way cheaper. Total scam.

Unfriendly and imperious treatment. Rude and downright mean! I brought in a fabulous Henri cello…read morebow with excellent papers which I wanted to place on consignment. I was told that it had been repaired and was therefore not worth much. It was as if he wanted to take me down a peg or two. I turned around and sold it for a cool $65,000! So much for his expertise!

I have bought a number of Instruments and Bows at Auction from Tarisio. They have always been…read moreextremely friendly and highly professional in their dealings with me. I recommend them whole heartedly.

The pre-auction estimates stated by Tarisio are very inaccurate. I bought a Hill bow which had a…read moregrossly inflated pre-auction price. After I bought it Tarisio gave it a low insurance estimate. Buyer beware.