Lutherie – Page 47
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Premium ❘ FeatureLike Fathers, Like Sons
This year marks the 50th anniversary of the death of Émile Auguste Ouchard, as well as the 40th of his son Bernard – both regarded as among the 20th century’s finest bow makers. Thomas Martin, Andrew McGill, Martin Lawrence and George Martin examine the legacy of the Ouchard dynasty, particularly ...
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Premium ❘ GalleryFrom the Archive: the ‘General Kyd’ Stradivarius violin, Cremona, 1714
This illustration of the ‘General Kyd’ Stradivarius was published in The Strad, January 1962. The following text is extracted from the article accompanying the photographs
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FocusI shy away from copying models that are too individual, says violin maker Sam Zygmuntowicz
The luthier's favourite instruments provide ideal models for his own making
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Premium ❘ GalleryFrom the Archive: an ornamented violin believed to be the work of J.B. Vuillaume
This illustration of a violin by J.B. Vuillaume was published in The Strad, February 1974. The following text is extracted from the article accompanying the photographs
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FeatureWhy do violin bridges have a waist?
In this extract from his investigation of the acoustical role of the violin bridge, Joseph Curtin sets up an experiment with a waistless prototype
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Premium ❘ GalleryFrom the Archive: a Joseph Rocca violin, 1836
This illustration of a Joseph Rocca violin was published in The Strad, May 1938. The following text is extracted from the article accompanying the photographs
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Premium ❘ GalleryFrom the Archive: a violin by Giuseppe Guarneri 'filius Andreae', Cremona, 1712
This illustration of a violin by Giuseppe Guarneri 'filius Andreae' was published in The Strad, April 1973. The following text is extracted from the article accompanying the photographs
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NewsInfluential Italian luthier Renato Scrollavezza has died
Born in poverty and initially self taught, he went on to mentor generations of violin makers at his lutherie school in Parma
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Premium ❘ FeatureIn focus: a 1929 violin by Paolo Guadagnini
Richard Ward examines an instrument by the last member of the Guadagnini dynasty
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Premium ❘ FeatureTrade Secrets: Arching, channelling and edgework
A method that unites all three parts of the making process, for a more coherent and efficient way of working
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Premium ❘ FeatureMaking Matters: The simplest machine
The humble wedge is a stalwart of the luthier’s workshop. Joseph Campanella Cleary examines some of the myriad ways they improve the quality of life for craftspeople
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Premium ❘ GalleryFrom the Archive: a violin by Joseph Rocca, Turin, 1847
This illustration of a violin by Joseph Rocca was published in The Strad, February 1973. The following text is extracted from the article accompanying the photographs
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Premium ❘ GalleryFrom the Archive: a viola by Paolo Antonio Testore, Milan, c.1740
This illustration of a viola by Paolo Antonio Testore was published in The Strad, January 1973. The following text is extracted from the article accompanying the photographs
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Premium ❘ FeatureWhat to play when trying out a new stringed instrument
Buying a new instrument is as much about rigorous auditioning as it is about falling in love...
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Premium ❘ GalleryFrom the Archive: a violin by Nicolas Lupot, Paris, 1809
This illustration of a violin by Nicolas Lupot was published in The Strad, December 1972. The following text is extracted from the article accompanying the photographs
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Premium ❘ FeatureAsk the Experts: choosing a new violin tailpiece
A violinist asks what he should consider when choosing a new tailpiece – from the material used to the weight and shape
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FeatureAre dendrochronology reports useful in valuing an instrument?
Dealers and auction houses increasingly include dendrochronology reports along with high-value instruments, but how meaningful are they in verifying an attribution?
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Premium ❘ FeatureWhen does a violin copy become a forgery?
There's a fine line between copying an instrument and forging a masterpiece. Alan Coggins offers a humorous perspective on the perils luthiers face when interpreting past masters
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Premium ❘ GalleryFrom the Archive: a violin by Benjamin Banks, Salisbury, late 18th century
This illustration of a violin by Benjamin Banks was published in The Strad, May 1970. The following text is extracted from the article accompanying the photographs
