Lutherie – Page 47
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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
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Premium ❘ FeatureFirst Class: European bow makers in America
Despite achieving a high level of quality, the American bow makers of the early 20th century have languished in obscurity – until now. Raphael Gold explores the lives of Frank Kovanda, Ernst Lohberg and Anders Halvarson, who all learnt their craft in the Chicago workshop of William Lewis & Son ...
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Premium ❘ GalleryFrom the Archive: the ‘Doria’ Maggini violin
This illustration of the ‘Doria’ Maggini was published in The Strad, June 1939. The following text is extracted from the article accompanying the photographs
