Knowledge Exchange: Newark School of Violin Making.
I’ve been working for years with Peter Sheppard-Skaerved at the Royal Academy of Music on numerous projects about understanding and
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From the late medieval period and right the way through the Renaissance we see an abundance of images of Apollo and Orpheus playing the lyre, yet the evidence of a revival of lyre playing to support such images is remarkably absent. There are reasons why we should see so many images of this antique...
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Vitruvian Man, the braccio, the gamba and the beginning of the violin.
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Andrea Amati and the Spanish Set.
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Knowledge Exchange: Newark School of Violin Making.
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Andrea Amati, the Campi family and the artistic milieu of 16th Century Cremona.
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Violin making in Northern Europe in the time of the Amatis: Part 2
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Markneukirchen 1906: villages of violin makers
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Catgut Strings: Perspectives on quality and performance
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Voller - plain and simple.
From the late medieval period and right the way through the Renaissance we see an abundance of images of Apollo and Orpheus playing the lyre, yet the evidence of a revival of lyre playing to support such images is remarkably absent. There are reasons why we should see so many images of this antique...
Trending
-
Vitruvian Man, the braccio, the gamba and the beginning of the violin.
-
Andrea Amati and the Spanish Set.
-
Knowledge Exchange: Newark School of Violin Making.
-
Andrea Amati, the Campi family and the artistic milieu of 16th Century Cremona.
-
Violin making in Northern Europe in the time of the Amatis: Part 2
-
Markneukirchen 1906: villages of violin makers
-
Catgut Strings: Perspectives on quality and performance
-
Voller - plain and simple.
A Violoncello by Barak Norman, London, 1704
Barak Norman (1651-1724) is one of the most distinctive and interesting makers of the violoncello, and this is one of
Andrea Amati and the Spanish Set.
The first thing that I would like to do is to wholeheartedly commend the brilliant work of Marie Radepone, Jean-Phillipe
Voller – plain and simple.
The Voller Brothers are famous as forgers and copyists, but their work takes many forms including some relatively ‘straight’ instruments. Ultimately for
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The Marsyas Paradox and its contribution to the origin of the violin.
The Trumpet and Lyre in Jacques Besson’s Theatrum Instrumentorum et Machinum
Hogarth and the Senses: Music at William Hogarth’s House, my virtual musical exhibition.
Knowledge Exchange: Newark School of Violin Making.
FORENSIC CASEBOOK: A Storioni label that almost had us fooled.
FORENSIC CASEBOOK: Alternatives to UV photography to illustrate varnish restoration.
Camillo Sivori: Hearing the ghost of Paganini
“That Neat Kind of Acer”: Sources for Italian maple in 1669
Pernambuco in 17th century Amsterdam
FORENSIC CASEBOOK: Crack repairs covered by a varnish that becomes opaque under ultraviolet light.
FORENSIC CASEBOOK: Detecting half-tone lithography on an obscured label.
FORENSIC CASEBOOK: High levels of carbon in printer’s ink illuminated through the back of a violin at 850nm.
James Tubbs & The Elgar Bow
A Violoncello by Barak Norman, London, 1704
Vitruvian Man, the braccio, the gamba and the beginning of the violin.
Michelangelo, Marco Girolamo Vida and some art-historical foundations for Andrea Amati…
Andrea Amati, the Campi family and the artistic milieu of 16th Century Cremona.
Andrea Amati and the Spanish Set.
Markneukirchen 1906: villages of violin makers
It woz me wot done it…
The Scandal of the Cellist and the Washtub.
Pernambuco: Help save the tree of harmony
Josquin in England: Some additional notes.
Spoliation and the violin trade: A 21st CENTURY DEALERS VIEW
Some British women in the violin-making world, 1550-1750.
Violin making in Northern Europe in the time of the Amatis: Part 2
Violin Making In Northern Europe in the time of the Amatis: Part 1.
Lt. Colonel Joh Stewart and the Jacobite violin-maker
Musicians in a time of Plague: London 1665.
