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
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Recently I was asked to take another look at a violin I have known for many years. It has the outward appearance of being late-Cremonese work by Lorenzo Storioni, except that in almost every critical detail it fails to satisfy any of the key factors that would enable a Cremonese attribution...
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Catgut Strings: Perspectives on quality and performance
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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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Voller - plain and simple.
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Camillo Sivori: Hearing the ghost of Paganini
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Andrea Amati, the Campi family and the artistic milieu of 16th Century Cremona.
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Michelangelo, Marco Girolamo Vida and some art-historical foundations for Andrea Amati...
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Edward Pamphilon: The complexities of England's prolific Seventeenth-century violin maker.
Recently I was asked to take another look at a violin I have known for many years. It has the outward appearance of being late-Cremonese work by Lorenzo Storioni, except that in almost every critical detail it fails to satisfy any of the key factors that would enable a Cremonese attribution...
Trending
-
Catgut Strings: Perspectives on quality and performance
-
Vitruvian Man, the braccio, the gamba and the beginning of the violin.
-
Andrea Amati and the Spanish Set.
-
Voller - plain and simple.
-
Camillo Sivori: Hearing the ghost of Paganini
-
Andrea Amati, the Campi family and the artistic milieu of 16th Century Cremona.
-
Michelangelo, Marco Girolamo Vida and some art-historical foundations for Andrea Amati...
-
Edward Pamphilon: The complexities of England's prolific Seventeenth-century violin maker.
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
Edward Pamphilon: The complexities of England’s prolific Seventeenth-century violin maker.
Edward Pamphillon is one of the most prolific makers of 17th century England, but his instruments fall victim to the vicissitudes
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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.
Fake or Fortune: Is it a real Stradivarius?
Ruggerio Ricci’s “Glory of Cremona”: Helpful Hints on Trying Violins & Bows
Antonio Stradivari, A Gala Celebration 1737-1987
Nicolo Paganini: George Patten’s 1832 Preparatory Study from Life.
