Best living maker ?

[~ Ben Conover]

When I look at the work of Roger Hargrave I'm amazed.
There's so much to learn from his writing, and to see from his work.

Here's some of his work, if you haven't already seen it :
http://www.roger-hargrave.de/Seiten/englis...Instrumente.htm

[joerobson]

When I look at the work of Roger Hargrave I'm amazed.

There's so much to learn from his writing, and to see from his work.

It's incredibly varied and highly evolved.

To my mind he's the best but that's just my opinion.

Here's some of his work, if you haven't already seen it :

http://www.roger-hargrave.de/Seiten/englis...Instrumente.htm

Benjamin Ruth. Beautiful sound and my eye can never get enough of how they look.

on we go,

Joe

[David Burgess]

Chris Reuning made a huge contribution here, and I mention that because it can be difficult to sort through a lot of garbage on forums. If he (rarely) posts, pay attention. Look at post #132 in the Bergonzi thread.

Quote:

"One of the remarkable lessons the exhibition taught that every maker can use in his work, in my opinion, was that a person can be so creative and original while still working within the framework of Cremonese design and construction methods. Bergonzi's violins are so different from Stradivari's and del Gesu's, but still have such balance of form and taste.

Carlo Bergonzi made violins which all showed his artistic style. They developed throughout his career to a remarkable degree but always maintained certain themes.

To me, this demonstrates the potential a maker can tap into today if he/she prefers to use the Cremonses models as inspiration rather than dogma."

[Jacob]

Chris Reuning made a huge contribution here, and I mention that because it can be difficult to sort through a lot of garbage on forums. If he posts, pay attention. Look at post #132 in the Bergonzi thread.

Quote:

"One of the remarkable lessons the exhibition taught that every maker can use in his work, in my opinion, was that a person can be so creative and original while still working within the framework of Cremonese design and construction methods. Bergonzi's violins are so different from Stradivari's and del Gesu's, but still have such balance of form and taste.

Carlo Bergonzi made violins which all showed his artistic style. They developed throughout his career to a remarkable degree but always maintained certain themes.

To me, this demonstrates the potential a maker can tap into today if he/she prefers to use the Cremonses models as inspiration rather than dogma."

I did notice that, and the significance of it wasn't lost on me - thanks for pointing it out again.

[~ Ben Conover]

Other top makers worth looking at :

Neil Ertz

Roger Hansell

Frank Ravatin

Patrick Robin

Christopher Gotting

Lochman

Klimke

Tibor Szvemmelweiss

[JohnCockburn]

I'm saying nowt as it would seem creepy to name your friends but might cause offence to name someone else!

But while you mention it I've seen a gentleman called Victor Unsworth described as "one of the best living English makers" by a UK dealer. I have never heard of him or seen any of his instruments. Anyone know anything about him?

[~ Ben Conover]

Turner are selling one of his violas, Victor Unsworth "one of the best living English makers" 1996, £10k.

[JohnCockburn]

John, I didn't see it as a 'friends' issue, I'm just interested in seeing what I can of the best maker's work.

Turner are selling one of his violas, Victor Unsworth "one of the best living English makers" 1996, £10k.

Wasn't having a dig, Ben. Just musing.

Yes, it was the Turner's comment that I was referring to. Piqued my curiosity.

[~ Ben Conover]

 
 

[Fellow]

Well, Manfio's vote for Samuel Zygmuntowicz has dissapeared over night due to server error.

I wonder how he fits his name on his bridges !

'' Isaac Stern owned two of his violins. After Stern died in 2001, both violins were sold at a Tarisio auction in 2003. Each violin surpassed the previous record for the highest price paid for a string instrument by a living maker at auction.[2] One of the instruments sold in 2003 was a Guarneri-model violin made by Zygmuntowicz in 1994 for Stern. That 1994 violin currently holds the record for the highest price paid for a string instrument by a living maker at auction. The violin was sold by Tarisio for US$130,000 ''

+++++++++++++++++

It is impossible to know " the best" of anything? No one has the capacity to try "all violins" for example my teacher never let me

play his violin. I always think mine is better.

It seems to be an universal rule that no one would let other people try his or her violin. It is an inherent difficulty to have oppportunity

of trying other people's violins.

My teacher enjoyed to talk about other famous people's violins, but none he had ever played.

[kubasa]

Without sounding "sappy"..........As a "youngster" in this craft, my list of favorite makers stems from my desire to learn, to progress and be inspired. Having said that I would say that Luis Manfio, Michael Darnton, Roger Hargrave and certainly you, Ben, are very sharing in your work and this is much appreciated so you all would rank on my favorites list amongst a few others. I have learned a lot from the various posts here and Roger's library of information on his website has been immensely resourceful as I doubt that I will ever see the caliber of instruments that he has during his career. Another favorite maker would be Otis Tomas.

James

[~ Ben Conover]

[1alpha]

Fellow, I enjoy playing other maker's violins as much as possible !

For example, I was delighted to play a very nice violin by Melvin Goldsmith.

A fine copy of the Vieuxtemps.

James, Roger Hargrave is in a different league, he's a big hitter.

Michael Darnton is also very experienced and scores a home run.

This topic can (as said above) quickly become a bit 'chummy'.

So I'll just stick to my thoughts about Hargrave and his work.

In particular his copies and techniques for varnish.

Off topic : Is the recently sold 'Molitor' Strad worth the price of 7 Nicolo Amatis ?

Have you played a Hargrave or a Darnton, Ben?

I have just seen Melvin Goldsmiths latest fiddle, a copy of the Leduc and IMO it is in the same league

as the 'big hitters' above.

The Amati looked wonderful in the pics, but many of them aren't suitable for solo work.

As for value, the value of anything is what somebody is prepared to pay for it. A Stradivari compared to

other fine Italian art is still a bargain according to some.

[kubasa]

This topic can (as said above) quickly become a bit 'chummy'.

So I'll just stick to my thoughts about Hargrave and his work.

In particular his copies and techniques for varnish.

I know what you mean. I hesitated posting but that's the way it is for me right now. Like I say, as a "newbie", my selfish reasons are more of who is filling that learning need no matter what league they are in. This is a good question but somewhat of a moving target depending on who you ask and at what time you ask them. Interesting, though.

[~ Ben Conover]

Melvin's work was nice to try.

[1alpha]

'Have you played a Hargrave or a Darnton, Ben?'

Nope, and what's your point.

Ever played a Bergonzi alongside a Strad and a Testore ?

You're a player, not a maker.

My reason for liking Hargraves work is not about sound it's about woodworking and varnish.

I just like the way his stuff looks, nothing personal.

Melvin's work was nice to try.

My point is that a violin is a musical instrument, and players are the people you sell them to.

You can't say Hargraves and Darnton are in 'another league' from everybody else just because they look nice,

and not taking their tonal qualities into consideration.

If you're only going to talk about woodworking and varnish then you may as well be talking about furniture.

[~ Ben Conover]

You can talk yourself blue in the face about sound, but violins are 95% woodworking & varnish.
The sound is a product of the making.

 

[1alpha]

'' If you're only going to talk about woodworking and varnish then you may as well be talking about furniture. ''

You can talk yourself blue in the face about sound, but violins are 95% woodworking & varnish.

The sound is a product of the making.

QED

[Roger Hill]

'Have you played a Hargrave or a Darnton, Ben?'

Nope, and what's your point.

Ever played a Bergonzi alongside a Strad and a Testore ?

You're a player, not a maker.

My reason for liking Hargraves work is not about sound it's about woodworking and varnish.

I just like the way his stuff looks, nothing personal.

Melvin's work was nice to try.

perhaps OT, but give us your impressions of the Bergonzi and Testore compared to the Strad. And, BTW, which ones were they? Thanks,

[~ Ben Conover]

[Wolfjk]

When I look at the work of Roger Hargrave I'm amazed.

There's so much to learn from his writing, and to see from his work.

It's incredibly varied and highly evolved.

To my mind he's the best but that's just my opinion.

Here's some of his work, if you haven't already seen it :

http://www.roger-hargrave.de/Seiten/englis...Instrumente.htm

Hi Ben,

It is a subjective matter. Out of all the makers who gave talks during conferences, Roger Hargreaves was the most impressive and the most informative! But I still think he is not as good as his old teacher was!

[cbouts]

I don't know that I have a favorite. Over time I have gleaned details and techniques from a vast majority of great luthiers either on this board or in person.

It's hard sorting through information alot of times but taking a gut feeling and trying to make the next one better than the last and leaning on data and information from the "big dogs" i would hope my output quality would improve.

I think only a handful have clean woodworking, excellent varnish, incredible sound, and good marketing. I weigh what those guys say much heavier than others. I think those could be my favorites.

[zefir68]

My favorite is David Burgess: he has the coolest avatar, has a winery (http://www.burgesscellars.com/), makes superb yachts (http://www.burgessyachts.com/), and has a very little known partner in a different business venture as well (http://www.burgessniple.com/). Violins are good looking as well, after all, that's all that counts, right?

[David Burgess]

Don't forget my Brothel business.

Link

[MANFIO]

Don't forget my Brothel business.

Link

Hey David, your area is under the Famiglia Manfio jurisdiction, you can't open a brothel there without our blessings!!!