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Melvin Goldsmith

Melvin Goldsmith bench

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Thanks for the kind responses. There are no more pictures. As soon as I told my client the cello was nearly ready he flew over from Switzerland 3 days later and took it home to be with his 1694 Rugeri of which this is a copy...I finished work a few hours before he arrived!

I have copied this Rugeri many times. It was the cello of the Lindsay Quartet played on by my friend and now by his son who are both wonderful players who instantly control and command an instrument. I learned a lot from working with them so it was very emotional to hand over this copy.

I lazily call this cello I made a 'copy' but actually it is more accurate to call it a portrait.  I changed some things to cope with heavy modern stringing.  I made the belly much higher and a bit thicker and I kept the grammar of the back thicknesses but I increased the center of the back area to 12mm as I found this worked from previous experience

The head of the cello was free for me because the original does not have an Italian scroll. I used beech wood for the head and grafted it 

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I thought I should add. There is a bit of controversy about makers doing copies or should they be making new looking work. 

Any good maker should be able to make something that looks cool new.

Good copyists make it look new and work it back  to old...... cutting no corners.

I don't think  my  antiqued work as copies any more. I think of them as interpretations and portraits. I also like then because as an adjuster working with musicians they are very easy to  re work and still look OK compared to a pristine new looking thing.

I

 

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