In 2015 I was delighted to be asked to curate an exhibition of early British violin making as part of the 20th Anniversary celebrations of the British Violin Making Association. Instruments came from esteemed colleagues, Geoff Denyer, Charles Beare and elsewhere, but somehow I ended up bringing more than half of the instruments myself, with examples of Urquhart, Pamphilon, Barak Norman, Nathaniel Cross, Daniel Parker. The exhibition lasted over the Luthery weekend, with special time put aside for the students at Newark College of Violin Making in return for taking over the third-year teaching room.
Connoissership at Oxford University.
For the academic world there are deep problems that arise from historic artefacts that are untethered from a record of provenance, and the violin is
