ABOUT
I have been delighted to handle violin-family instruments from across the whole spectrum from some of the earliest Italian violins by Gaspar da Salo, Andrea Amati and his sons all the way to superb contemporary work. During my time at Christie’s I had the pleasure of representing violins by Stradivari and Guarneri del Gesù and I maintain a deep and never-ending interest in the icons of classical Italian making. However, my greatest pleasure is in finding instruments from less represented schools of making that offer the very best value for money and that provide the best options for young professional and committed amateur musicians. My ethos fits very strongly with my particular area of expertise for British violins, and I also make an effort to represent examples of the finest examples of eighteenth century Germany whenever possible as well as Italian and French instruments. My selection of instruments for sale is guided by my deep knowledge of the violin, and by my experience as a musician working with musicians. What you see, and hold, and play may have been cherished for centuries, and my task is to bring these instruments to the next generation of musicians to enjoy. I believe that it is important at every level to only represent instruments that I would find compelling to own for myself and to play.
My selection of instruments for sale is guided by my deep knowledge of the violin, and by my experience as a musician working with musicians. What you see, and hold, and play may have been cherished for centuries, and my task is to bring these instruments to the next generation of musicians to enjoy. I believe that it is important at every level to only represent instruments that I would find compelling to own for myself and to play.
MY STORY
After several years working in the heart of London from a studio at Somerset House, I returned to Oxford in 2020 when rooms became available at Old Kemp Hall, said to be the oldest building on the High Street. It was an opportunity I couldn’t refuse, and I am now located right in the centre of historic university town and meters from a several significant concert venues.
I am a short journey from London and well located in the middle of the country with easy access from Heathrow and Gatwick Airports and direct trains to Birmingham and Manchester. Oxford is full of reasonably priced accommodation, so coming here from afar is a pleasurable and easy experience.
Playing the violin has been a lifelong journey for me. I am lucky today to find my happy place performing amongst some the the finest amateur orchestras in the country. After my training as an instrument maker I studied for a master of music degree at Leeds School of Music to help consolodate my musical skills. To add to the fun, I took up the viola when I was working in America. Fatefully my concert debute on the viola (pictured here) was performing the New World Symphony at Carnegie Hall. I can proudly say that it has been a downhill adventure ever since.
Playing the violin has been a lifelong journey for me. I am lucky today to find my happy place performing amongst some the the finest amateur orchestras in the country. After my training as an instrument maker I studied for a master of music degree at Leeds School of Music to help consolodate my musical skills. To add to the fun, I took up the viola when I was working in America. Fatefully my concert debute on the viola (pictured here) was performing the New World Symphony at Carnegie Hall. I can proudly say that it has been a downhill adventure ever since.
After leaving school, I was offered an apprenticeship with the auctioneers and specialist dealers Stanley Gibbons Ltd in London which lasted for three years, before leaving to study musical instrument making at London Guildhall University (formerly, the London College of Furniture). When I stepped into the musical instrument world I quickly learned that the incredible training I had already recieved gave me a phenomenal advantage in examining small details, recall and recognition and that I could apply much of what I had developed to the violin. I continued to work there during my instrument-making training in order to refine my visual skills. By the time I completely said goodbye, I had been there for seven years.
With thanks to my friend,
the cartoonist Rosie Brooks
After postgraduate study for an M.Mus at Leeds, I began my career back on the course as a part-time lecturer, and with a postgraduate research studentship centred on instrument making history at the University of Oxford. After a fellowship to the Metropolitan Museum of Art I was asked to become European Specialist Head of Sale for musical instruments at Christie’s, whom I continue to consult for very occasionally. I moved to become head of musical instrument making and senior lecturer at West Dean College, before deciding to open my own studio.
I’ve maintained a huge commitment to lecturing and teaching ever since.
After postgraduate study for an M.Mus at Leeds, I began my career back on the course as a part-time lecturer, and with a postgraduate research studentship centred on instrument making history at the University of Oxford. After a fellowship to the Metropolitan Museum of Art I was asked to become European Specialist Head of Sale for musical instruments at Christie’s, whom I continue to consult for very occasionally. I moved to become head of musical instrument making and senior lecturer at West Dean College, before deciding to open my own studio.
I’ve maintained a huge commitment to lecturing and teaching ever since.
Here’s a favourite photo of me at the Ashmolean Museum with the legendary Jon Whitely and the Cipriani-Potter, made by Antonio Stradivari in 1683 during one of my many research visits behind the scenes at the museum.
… and here I am at the Philharmonie in Berlin with the incredible 1660 viola by Jacob Stainer that I brokered and acted as expert for. This is one of the most important violas in the world as well as one of the best preserved examples of Stainer’s work, but with the combination of a length of 17 3/16inches and enormous ribs of almost two inches, it is simply incompatible with regular modern performance. It’s arrival at the Metropolitan Museum of Art finally provided them with the missing link to field a performing string-quartet of the highest calibre for carefully curated performance use.
… and here I am at the Philharmonie in Berlin with the incredible 1660 viola by Jacob Stainer that I brokered and acted as expert for. This is one of the most important violas in the world as well as one of the best preserved examples of Stainer’s work, but with the combination of a length of 17 3/16inches and enormous ribs of almost two inches, it is simply incompatible with regular modern performance. It’s arrival at the Metropolitan Museum of Art finally provided them with the missing link to field a performing string-quartet of the highest calibre for carefully curated performance use.
You may have guessed that I don’t approach everything too seriously. In 2011 I co-starred in the BBC Four documentary, Scrapheap Orchestra where I made cellos and double basses for the BBC Concert Orchestra. Whilst the musicians involved have never forgiven me, this had the highest viewer figures of any BBC4 classical music programme, two standing ovations and the commissioner of the Proms dubbed it the most extraordinary performance in the whole history of the Proms… he was right, but probably not for reasons I should be proud of.
… last of all, here’s me, Stradivari’s 1716 Messiah and my friend Brigitte Brandmair when we were working together on the Stradivari Varnish book. This was one of the incredible moments in my life to study this fiddle over a period of several days out of the glass cabinet. I give regular masterclasses to violin-making students at the Hill Collection in the Ashmolean Museum, using it as the national teaching collection. I give up counting the times I’ve looked at it. It still has new things to say to me though.
