Carvers, Shows…and People
By Ted Kona
Chip Chats, March 1995
I’m at that stage in life where I’m aware that the time remaining is precious; time, like a raging spring flood just can’t be stopped or even slowed a little. After reading about two violin makers in the local paper I made a mental note to call them to see if a visit to their studio was a possibility. Time slipped by like quicksilver; I waited over a year before making the call.
“Certainly, come and visit our studio’ was the answer to my request.
The Curtin-Alf shop is located in nearby Ann Arbor, a college town of the University of Michigan. Ann Arbor got its name from Ann Allen, an early settler, and from the tress that abundantly fill the surrounding countryside.
Accompanying me on this expedition were Bob McCartney, Tom Harrison, and Dr. Jim Hinkamp. Dr. Dick Pearce, on an errand of mercy could not join us. Precisely at 11:30 we were met at the door by Rob Oliver, staff member.
From a walk-in vault Rob brought out one of three completed violins. “It looks old and worn, “someone remarked:No one buys a violin that looks new,” were the words spoken with authority by Joseph Curtin.
Both Joe Curtin and Gregg Alf studied their craft in Cremona, Italy, (home of Amati, Guarneri and, of course Stradivari) where they met and became partners. Joe seems to be the expert in applying finishes. The pure resin varnishes he uses cost more than $10 an ounce form Geary L. Baese, 610 W. Mountain Ave., Fort Collins, CO, 80521-but don’t bother contacting Gary unless you are a committed violin maker.
The studio uses all four floor levels. The attic is storage for wood, including a humidity-controlled vault. Most woodworking and varnishing is done on the second floor. The first floor accommodates design and administration, while the basement contains machinery used for basic shaping and elimination of surface wood. From this point all work is painstakingly patent hard work.
Curtin uses a 1 ¼” wise, foot-long gouge that has a slight radius. Another set of tools are many little brass instrument-makers planes to shape the inside and outside carved bodies of both the spruce and wood front (the belly) and the red curly maple that forms the back.
Avery delicate U-shaped measuring tool has a dial indicator capable of measurements within .001 inch. Another measuring device uses magnetism to determine belly and back thicknesses.
“I can tell my violin by a fingernail mark I put right her.” that’s what a violinist said when he recently came to pick up his original violin and the exact duplicate he commissioned Curtin and Alf to make. Gregg Alf smiled: both violins had duplicate marks. As a matter of fact, every mark on one violin was found on the other. Even while playing, the violinist could not tell one from the other. ‘This somewhat proves that, in the hands of an accomplished violinist, a well-made violin can be made to sing gloriously.
The work requires skills, experience and patience; no wonder that t the output of this studio of seven people is only about two violins per month.
A price of $33,000 was recently paid at a Sotheby auction for a Curtin and Alf violin- the most ever paid for a maker is still alive!
There are some 70 different pieces to a violin. What makes a violin great? It takes experience and patience to develop the skills required in the maker. It takes the knowledgeable selection of the wood and material. And, finally, it takes the skill of a practiced violinist to embrace the violin and persuade it to perform.