Carrie Scoggins, Violin Maker

Salt Lake City, UT

       

 

Givens Violins is pleased this month to feature the master contemporary violin maker, Carrie Scoggins who is based in Salt Lake City, UT. She grew up playing violin and viola, and became interested in violin making and repairs in college. Carrie graduated from the Violin Making School of America in 1983 and became a teacher there from 1984-1988. In 1988 she opened Scoggins & Scoggins Violin Shop with her husband, Michael Scoggins. With growing demand for her exceptional instruments, Carrie closed the shop in 2016 to focus exclusively on building instruments. She is a member of American Federation of Violin and Bow Makers (ADVBM) and The Violin Society of America (VSA).

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Violin by Arthur Bowler, London 1901 

Arthur Bowler was born in Thame, Oxfordshire in 1867. He was the nephew of Georges Chanot III, who was a member of the preeminent Chanot violinmaker family. The Chanot Family originated in Mirecourt, France, then moved to London where Georges III established a renowned violin shop in 1858 (see image). Arthur Bowler became apprentice to Joseph Anthony Chanot in Wardour Street from 1895-1899, where he had the opportunity to repair many fine instruments and became principal assistant. He then came under the patronage of the great German violinist August Wilhelmj and was entrusted with the repairing and adjusting of his large collection of Pressenda instruments.

Bowler established his own shop in Islington in 1899. Throughout his life, he built about 40 violins, many of which were modelled after the “Messiah” Stradivarius. Regarding Bowler’s craftsmanship, Rev. W. Meredith-Morris writes in a 1899 article from The Strad: “The wood is magnificent, the workmanship absolutely perfect. In his choice of wood, Bowler keeps his eye on the artistic, but his heart on the acoustic” (365). In his book Universal Dictionary of Violin & Bow Makers, William Henley says of Arthur Bowler’s work: “We anticipate great distinction for these instruments. They will stand out from the multitude, connoisseurs will revert continually to them as having a rare conjunction of perfect tonal maturity and unimpaired structural solidity” (157).

 

This particular violin made in 1901 is a beautiful example of Bowler’s craftsmanship. It has a beautiful deep red-over-gold varnish and a stunning one-piece maple back. On the inside Bowler inscribed, “Presented to Emily Mary Bowler”, a dedication to his daughter who would have been a young child when the violin was made. It has a beautiful resonant tone and gutsy core, with plenty of finesse and clarity. The response is quick, facilitating agility across all registers. This violin would be an excellent choice for a professional who wants an instrument both rich in sound and history.

By: Isabel Dammann