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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Friedrich Mortiz Hammig (b. 1877 and d. 1945)

Friedrich was the son of Gustav Adolph Hammig who was from one of the most important family of violin makers of his time. Gustav was also the royal Instrument-maker at the Court of the King of Saxony. Friedrich was born in Markneukirchen and worked his entire career in Dresden. His violins are branded above the label starting around 1923 “J.H.P-Dresden” was in tribute to his wife Jenny Hammig-Parsival an opera singer at the Dresden Hofoper. Friedrich died in the air raid in Dresden February 13, 1945. Hammig’s son Heitz Walter Hammig continued running the family business in Dresden and lived until 1987. The instruments he worked on with his father were under a common label of Hammig & Sohn.

This violin bears the brand “J.H.P-Dresden” above the manuscript label of Frederich Moritz Hammig. It has a voice that boldly resonates and produces vibrant colors with a smooth and warm tone. It plays with grace and would be a great instrument for the advancing violinist.

Mariano Militello, Rosario 1921

Mariano Militello (b. 1881, d. 1959) is originally from the small town of Niscemi, (Sicily, Italy).  His two brothers, Gandolfo and Francesco, were also violin makers and all three trained with their father and also Antonio Sgarbi.  Francesco and Gandolfo  immigrated to Buenos Aires first and Mariano followed the next year, 1909.

They worked on their instruments individually and did not collaborate. In 1915, Mariano moved to the city of La Plata then to Rosario in 1921.  Rosario had a very active cultural life, a large vibrant Italian community and a beautiful theater with an opera and orchestra. Mariano received first prize and a gold medal at the 1926 Rosario International Exposition. This beautiful violin is branded on the interior back,  “Mariano Militello 1921 Calie Maifu 720 Rosario”.

 

We are pleased to offer this beautiful violin for sale. Feel free to contract us if you would like to learn more.

 

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