I’d like to welcome you to my collection. My expertise, instruments as well as my network are at your disposal for one-off or permanent exhibitions, musical events or any other fascinating project.
New article: How the f-hole arose
Ever wondered where the f-shaped sound holes on violins and jazz guitars come from?
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After studying, as an art historian and violin maker, over a thousand works of art from the sixteenth to the eighteenth centuries as well as extant instruments, I found prove for a plausible answer: cutting the C-hole shape in half and rotating both halves relative to each other. That is why f-holes have indents, and why the inner one is placed lower than the outher one.
These findings and more have just been published in a 28 pages long article in this years "Galpin Society Journal", the leading scientific periodical on musical instruments:
Wim Raymaekers: How the f-hole arose. Sound hole shapes and bridge position on bowed instruments between 1500 and 1800, in The Galpin Society Journal, LXXI, march 2018, pp. 35-56, pp. 145-147.
These findings and more have just been published in a 28 pages long article in this years "Galpin Society Journal", the leading scientific periodical on musical instruments:
Wim Raymaekers: How the f-hole arose. Sound hole shapes and bridge position on bowed instruments between 1500 and 1800, in The Galpin Society Journal, LXXI, march 2018, pp. 35-56, pp. 145-147.
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Guitars and other fretted instruments 1920-1970:
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Since 2004 I've been collecting guitars, banjos, mandolins, ukuleles as well as a host of related items. Each one has its own significance, and all together they tell a story: what lay behind the popularity that evolved over half a century or more, and how did instrument makers respond to the growing demand for cheaper, louder and better gear?
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Especially recommended to those Europeans who wish to know more about American-made guitars
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The history of western lute-like
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Most instruments in museums are merely exhibited and cannot be played or held. During my time as an instrument restorer in the Vleeshuis Museum in Antwerp, and later as an organology teacher at the Ghent Conservatory, the idea thus evolved of making my growing collection accessible to students and other enthusiasts, with a view to them being able to handle and play copies and even originals.
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Especially recommended to people tired of looking at musical instruments behind glass