Instrument Models

This represents a broad selection of the models I currently make, covering instruments from the early sixteenth century to the middle of the eighteenth century and the decline of the lute. My aim is to make a well balanced instrument with clarity and projection and with a good range. I pay particular attention to the set up, including the height of the action in the right and left hand and peg function.

Lutes

Click + to expand

Six Course

54cms. Nine ribs based on iconography

59cms. Eleven ribs based on an early C16th. painting by Marziale

59.5cms. Nine ribs after the “Presbyter” lute

60cms. Eleven ribs own design

60cms. Eleven ribs after Gerle

64cms. Eleven ribs after C34 Frei

67cms. Eleven ribs after Warwick Frei

78cms. Eleven ribs after V&A Frei

Seven & Eight Course

44cms. Nineteen rib back after Venere

58.7cms. Twenty seven rib back after 1592 Venere Florence

60cms. Eleven ribs after Gerle

60cms. Thirteen ribs after Venere

60cms. Thirty one ribs after Tieffenbrucker

64cms. Thirteen ribs after Venere

64cms. Fifteen ribs after Rauwolf

67cms. Thirteen ribs after C36 Venere Vienna

72cms. Thirteen ribs after Venere

Nine & Ten Course

64cms. Eleven ribs after C34 Frei Vienna

64cms. Thirteen ribs after Venere

65cms. Thirty one ribs after Dieffopruchar

64cms. Fifteen ribs after Rauwolf

67cms. Eleven ribs scaled down from the Warwick Frei

67cms. Nineteen ribs after V&A Venere

Eleven Course

64cms. Eleven ribs after C34 Frei

67cms. Eleven ribs after Maler Prague

67cms. Eleven ribs scaled down from the Warwick Frei

69cms. Eleven ribs after Frei Warwirck

Twelve Course

67cms. Thirteen ribs after C36 Venere Vienna

67cms. Eleven ribs scaled down from the Warwick Frei

Thirteen Course

Historically thirteen course lutes were built in a very diverse range of styles, from converted early sixteenth century lutes via converted Paduan lutes with ”renaissance” barring through to the late German lutes of Schelle and Widhalm. Therefore a thirteen course lute can be made on almost any mould.

Bass Rider

64 & 70cms. Eleven ribs after Frei C34

67 & 73cms. Eleven ribs after Frei Warwick

71 & 77 cms. Eleven ribs after Frei Warwick

71 & 77cms. Nineteen ribs after Venere V&A

73 & 79cms. Eleven ribs after Schelle Nürnberg

74 & 80cms Eleven ribs after Widhalm Nürnberg

Swan Neck

69 & 96cms. Nine ribs after Hoffman Nürnberg

71 & 94cms. Eleven ribs after Frei Warwick

71 & 93cms. Eleven ribs after Schelle Nürnberg

74 & 99cms. Eleven ribs after Widhalm Nürnberg

Archlutes

64 & 142cms. Thirty one ribs after Dieffopruchar Vienna

67 & 145cms. Thirty one ribs after Dieffopruchar Vienna

67 & 145cms. Nineteen ribs after Venere V&A

Elizabeth Kenny

http://www.elizabethkenny.co.uk/

“To live with a lute over a long time it has to have enough possibilities and different colours, and Martin’s instruments have this depth and complexity.  They are also things of beauty; no detail of wood varieties, varnish possibilities, decoration and construction is to small to be discussed and realised.  Or you can just say “I want one that has a great sound” and know that the workmanship and visual detail will be beautiful.  I have several instruments of all shapes and sizes from treble lute to English theorbo; each has its own identity and individuality.”

Elizabeth Kenny

Chitarroni

78 & 164cms. Twenty five ribs after Venere

82 & 170cms. Twenty five ribs after Venere

76 & 160cms. Thirty one ribs after Sellas Brussels

82 & 170cms. Thirty one ribs after Sellas Brussels

82 & 170cms. Thirty one ribs after Buchenberg

85 & 174cms. Thirty one ribs after Buchenberg

89 & 170cms. Forty one ribs after Buchenberg

Theorbos

English theorboes seem to have been made in various forms. Single strung, double strung with one set of diapasons or up to five stepped nuts.

76 & 135cms. After 13 ribs Venere Private collection

French Theorbo

76 & 130cms. Thirteen ribs after Venere Yale in d

85 & 158cms. Thirteen ribs after iconography

Paula Chateauneuf

Paula Chateauneuf

“The wonderful thing about Martin’s instruments is that through his impeccable craftsmanship and artistry I find my sound.  I felt this the first time I played one of his instruments 30 years ago and still feel it now.  For this reason, most of my instruments are by Martin, and although I own instruments by other makers which I very much enjoy, I find myself always drawn back to his.  He made me an exquisite copy of a very highly decorated Sellas guitar c1650 and every time I take it out someone remarks on its beauty and rich sound.”

Vihuela &  Viola Da Mano

60cms. Flat back g’

56cms. Vaulted back a’

70cms. Vaulted back e’

60cms. Fluted back g’ after Paris Chambure

Guitars

65cms. Flat back after Jean Voboam

68cms. Flat back after Alexandre Voboam

66cms. Vaulted back after Sellas

68cms. Vaulted back after Sellas Kilmanarnock