Stephen Barber & Sandi Harris, Lutemakers
Catalogue and Price List 2013
The following lutes are offered in either eight or ten course versions, except 5 & 6, the Maler and Frei lutes, which are only available as a 6 or 7-course lutes.
1. After Vvendelio Venere, Padua (Leipzig, Musikinstrumenten Museum der Universität Leipzig, Nr. 492)
ribs in yew; ebony-veneered neck, pegbox and fingerboard; ebony or blackwood
pegs with bone pips;
£5200 (10 courses)
The '1551' date on the label is thought to be a later addition and clearly wrong; the body of the instrument is in a late 16th / early 17th Century style (the label reads: In Padoua Vvendelio Venere / de Leonardo Tieffenbrucker). The original uniquely has very fine triple stringing between its shaded yew ribs, of ebony/ivory/ebony; we make it with plain ebony lines. Interestingly, its geometry is very similar to the 11-ribbed back Wendelin Tieffenbrucker lute KHM AR.969; if the 'corners' were smoothed away from the mould for the Vienna lute, the result would be the shape of the Leipzig instrument.
2. After Michielle Harton, Padua 1599 (Nürnberg, Germanisches Nationalmuseum MI56)
ribs in yew with ebony spacers; ebony-veneered neck,
pegbox and fingerboard; ebony pegs with bone pips; double stringing
(7x2 or 8x2).
£5400 (7 courses)
£5600 (8 courses)
A close copy of the magnificent Harton basslute.
3. Own design (Based on Vvendelio Venere, Padua 1611, Vienna Kunsthistorisches Museum C47)
27 or 33 ribs in yew or rosewood; ebony-veneered neck, pegbox and fingerboard;
ebony pegs with bone pips; triple rose; ebony half-edging, inlaid bone/ebony
heart in lower soundboard.
£5200 (8 courses)
This version of the basslute described above has a 25-rib back in pale rio rosewood, and the rear of the neck is decorated with white inlaid lines.
Left-handed version, owned by David van Ooijen, Den Haag.
4. After Magno Stegher, Venice 1607 (Bologna, Museo Civico Medievale No. 1754)
43 ribs in rio rosewood with white (holly) spacers; 11 triple white/black/white
stripes to the rear of the neck; pegbox rear inlaid similarly, with
bone edgings; ebony or blackwood pegs with bone pips; ebony fingerboard
with bone inlaid panel-line; triple rose; inlaid heart in bone/ebony
in lower soundboard. The
original has 10 double courses.
The Maler and Frei lutes listed here are included for players who want a larger instrument; they should perhaps not strictly be described as 'bass lutes' as such, but are a useful string length and pitch; the Maler can be built at a string length of 760mm, allowing a tuning to d', a popular pitch for a bass lute.
They are both fine models for bass lutes suitable for the earlier Renaissance repertoire.
5. After Laux Maler, Bologna, c. 1540 (London, Victoria & Albert Museum, W7. 1940).
11 ribs, in figured sycamore, figured ash or Hungarian ash; neck and pegbox in pear, apple or brown oak; boxwood or figured satinwood fingerboard edged with bone; alternating heart-shaped pegs in ebony/pernambuco. A large and elegant body, which we have reconstructed in its probable original form; a beautifully-sonorous and clear-sounding instrument results. A fortunately surviving example of a larger Maler lute, the geometry of which is intact.
This lute makes a fine Renaissance basslute for the earlier repertoire, and can be made at either 720mm for e' tuning or slightly longer at 760mm, allowing a tuning to d'.
£3600 (6-course; £4200 with Hungarian Ash ribs)
£3700 (7-course; £4300 with Hungarian Ash ribs)
This version of the London Maler has a highly-figured Hungarian ash back, boxwood fingerboard edged with bone, and a haselfichte soundboard.
Owned by Jim Stimson, Washington DC.
The original lute's back all that has survived, unfortunately is usually referred to (by Pohlmann and others) as having been made from mulberry wood (ein Korpus aus 11 Maulbeerbaumholz Spänen); it is in fact figured sycamore, the varnish a pale golden yellow colour.
Interestingly, it very closely resembles an enlarged version of the Lobkowicz Collections Laux Maler lute 655 1931E (Nelahozeves Castle, Bohemia); the geometry of the two instruments is clearly related.
6. After Hans Frei, Bologna, c. 1540 (Warwick County Museum Nr. 162).
ribs, in figured maple or birds-eye maple; neck and pegbox in pear,
apple or brown oak; boxwood or figured satinwood fingerboard edged with
bone; heart-shaped pegs in either pernambuco, or alternating ebony/pernambuco.**
This lute has a very beautiful and unique rose design (shown below and at the top of the homepage of this website) and a beautifully-proportioned and elegant back quite different in concept to its sister Hans Frei instruments KHM C33 & C34. Interestingly, like both C34 and C33, it exists today as a conversion to 11 courses.
The instrument shown above strung with Nick Baldock's 'Kathedrale' gut strings has a back from figured maple of a very similar grain to that of the original; the rose is copied from that of the original lute, and we have reconstructed the probable neck length, the style of the neck and pegbox taken from surviving instruments and iconography. The fingerboard is from figured satinwood, edged with bone; the fingerboard extends onto the soundboard, as many 16th Century lute fingerboards seem to have done, as depicted in contemporary paintings. The fixed wooden body frets had not been fitted when the photographs were taken.
Owned by Ron Andrico and Donna Stewart, of Spencer, New York, who emailed us after receiving it, in February 2006:
"It's incredibly beautiful, like something that belongs in a museum, and it sounds just as good. We love it. It arrived in excellent condition thanks to your careful packing; the carton was barely even scratched. The lute is quite beautiful, the bookmatching of the bowl was done well, creating a wonderful shimmering effect that I can see from across the room this very minute. The rose is one of the best I've seen and I may have logged more time staring at the carving than I have playing the lute so far. More to the point, the lute sounds great. It is a little frightening to hear an instrument sound so well, fresh out of the shipping carton. I played through some of my favourite six-course music, which I have been neglecting for far too long, and had very little problem adjusting to the longer string length. Donna says the lute matches her voice, light and dark at the same time. We read through some early chansons we are preparing for an upcoming program and the polyphony is clear and transparent. Thanks for working with us to make an idea a reality".