I just felt like showing a few pictures of my old love, a Jaap Bolink baroque violin built in 1982.
It was commissioned by the Dutch Radiophilharmonisch Orkest when their direction decided they should be able to become a baroque orchestra at the flip of a switch. Didn't work out of course, so I think less than 10y later the instruments were all put up for sale, via Bolink for the bowed instruments.
That's where I found this one in late '93 or early '94; she became mine in the summer of that year. Jaap gracefully accepted to do the usual set-up and finishing of the instrument as if I were the 1st owner. It's his interpretation of the Stainer design, an evolution of his end-of-training masterpiece (which was a copy of the Jacok Stainer then and possibly still owned by Marie Leonhardt).
I particularly love the top, it's in a single piece and has an interesting asymmetry to it; I still remember how it evoked the comfortable corduroy trousers I liked wearing when I first saw it One-piece tops aren't too common, even in violins.
If any of the resident luthiers see this, I'd be curious to know how they'd expect that this kind of structure would affect the instrument's sound!
I haven't player her for years, sadly, and am looking for a new owner who will...
I keep saying "her" but "she" really has more of a masculin kind of voice, with a cello-like quality to the lower strings. Not surprising if you know that Bolink also makes gorgeous cellos (some of which can be heard in the earlier recordings of the cello octet Conjuncto Iberico).
Sadly the only recordings I may still have of my violin were made during summer classes with Enrico Gatti, long ago.
Photos stored here in case the direct links below stop functioning.
The bottom is in a single piece too; this is much more common AFAIK.
(not my usual strings; these are just to maintain a minimum tension to keep the soundpost in place)
The original bridge was more elegant and cut from the same wood used for either top or back (I don't recall). It wasn't a good choice of wood though, so based on my returns (compiled from feedback from several pro players including Gatti) this replacement bridge was cut.
(rosin smudges and traces of a mute that I should maybe clean off...)
Part of the mentioned set-up; the instrument had been commissioned with an almost horizontal fingerboard, and the nut in an unusual, forward position that I couldn't get used to. The instrument sounds a lot better with the higher tension due to the added wedge and improved intonation thanks to the additional 4mm or so of fingerboard.