{"id":1378,"date":"2014-02-06T20:28:40","date_gmt":"2014-02-06T19:28:40","guid":{"rendered":"http:\/\/hst254.host03.loswebos.de\/wp\/?page_id=1378"},"modified":"2014-02-06T21:09:06","modified_gmt":"2014-02-06T20:09:06","slug":"preface-of-volume-two-by-andy-lim","status":"publish","type":"page","link":"https:\/\/darlingpublications.com\/wp\/?page_id=1378","title":{"rendered":"Prefaces of Volume Two by Andy Lim and some Bow Makers"},"content":{"rendered":"

An Address of Welcome to the Distinguished Reader
\n<\/strong>
\nand how everything continued …
\n<\/em>\tAfter the presentation ofThe Great Contemporary Bow Makers of the 21st Century Volume One at the Mondomusica 2011 in Cremona caused some global publicity, which even earned Darling Publications the honorable (?) description of the \u201cCologne-based boutique publisher\u201d by the American Strings magazine, it took several months for master bookbinder Erwin Hendricks to finish the books for all 15 participating bow makers of Vol. One. The copies of Alexandre Aumont and Arthur Dubroca were delivered by myself at the day Morgan Andersen arrived in Paris to receive the Grand Prix de la Ville Paris for his violin bow at the E. Vatelot Competition. It made me aware and humble to realize how short life any publication has, as this bow would be great to be included in the Vol. One, as Morgan was the very first bow maker on the very first page. In a seven year project we missed that bow by three months! My personal copy (bound in the vibrant red fabric like every single one of the 100 copies) with dedications to me from almost all bow makers in the book was suddenly unfindable and already thought to be lost. But it did finally show up in Crozon (Brittany, France) at Eric Grandchamp\u00b4s home as he was wondering why all the friendly wishes and dedications of the esteemed colleagues, including his own, were not addressed to him, but to me. Today, after its safe return to the bookbinder, it carries now a dark blue cover to be better distinguishable from the red ones.
\n\tA plethora of rumors and inquiries could be read on the world wide web about this Opus Magnus (Vol. One), from tracing its origin and unknown people explaining the manufacturing country to be Spain (?) to multiple copies orders from the Far East. Thankfully everybody had the understanding of waiting several months for their copy, as they all had to be stitched by hand; probably that seemed quite short in comparison with the story of my own 7 year waiting time for the finally successful presentation of Vol. One in Cremona.
\n\tFor Vol.Two most makers made use of the now very familiar triangular tubes from FedEx and UPS, but some makers from USA, Finland, France and Italy came personally with boxes with their bows to Cologne, bottles of red wine and other alcoholic beverages for some serious scanning sessions, the frequency of visits increased till short before the deadline. Sometimes colleagues, even understanding spouses generously took the role of bow courier. Pre-booked flights and train departures caused several nights with shortage of sleep, the egg timer proved his value guaranteeing 55-minute sleeping intervals – similar as the scanning cycle of a single bow (59 minutes). With many makers I shared intensive talks, several wine bottles followed by some exceptional eau de vie\u00b4s, which would not had taken place without this challenging project. Always in the seemingly eternal cycle of 59 minutes of a bow scan with its interval of cleaning, measuring and positioning the next bow.
\n\tWhen I started this project (mentally in 2004, developing technically the equipment in 2005, announcing in 2006 and finally presenting Vol. One in 2011), I did not know even the names of several from the younger makers, presented today already in Vol. Two. To wittnes their development from bow to bow was amazing, from learning from masters in the Vol. One to receiving their first Certificates of Merit and Gold Medals. If the speed of making this kind of documentation in my dearly beloved medium of the printed book stays the same slow as now, we soon can see third generation bow makers!
\n\tBut till now we can present Emmanuel B\u00e9gin from Montreal as youngest entry in this publication, who\u00b4s first modern cello bow, made 2008 in the workshop of Yannick Le Canu, shows, as the very first bow of this Vol. Two, his already great talent. His nickname by my wife is by the way \u201cbaby bow maker\u201d. A special friendship and co-operation with Eric Fournier resulted in a bow, stamped \u201cB\u00e9gin-Fournier\u201d, shown in the chapter \u201cEric Fournier\u201dmade in a special way of alternating of the work on all stages of the making of the bow, instead of dividing stick making by one maker from frog and button making by the other in more traditional bow makers co-productions.
\n\tAs the senior of this book we can welcome Risto Vainio from Finland, whose first bow of 1957 can be considered as a early milestone. Especially by showing courageously his very first bow he deserves our great respect, even more for what he reached in the following years with a lot of enthusiasm and diligence. His most recent bow, which turned out to also the last bow on the last page of this Vol. Two, was this year\u00b4s Micro Photo lens bow (2013), which he made at the age of 83!
\n\tThe presented Vol. Two of The Great Contemporary Bow Makers of the 21st Century here can, if we consider the Vol. One with 15 bow makers to be the Opus Magnus, indeed be described as the Opus Maximus, as it presents 20 bow makers, most with approximately each 19 bows – which makes this publication a dream for all discriminating connoisseurs of the Art of Contemporary Bow Making, showing almost 400 modern bows by 20 makers (and some sort of a nightmare for those involved with the retouching and lithographing). After Sylvain Bigot was the very last one to ship his Micro Photo lens bow for Vol. One, the honour of being the very last maker shipping the Micro Photo lens bow to Cologne to be scanned for Vol. Two, goes this time to … Dirk L\u00f6scher from Barcelona! Dirk, after heavily begging for more time, finally got a week-end more time to get a even more better finish of the polishing, decided instead to use that luxurious extra time to remove the finished head plate to replace it with a more creative ivory-ebony-ivory sandwich head plate, which turned out to be the only one of that kind of the entire book. (Bernd Etzler from Budapest shows a head plate with an opposite mixture; ebony outside, ivory inside).
\n\tBlaise Emmelin freaked out in his ideas of a revolving gold and silver sleeping doll\u00b4s eye Micro Photo lens bow, Georges T\u00e9pho took my humble request for a lens bow more than seriously and created a completely new designed model fot the 21st Century, including stick and frog. Eero Haahti was 3 weeks overdue with his Micro Photo lens bow, busy solving gold smithing and soldering three side gold flower heel plate issues and Finnish Spectrolite and Canadian Labradorite stone cutting beside the creation of a beautiful cello bow. Boris Fritsch spent probably the time for making of an entire bow into the developing of a never seen brightness of the Micro Photo lens image without shining-through light with the help of a minuscule polished silver prism, hidden in the button. (by the way, the bow itself is beautiful too!)
\n\tSome new experiences for me and some bow makers occurred in most unexpected ways. Ole Kanestrom received a shipping of two bows back from Germany to Port Townsend after weeks of delay in a seldom state to be seen; the polish melted, glue was protruding from under the silver backplate of Ole\u00b4s Micro Photo lens bow, the thumb leather brittle like cardboard; something he had never seen before. The stick of a customer\u00b4s bow warped. We suspect that maybe the opened tube at the US customs showing wood products caused a stay in a kiln dryer or microwave energy dryer.
\n\tAnother unpleasant discovery was that in Eric Fournier\u00b4s folder with the finished scanned 19 bows, 4 bows were double, so that Eric had to supply 4 bows in less than 3 weeks, which he did: 2 viola bows and 2 cello bows! And the quality did amazingly not suffer from such short time frame. Georges T\u00e9pho, with whom Eric is sharing a workshop in Quimper, assured me that he did not help!
\n\tThe presentation of the Vol. One at several occasions did lead to frequent enquiries about the selling price, which did seem for some to be a mentally insurmountable obstacle. The comforting words that indeed nobody but a very few does need such a work, and that after seeing it once, at least dreaming about it was entirely for free, surprisingly made some to re-think the general attitude towards the needs of life; arousing the desire to be in the company of the very few and commit themselves to confirmed and prepaid orders! On the other side, on some occasion I was told that the price was actually too cheap, which I humbly agreed on. The fact that it was meant seriously could be recognized in the order of 3 copies at once! Another enthousiastic bow maker stated that he saw the publication as an amazing source of knowledge and that the equivalent of learning was many times more than the bare purchase of a book. Like with all other art publications I experienced exactly the same: some people I never expected from, immediately purchased a book, others from whom I expected to be interested and capable to afford it, actually never showed interest. My utmost thanks and especially respect goes to all those who supported me not only financially by purchasing Vol. One, but a lot more important was the encouraging effect it had on me to go on with this project.
\n\tThe second group of Micro Photo lens bows by the here presented 20 makers varies from classical Vuillaume style to complete new bow design, not to forget the unexpected creativity, pushing technical, mechanical, optical and aesthetically boundaries with great craftsmanship, surely the first 15 lens bows of Vol. One was inspiring for some and challenging to the other.
\n\tOn the ever more frequent asked question whether there will be a Vol. Three can not be answered at present, although still several great bow makers and rising stars are not yet presented, but should not be missing in such an oeuvre, but future will tell.
\n\tA big compliment was to see respected bow makers and experts from Paris presenting in December 2012 posters with full size classical bows with their cambers. In contrary to some opinions which saw my initial ideas of 2004 as intellectual property being copied, I need to express my happiness that my ideas were obviously interesting enough to also give it a try, or maybe even to improve. Waiting impatiently to see more attempts, realistically expecting improvements to be reached, but hopefully not too soon! Today, nearing the end of the year 2013, the digital technology already makes the equipment used for Vol. One and Two from 2005 look like a piece of prehistoric technology; today\u00b4s state of the art equipment do the same in better quality and in only 7 instead of 59 minutes! Bye the way, unfortunately the price tag for the updated version shows the triple amount. But without \u201cThe Discovery of Slowness\u201d of the 59 minute scan per bow I would not have so many conversations with great makers and personalities, which gave me the opportunity to get to know several makers closer, not only by their great bows, but also in a lot of different facets of their mind. These shared moments I never would want to have missed.
\n\tWhen I started this project the reception of the full size presentation of the bow was quite different as today, amazing what state of mind can change in less than a decade! As in bow making, if the 90\u00b0 slit scan linear photography can inspire derivates to reach similar reproduction results and one day might be a source of inspiration as F. X. Tourte, E. Pajeot or D. Peccatte are for bow makers till today, what bigger recognition can be given to an initially small dream of just \u201can image of an entire bow, including camber, without angle view distortion, printed in full size?\u201d <\/p>\n

\tTo the same team of Marco Lietz, J\u00f6rg Asmuth and Erwin Hendricks I feel obliged with uncountable thanks. I wish the reader a great time with the following 374 bows of The Great Contemporary Bow Makers of the 21st Century – Volume Two !<\/p>\n

Andy Lim, Cologne, 2013<\/p>\n

Prefaces by some bowmakers:<\/p>\n

Alexandre Aumont & Arthur Dubroca:<\/strong><\/p>\n

\"Andy<\/a><\/p>\n

Emmanuel B\u00e9gin:
\n<\/strong>La premi\u00e8re fois qu\u2019Andy Lim m\u2019a montr\u00e9 sa collection impressionnante d\u2019archets, une question m\u2019a travers\u00e9 l\u2019esprit : \u00ab s\u2019arr\u00eatera-t-il un jour? \u00bb. La venue de ce deuxi\u00e8me volume sur les archets contemporains et son aspect aussi gigantesque que le pr\u00e9c\u00e9dant r\u00e9pond bien \u00e0 cette interrogation. Des dizaines d\u2019archetiers, des centaines d\u2019archets et plusieurs ann\u00e9es de travail plus tard, nous est pr\u00e9sent\u00e9 cette finalisation (esp\u00e9rons-le pour lui) d\u2019un projet qui, je crois, ne pourra \u00eatre \u00e9gal\u00e9 que par quelqu\u2019un qui partagera un amour aussi compulsif de notre m\u00e9tier. Un grand merci \u00e0 tous ceux qui ont contribu\u00e9 \u00e0 ce projet unique et sans pr\u00e9c\u00e9dent. <\/p>\n

Emmanuel Carlier:<\/strong><\/p>\n

J\u2019ai rencontr\u00e9 Andy Lim pour la premi\u00e8re fois en mars 2006. Tout jeune archetier, j\u2019\u00e9tais impressionn\u00e9 par l\u2019\u00e9v\u00e9nement qu\u2019il avait r\u00e9ussi \u00e0 cr\u00e9er \u00e0 l\u2019occasion de ce Musicora au Carrousel du Louvre. Son stand \u00e9tait un des plus grand du salon, mais il \u00e9tait surtout le seul enti\u00e8rement d\u00e9volu \u00e0 l\u2019arch\u00e8terie contemporaine. Une premi\u00e8re ! Les meilleurs de la profession \u00e9taient l\u00e0, r\u00e9unis pour pr\u00e9senter leur travail et promouvoir ce qui \u00e9tait encore un projet : le grand livre des archetiers contemporains vol. 1. J\u2019ai longuement mesur\u00e9 la richesse et l\u2019int\u00e9r\u00eat de ce qui \u00e9tait offert au regard des visiteurs. Ce fut un choc, un \u00e9l\u00e9ment d\u00e9terminant. C\u2019\u00e9tait festif et terriblement fascinant. Gilles Nehr m\u2019a offert une coupe de Champagne et j\u2019ai r\u00eav\u00e9 d\u2019en \u00eatre\u2026
\nQuatre ans plus tard, je pr\u00e9sente deux archets au concours international de Mittenwald qui sont finalement prim\u00e9s. Gonfl\u00e9 par ce succ\u00e8s, je me d\u00e9cide \u00e0 contacter Andy et lui demande si mon travail pourrait figurer dans son livre. Ce sera oui, pour le vol. 2. Commence alors une s\u00e9rie d\u2019allers et retours pour \u00ab scanner \u00bb les archets chez lui, \u00e0 Cologne, et la lente d\u00e9couverte d\u2019un univers singulier et d\u2019un dr\u00f4le de personnage : \u00e0 la fois bord\u00e9lique assum\u00e9 mais rigoureusement organis\u00e9, m\u00e9lomane averti et collectionneur, agit\u00e9 attentif, amateur d\u2019art, brouillon m\u00e9thodique et musicien exigeant donc potentiellement contrariant. Ajouter a cela un d\u00e9bit de parole peu commun et une remarquable gourmandise, chaque visite promettait d\u2019\u00eatre un souvenir\u2026Et ce fut le cas. Rarement le programme de prise de vue ne fut correctement tenu, mais le d\u00e9jeuner \u00e9tait immanquablement excellent et le plaisir des yeux satisfait en mati\u00e8re d\u2019archets contemporains ou anciens. Avec, en plus, la nette satisfaction d\u2019avoir fait tenir un s\u00e9jour linguistique d\u2019une semaine en une demi-journ\u00e9e. Bref, une excitation joyeuse et communicative qui se retrouve aussi \u00e0 chaque exposition sur les stands Darling. Reste une question : Pourquoi fait-il tout \u00e7a ? Certainement pas pour l\u2019argent, mais sans doute pour en \u00eatre\u2026lui-aussi. <\/p>\n

Edwin Cl\u00e9ment<\/strong><\/p>\n

Huit ann\u00e9es de travail, de patience et de t\u00e9nacit\u00e9 on permis \u00e0 Andy Lim l\u2019\u00e9closion des deux volumes du pr\u00e9sent ouvrage.
\nCelui-ci t\u00e9moigne avant tout de sa passion pour les archetiers et les archets.
\nCe livre concr\u00e9tise cette longue aventure humaine et est un v\u00e9ritable hommage \u00e0 la profession.
\nPar sa facture, son ampleur et son raffinement, il veut s\u2019inscrire dans le temps, comme une cath\u00e9drale. En cela, Andy Lim a fait \u0153uvre.
\nLa beaut\u00e9 et l\u2019acuit\u00e9 des photos transmettent mieux que les mots l\u2019indescriptible et la sensualit\u00e9 de ces objets, premier maillon de la r\u00e9sonance musicale.
\nCes prises de vue spectaculaires r\u00e9v\u00e8lent les diff\u00e9rentes personnalit\u00e9s des artisans.
\nChaque archetier doit sa technique et son style \u00e0 la tradition dans laquelle il s\u2019inscrit.
\nLe m\u00e9tier se transmet dans les ateliers et c\u2019est depuis toujours les ma\u00eetres d\u2019apprentissage qui forgent les premiers pas de la personnalit\u00e9 des archetiers. Les trois \u00e9coles principales, l\u2019\u00e9cole allemande, anglaise et fran\u00e7aise sont toujours vivantes. Aujourd\u2019hui elles ne sont plus distinctes g\u00e9ographiquement, elles se sont dispers\u00e9es \u00e0 travers le monde gr\u00e2ce \u00e0 l\u2019accueil et la g\u00e9n\u00e9rosit\u00e9 de nombreux archetiers formateurs pour les nouveaux imp\u00e9trants.
\nGr\u00e2ce \u00e0 ce magnifique livre, puisse de nombreux musiciens, gens du m\u00e9tier, amateurs d\u2019art trouver un nouveau regard sur ces objets si concrets et si myst\u00e9rieux. <\/p>\n

Blaise EMMELIN:
\n<\/strong>
\nCes vingt cinq ann\u00e9es d\u2019arch\u00e8terie pass\u00e9es m\u2019ont donn\u00e9 le plaisir de voir ce m\u00e9tier s\u2019ouvrir dans le partage de qualit\u00e9 et de la passion avec les confr\u00e8res artisans et musiciens de tout horizon.
\nCe livre t\u00e9moigne d\u2019une g\u00e9n\u00e9ration excellente, folle mais sinc\u00e8re, de nos archetier et luthiers contemporains .<\/p>\n

Eric Fournier:
\n<\/strong>
\n\tEsquisser en quelques lignes une pr\u00e9face pour un si grand livre est forc\u00e9ment r\u00e9ducteur! Je m’y essaie avec humilit\u00e9, mais \u00e9galement avec une grande fiert\u00e9 : celle de participer \u00e0 ce projet d’\u00e9dition hors-norme, men\u00e9 par un auteur aux id\u00e9es foisonnantes et novatrices.
\nL’histoire de l’archeterie est longue, riche, et cet ouvrage capture un nouveau moment de cette histoire et d\u00e9voile l’\u00e9tonnante contemporan\u00e9it\u00e9 de ce savoir-faire. Cette mise en lumi\u00e8re est importante, car l’h\u00e9ritage des archetiers anciens est bien-s\u00fbr une in\u00e9puisable source d’inspiration, mais les cr\u00e9ations des archetiers contemporains le sont tout autant.
\nAujourd’hui, j’ai le sentiment d’avoir r\u00e9ussi \u00e0 d\u00e9velopper un rapport personnel \u00e0 l’archeterie. Devenue tr\u00e8s t\u00f4t une passion, en d\u00e9couvrant toutes les facettes de ce m\u00e9tier pluridisciplinaire, la diversit\u00e9 des mat\u00e9riaux \u00e0 fa\u00e7onner n’a de cesse de m’\u00e9tonner. Et de ce rapport particulier \u00e0 la mati\u00e8re d\u00e9coule aujourd’hui tous mes choix de vie. Mon \u00e9panouissement dans le travail nourrit des choix personnels plus justes, et permet \u00e0 mon inspiration d’\u00eatre mieux entendue. Le temps qu’il faut pour cr\u00e9er un archet, ses courbes, sa subtilit\u00e9, tout cela aiguise mes sens et me permet d’affiner pas \u00e0 pas mes choix au quotidien.
\nLa cr\u00e9ation de ce livre est une aventure qui a n\u00e9cessit\u00e9 un temps long de maturation. Il permet d’apporter un souffle de fraicheur dans un savoir-faire traditionnel rendu quelque peu fig\u00e9 par sa codification. L’arch\u00e8terie est bel et bien en mouvement, en constante \u00e9volution, et ce livre en fait parfaitement \u00e9tat. Il permettra de prendre conscience que les sources d’inspiration ne sont pas seulement dans les livres d’histoire, mais aussi plus vivantes que jamais.<\/p>\n

Boris Fritsch:
\n<\/strong>
\nCe livre n\u2019 est pas qu un gros livre: c\u2019 est un objet d\u2019 art!
\nUn artiste, \u00e9diteur, amateur et collectionneur passionn\u00e9, y montre, en grandeur nature, un ensemble cons\u00e9quent d\u2019 archets contemporains.
\nCette production refl\u00e8te les m\u00eames choix au service d\u2019 un savoir faire exigeant et pr\u00e9cis:
\nLes archetiers ne se r\u00e9clament plus seulement, d\u00e9sormais, d\u2019une nationalit\u00e9 ou du renom d\u2019 une \u00e9cole:
\nIls sont \u00e0 part enti\u00e8re dans ce qu\u2019 ils font.
\nIls se reconnaissent implicitement dans une communaut\u00e9 qui, \u00e0 travers des valeurs partag\u00e9es intrins\u00e8ques \u00e0 leur m\u00e9tier, les soutient dans les recherches de leur avenir.<\/p>\n

Et leurs oeuvres sont l\u00e0…Magnifiquement expos\u00e9es … qui les stimulent et qui les suivent…<\/p>\n

Cet Hommage m\u00e9rite d\u2019 \u00eatre Honor\u00e9.<\/p>\n

Eero Haahti:
\n<\/strong>
\nEnsimm\u00e4inen kontaktini Andyyn oli puhelu, muistaakseni joskus vuoden 2010 aikana. Jo tuolloin oli puhetta etup\u00e4\u00e4ss\u00e4 jousista. Andy muisti minut Musicora messuilta soittimieni takia noin 15 vuoden takaa – jouset astuivat kuvaan minun osaltani vasta my\u00f6hemmin. Oli hyvin imartelevaa, ett\u00e4 Andy oli kiinnostunut monen nimekk\u00e4\u00e4n jousenrakentajan ohella saamaan minut mukaan t\u00e4m\u00e4n kirjan toiseen osaan, vaikka en pid\u00e4 itse\u00e4ni varsinaisesti jousenrakentajana. Asia kuitenkin j\u00e4i, sill\u00e4 ajatus uniikin linssijousen tekemisest\u00e4 ei minusta ensin vaikuttanut alkuunkaan kiinnostavalta. Mieless\u00e4ni pieni kupumainen linssi ei suostunut luonnollisen yksinkertaisella tavalla osaksi kaunista frossia. Toinen ongelma oli l\u00f6yt\u00e4\u00e4 19 jousta ja saada ne kuvattaviksi K\u00f6lniin. T\u00e4m\u00e4 tarkoitti yli nelj\u00e4nnest\u00e4 kaikista tekemist\u00e4ni jousista, joita on ripoteltuna ymp\u00e4ri maailman.
\n2012 Mondomusica messuilla tapasin lopulta Andyn henkil\u00f6kohtaisesti. H\u00e4nen tarttuva energiansa, perfektionismiin pyrkiv\u00e4 fanaattisuutensa ja usko mahdollisuuksien rajattomuuteen tuntuivat hyvin l\u00e4heisilt\u00e4 luonteelleni. Ja niin olin taas mukana juonessa – ensimm\u00e4inen jousi l\u00e4hti Andyn matkaan jo Mondomusicasta. T\u00e4t\u00e4 seurasi minun ja jousieni vierailu K\u00f6lniin, miss\u00e4 intensiivisten 36 tunnin aikana tutustuin paremmin Andyn tapaan perehty\u00e4 ja keskitty\u00e4 oleelliseen, olkoon aihe mik\u00e4 tahansa.
\nProjektin viimeinen punnerrus minun osaltani oli, onneksi vain kolme viikkoa m\u00e4\u00e4r\u00e4ajasta my\u00f6h\u00e4ss\u00e4 valmistunut linssijousi. Ilman Andyn antamaa kipin\u00e4\u00e4 en olisi koskaan tehnyt sit\u00e4. Nyt olen tyytyv\u00e4inen, ett\u00e4 n\u00e4in kuitenkin k\u00e4vi. Kiitos Andy!
\nOlen aina uskonut, ett\u00e4 kaiken kauniin ja merkitt\u00e4v\u00e4n luominen vaatii oikeanlaista hulluutta, loputonta tiedonjanoa ja v\u00e4sym\u00e4t\u00f6nt\u00e4 periksiantamattomuutta. Andy on t\u00e4st\u00e4 hyv\u00e4 esimerkki ja oiva katalysaattori meille kaikille.<\/p>\n

David Hawthorne:
\n<\/strong>
\nThis book is a gesture. The expense and the format ensures that it will be seen only by a limited number of people, and that, for the most part, these people will be specialists or connoisseurs of the subject already. But the subject itself, the bow, is an item already for the specialist, and we, their makers, are rare practitioners of this highly specialized art. Our creations are also manifestly valuable, and will likely be well cared for and passed on to future players and collectors. This book is a kindred creation. Because of it\u2019s exquisiteness and the care taken in it\u2019s creation, we can expect it to be passed on in good condition, even as the world moves more exclusively to other media. <\/p>\n

So through our collective works, our bows, and this book, we are sending messages forward in time. We can look at older bows and instruments and feel something of the lives of those who created them; those who look back at this book will get a picture of the state of our art now, at the beginning of the 21st century. Hello, 2100!<\/p>\n

Thank you, Andy, for making this gesture, and inviting us all to participate.<\/p>\n

Ole Kanestrom
\n<\/strong>
\nIn 2006, when Andy invited me to participate in this project, it came with the condition that I make a gold mounted lens bow with the image of his beloved mascot Darling perched on a stack of books, emblazoned deep in the lens. Even though I love the look and feel of gold, the problem was that I no longer made gold-mounted bows.
\nThe New York Times had come out with a series of four articles in 2005 called \u201cThe cost of Gold.\u201d They exposed the global environmental and socioeconomic disasters of modern day gold mining. I calculated that each gold mounted bow I made also came with the additional price of nearly 10 tons of cyanide-laced earth, uncountable gallons of contaminated ground water, and contributed to the incalculable cost of ruined communities and lives. This was enough for me to swear off gold mounted bows. (The silver industry is not much better, but we have to pick our wars.)
\nThere are other viable options, of course, if one wants to sidestep the environmental issues of modern day mining and still work in gold: Ecological gold, gold harvested without chemicals, and, of course, recycled gold. Both of these options are widely embraced by the bow- making community and answer in part the hideous industry that gold has become.
\nIn this book I wanted to honor both our vision: Andy\u2019s of his book, and also my stand on the gold industry. We had lengthy talks (if you know Andy, you know this to be true!) about my using the last of my gold scrap in this bow as kind of swan song, but I felt it had to be something more.
\nSo, after further discussion, I chose instead to make a silver mounted bow. Andy also received a second frog and button set available in gold which used the very last of my scrap. This is also a nod to the long standing tradition of having a reserve frog and button made for a special bow,. So when viewers find the only silver mounted lens bow in this book, they will know a little more about why it is here. <\/p>\n

Gary Leahy:<\/p>\n

<\/strong>I was delighted to be asked by Andy Lim to participate in this extraordinary project of his.
\nIt\u2019s an incredible undertaking on his part, and no doubt future generations (as well as our own!) will thank him for his endeavours and his dedication. It is a privilege to be involved.<\/p>\n

It is also a privilege for me to be a bowmaker.
\nI love this work, the learning is endless, and I love so many of the people who inhabit, or are connected with, the fascinating world of this craft.<\/p>\n

Dirk L\u00f6scher:
\n<\/strong>
\nBogenbau , ein altes Kunsthandwerk – und nie so lebendig wie heute.
\nDas bestaetigt die Anzahl der zeitgenoessischen Meister und die Qualitaet ihrer Produkte.
\nEinen Ueberblick bekommt man in den zwei grossartigen Buechern von Andy Lim.
\nVielen Dank Andy und allen anderen Personen, die dieses Projekt unterstuezt haben.<\/p>\n

Robert Morrow
\n<\/strong>
\nEarly in 2005 Andy Lim called me for the first time. He introduced himself and his proposal to publish a two volume book featuring the work of contemporary bow makers. The idea for the book was ambitious, original, farsighted, and seemingly too grand in scope to be completed. In 2005 only a handful of bow makers had already met Andy. Naturally, we were intrigued at the idea of the book but could Andy actually get it published? It wasn’t unreasonable to have doubts early on. <\/p>\n

Gradually over the coming years Andy’s dedication to the project became apparent. His consistent enthusiasm, conscientiousness, generosity, and dedication to contemporary bow makers and their work has earned the trust and respect of many makers. Andy’s efforts have not only inspired bow makers, they have also strengthened our community and brought us a bit closer as a whole. <\/p>\n

With the publication of „The Great Contemporary Bow Makers of the 21st Century“ Andy lim has left future generations with a valuable and unprecedented record of the work of an important era in bow making. <\/p>\n

EMILIO SLAVIERO
\n<\/strong><\/p>\n

Caro Andy,
\nvorrei ringraziarti per avermi inserito nel tuo progetto editoriale, come unico italiano. Essere
\nannoverato tra i migliori archettai del mondo non pu\u00f2 che gratificarmi degli innumerevoli sforzi
\ncompiuti per raggiungere livelli qualitativi sempre superiori: studio e pratica non rappresentano
\nmomenti isolati, ma al contrario elementi complementari in continuo dialogo. La tua pubblicazione,
\nimpreziosita dalla scelta dei materiali e dalla qualit\u00e0 delle immagini, riesce ad esaltare la perizia
\nartigianale e artistica propria della realizzazione di ogni singolo arco e la materia esprime se stessa
\ncon il coraggio della realt\u00e0 oggettiva.
\nCinque anni orsono, mi hai presentato i contorni di un\u2019idea affascinante, frutto di una geniale
\nintuizione, che poi si \u00e8 mostrata per tutta la sua intensit\u00e0: avrei dovuto ripercorrere la mia carriera
\nattraverso l\u2019individuazione di un numero definito di creazioni.
\nEcco che, seduto al tavolo di lavoro del mio laboratorio di Cremona, ho iniziato a viaggiare
\nmentalmente per rintracciare, con il filo della memoria, singoli archi a cui ho nuovamente legato
\nricordi di avvenimenti particolari. Ho scoperto che successi professionali, delusioni ed episodi
\nfamiliari hanno conservato la loro espressivit\u00e0 nel corpo ligneo dell\u2019arco.
\nNon so pi\u00f9 dire se sia l\u2019arco vincolato all\u2019aneddoto o viceversa, ma ho potuto constatare che la
\nstoria dei miei lavori coincide con il mio vissuto personale: la tua proposta mi ha dato la possibilit\u00e0
\ndi individuare diciannove capitoli di una mia ipotetica biografia, realizzata attraverso le immagini.
\nProprio come l\u2019arco d\u00e0 voce allo strumento, le tue fotografie scandiscono la partitura di trent\u2019anni
\ndi esperienze professionali e umane, che suonano armoniose nel tuo volume.
\nForse pi\u00f9 evidente, ma non di importanza secondaria, \u00e8 la possibilit\u00e0 che una tale ricostruzione d\u00e0
\ndi riflettere sull\u2019evoluzione del lavoro sia in termini materici che stilistici. Spesso il ritmo della
\nquotidianit\u00e0 consente solo di guardare il presente ed alzare lo sguardo per intravedere il futuro pi\u00f9
\nprossimo, ma innescando un cortocircuito, assecondando il tuo stimolo, ho dovuto fermarmi e
\nvoltarmi: il passato non si era dimenticato di me, n\u00e9 io di lui.
\nPermettimi ancora di esprimerti la mia pi\u00f9 sincera gratitudine.<\/p>\n

Georges T\u00e9pho:
\n<\/strong>
\nQuel t\u00e9moignage puissant , l\u2019arch\u00e8terie contemporaine comme nous ne l\u2019avions jamais vue repr\u00e9sent\u00e9 ! Nous ne pouvions t\u00e9moigner mieux notre gratitude a Andy pour cet ouvrage qu\u2019en te confiant notre travail . Bravo et merci .
\nLa Micro photo et combien d\u2019 innovations chez Vuillaume, mais n\u2019oublions pas d\u2019autres comme Tourte, Pajeot \u2026Le travail des archetiers se nourrit des influences de ceux ci.
\nQuoi de mieux !
\nPourtant l\u2019excellence de notre profession au 21\u00e8me si\u00e8cle se mesurera \u00e0 notre capacit\u00e9 d\u2019innover. Face aux contraintes concernant les mat\u00e9riaux que nous avons (avions) coutume d\u2019employer ; il existe de nouvelles pistes a explorer, a nous de retourner ses contraintes en un puissant moteur portant notre art (au service de la musique !) vers de nouveaux sommets.<\/p>\n

Seulement deux tomes , pourrait on dire, mais quelle somme de travaille ! d\u2019autres auraient certainement pu t\u00e9moigner de notre m\u00e9tier, Andy a permis cette aventure d\u2019autre auront peut l\u2019intelligence de la continuer\u2026Andy tu es le meilleur !<\/p>\n

Le 13 07 2013: Nous parlions de Vuillaume, cette nuit Etienne Vatelot vient de nous quitter
\nNous lui devons aussi infiniment pour la renaissance de l\u2019arch\u00e8terie Fran\u00e7aise moribonde dans les ann\u00e9es 1970, Merci \u00e0 cette \u00e9cole de MIRECOURT <\/p>\n","protected":false},"excerpt":{"rendered":"

An Address of Welcome to the Distinguished Reader and how everything continued … After the presentation ofThe Great Contemporary Bow Makers of the 21st Century Volume One at the Mondomusica 2011 in Cremona caused some global publicity, which even earned Darling Publications the honorable (?) description of the \u201cCologne-based boutique publisher\u201d by the American Strings … Prefaces of Volume Two by Andy Lim and some Bow Makers<\/span> weiterlesen →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1204,"menu_order":40,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-1378","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=\/wp\/v2\/pages\/1378","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1378"}],"version-history":[{"count":6,"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=\/wp\/v2\/pages\/1378\/revisions"}],"predecessor-version":[{"id":1390,"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=\/wp\/v2\/pages\/1378\/revisions\/1390"}],"up":[{"embeddable":true,"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=\/wp\/v2\/pages\/1204"}],"wp:attachment":[{"href":"https:\/\/darlingpublications.com\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1378"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}