Some violin players dream of owning a classic French, German, or Italian violin from the 17th century, and fiddlers want to own classics from the more recent past. While any of those would be nice, I know they're out of reach due to scarcity and cost, so I set my sights on a violin made by Anthony Bonnet, a fascinating character from my hometown of Brookville, Pennsylvania. Western Pennsylvania isn't exactly known for its fiddle makers, but Bonnet is one of the very few whose name comes up when people ask about them.

Years before I started playing the violin, I wanted a violin made by Henry Anthony Bonnet, a local craftsman who made just about everything. Today that dream came true, and I brought one home. I now own #31, made in 1889. The luthier I use, who lives about an hour away, found one at an auction, and knew he had a buyer in me. I picked it up today, and haven't been able to put it down for more than twenty minutes. 

Pictures at the link below...

http://www.fiddlehangout.com/myhangout/photos.asp?id=27350&albumid=1466

Wow, that looks nice. He must have been a fascinating character. Isn't it great when dreams come true!

Now you can start looking for the next one......

Edited by - DougD on 07/14/2012 14:00:48

Twenty minutes??....Twenty minutes??? If you can put it down within an hour, you must not like it very well.


Very nice, love the flaming in the back of course, but the neck is exceptionally nice.

It's one of those days where I have a ton of work to do, but keep getting drawn away by a great new fiddle. It's wrecking my concentration! 

Wow, great fiddle and great connection.

I'd like to one day own fiddles made in my two favourite places/hometowns: Belfast and Boston. A 19th-century fiddle by Asa White or Jerome Squire would suit me to the ground, though I'd never realistically be able to afford them. I'd love a Belfast-made fiddle, whether antique or contemporary--there's a maker just down the road from where I used to live in my university days that does great work. Despite its centuries of great players, Ireland isn't known for its luthiers (at least compared to Italy, France, and that other island across the Irish Sea), which is sad since there are very good contemporary makers in particular. Not just violins--mandolins (Foley) and guitars too (Lowden).

It really is cool to get a fiddle from a place you feel connected to. Hard to describe why, but if you've ever felt it, you know what I mean. For me, it's nice to play a fiddle that I know has provided entertainment for many others over the years, right in my hometown. It's also nice to be able to stand in the same building that used to be the maker's shop (now an insurance company office). You feel like part of the instrument's history.