The Francis Kuttner Fellowship
About
The Francis Max Kuttner Fellowship was established in 2024 by the family of late master violin maker Francis Max Kuttner (1951–2023) to honor his enduring legacy. Made possible by Dr. John and Suzi Potts, and Drs. Martha and Mark Fishman, this prestigious fellowship provides financial support of up to $15,000 to contemporary makers anywhere in the world who demonstrate a commitment to excellence in the tradition of the First Golden Period of violin making. Unique to this program is a core emphasis on mentoring, ensuring that the recipient is both supported by, and contributing to, the global lutherie community.
Purpose
The fellowship is designed to accelerate a maker's professional development, helping them to focus deeply on their craft. It is awarded to a single maker for one year, with the possibility of a second year of support. The program specifically focuses on living makers of violins, violas, cellos, and basses who:
- Make and sell violin family instruments to be used in performance
- Completed his or her first years of training through apprenticeship or formal schooling
- Utilize historically informed or influenced models
- Work in traditional methods with hand tools
- Perpetuate the craft's tradition of mentorship
Expectations of the Fellow
As part of the fellowship, the recipient is expected to
- Submit an account of how the funds were spent at the end of each year.
- Allow the VSA to announce the recipient of the Fellowship.
- Fulfill the plan laid out in their application as submitted.
- Share their progress and insights with the VSA membership. This may include:
- Technical presentations at VSA conventions.
- Written contributions to The Scroll.
- Participation in the New Instrument Exhibition (NIE) for which registration fees will be waived
Francis Kuttner's Life
Francis Max Kuttner (1951–2023) was a renowned violin maker whose work helped define the standard for contemporary American lutherie. Based in San Francisco for over 40 years, he was celebrated for his meticulous craftsmanship and deep tonal understanding, specifically working in the tradition of the First Golden Period of violin making. His elite status in the field was cemented by his "Hors Concours" designation from The VSA following gold medals in 1980 and 1984, a lifetime honor reserved for those who have won three or more gold medals in the organization's International Competition. He later served as a distinguished judge for competitions in Cremona, Paris, and Mittenwald.
Perhaps his most notable creations was the the Ellen M. Egger Quartet, a matched set of instruments commissioned as a living memorial. These instruments have been played for decades by the Alexander String Quartet and serve as a celebrated lending library for young musicians.
Beyond his bench, Kuttner was a tireless advocate for the next generation of makers, offering guidance and technical insight to apprentices and colleagues globally.
2026 Award
How to Apply
The selection process begins with a Letter of Intent (LOI) delivered to kuttnerfellowship@vsaweb.org by April 10. Letters should include specific steps the applicant would take to continue pursuing excellence in the field. This may include, but is not limited to, specific areas of study, courses to be taken, and proposed mentorships with living masters of violin making.
Selection
Following the LOI phase, The Kuttner Fellowship Committee will invite applicants to submit a formal application, including three letters of recommendation from established professionals in the field and up to 4 photos of their work.
Fellowship Recipients
2025
Boston violin-maker Kristin Siegfried Ballenger was awarded The VSA's first Francis Max Kuttner Memorial Fellowship in at the 2025 Convention in Minneapolis. As a Kuttner fellow, she will continue her new making, embarking on a new phase of growth in the art and craft.
Kristin has made more than two-dozen signed instruments to date, and recently shared that she would use the award to focus on consistency in woodworking with regards to the style of particular makers, more authentic antiquing techniques, and the study of aspects of the construction process that affect an instrument's tonal qualities.