Richf

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  1. I think that if you were traveling by stage coach at time and you had to check your luggage, this case would be just the ticket. In fact, your violin might even survive airline baggage handlers if carried in it today.
  2. Bam (incl. a separate bow tube) and Bobelock ( no bow tube) both make short travel cases.
  3. This exact bow bow is pictured in Roy Ehrhardt's Volume 1, with a "Tourte" stamp. As sold by the JW Jenkins Sons Music Co. in 1912, priced at $26.50 per dozen.
  4. Those nice remembrances from the Association of Watch & Clock Makers all seem to be from Mr. Ehrhardt's watch buddies. I have no idea where his interest in the violin trade originated, but Volume 1 mentions 20 years of collecting and shows a room full of fiddles. So, he definitely had some first hand knowledge. Many of his tips on identification from the introduction there would be welcome on Maestronet today, I'm sure. Moreover, I suspect that nearly 90 percent of the novice questions that arise here would be answered if more folks had this compendium of old trade publications in hand. The last volume, cataloguing the offerings of the top shops in the country, are very interesting for the relative pricing information.
  5. Good job, Bob. That Skinner result even made it into The Redbook -- hiding in plain sight! (BTW, I never heard of New Britain either.)
  6. Brad, I'll take another stab at this: Durkee. Recall that the "r" once was written more like a "v." A quick google scan for "Ralph Durkee violin" confirms that there indeed was a Ralph Durkee in Connecticut in the late 1800s, but I didn't wade thru the couple large documents to learn whether he himself was associated in any way with violins. Good luck!
  7. Richf

    Klotz?

    Good eye, Ali, wie immer!
  8. Richf

    Klotz?

    With no evidence of a head graft, I wonder if this has its original dimensions, say about 585mm total length to go with the 360mm body length mentioned in the Heinel letter? And if that's the case, would one want to keep this as a baroque instrument?
  9. And no cheating. That means no digital cameras, no PC to record what you learn (only pencilled notebooks and scraps of paper), no word processors to organize and cross reference everything, and no internet to check on references. Oh, and good luck finding a publisher! But seriously, Jacob, I understand your point on the usefulness of references. But as a researcher myself (not in the violin field), I have always felt that too many footnotes can really get in the way of communicating your ideas, and they can undermine your position as an expert (vs a cut-and-paster) and the significance of your contribution. At a Halloween party last night, I engaged several analysis-minded folks about this topic. Opinions were diverse. With only a couple beers available to help forge a resolution, there was no consensus.
  10. This sounds like the kind of discussion I would have with my editors back in my professional days. FWIW the editor susually won. But in this situation I would have argued that some one has to be first, hence no useful information is provided by citing yourself. The title page says it all. Of course, Mr. Wenberg could have included the addresses and phone numbers of his contacts for each individual listing, but I doubt that all the entrants would have approved, and I'm sure most of the information from that time is no longer relevant. Taking a quick look at Lutgendorff, Poidras, and Hamma -- who I believe also relied largely on their own experience -- I don't see any source references for their entries either. I don't think that takes away from their value as sources. Now Henley is another matter, since he reportedly cribbed many write-ups from shop brochures and hearsay. It would be nice to know those sources to help evaluate his often caustic and inaccurate opinions. Similarly, it is indeed useful to go back to Lutgendorff to check on Jalovec -- sometimes some interesting differences do show up.
  11. So much nicer than that dark cave where the instruments were presented in past years. Thanks for sharing.
  12. I think that when you are the source, it's not necessary to cite yourself. That book was a gargantuan undertaking. Every time I open my copy, I can just see Thomas pulling up to some midwestern violin shop, after hours of driving, to ask if they know any local makers.
  13. Ha! It wasn't in the Scarlatti program. Maybe in the Bach? I recall him visiting someone to have an adjustment to his violin, but must have missed the dig at new makers. His own instrument is certainly an old beauty. And in the Vivaldi program he shows off a loaner Strad (the Jackson-something?). It's so nice to have those free links to all the performances. I hope they keep them up for a while.