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Jeffrey Holmes

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About Jeffrey Holmes

  • Birthday July 23

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    http://www.holmesviolins.com

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    Ann Arbor/Tecumseh
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    Life!

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  1. Like I mentioned, I never put one on the market with a Hoyer attribution, and I don't think I'd pick this one to travel down that road with...
  2. Wasn't really aimed at you, just an old discussion on the subject and proceeded by "For what it's worth"... There is another in the archives that runs along the same lines and mentions the attribution of Hoyer by the late Tom Florence (always loved the way he pronounced Gagliano with two hard "g"s) who collected the information in his appraisers manual from a good number of "us", then proceeded to claim he was bringing our secrets to the light (like we all didn't know what he was planning). Enjoyed that man despite himself. I have to say, back in the day I saw some older L. Pique bows that I thought looked a lot like Hoyers, but know of no documentary evidence and never put one on the market with that attribution... One for the German bow experts should they care to sort it out I suppose. Wouldn't really care to be on that archive paper hunt... but anecdotal/observational data isn't always wrong, is it.
  3. For what it's worth from many years ago: https://maestronet.com/forum/index.php?/topic/58828-pique-violin-bow/
  4. Oh Alexander, please don't do that. If you take them please post them here... I took my leave of the overly intellectualized tool mark thread many, many pages back. I just check it now and then to make sure some civility still exists there.
  5. Alexander James Stew; Much better photos. If you're feeling charitable, please take a well lit and sharply focused photo of the center ridge on the back of the pegbox for BassClef.
  6. Take a break BassClef. I doubt anyone else here read that into Martin's comment. You're not "listening". ...and what about those tool marks you were interested in?
  7. I was curious as well... No danger of that in my opinion. My comments also stand.
  8. Your point? I don't think anyone was claiming genius do to their ability to read, though I will willingly admit I have not before seen an Azzola label that early.
  9. Hmmm... seems like pretty provocative statements above. In my opinion, much of this thread mirrors a conversation I'd expect to have with colleagues... Sorting out observations and stating what we haven't seen, or have. I find individuals have varied ways of expressing concern for the unknown. Glad the OP has a positive opinion from one of the very few who, in my opinion, are qualified to make one. Had I a modern Italian that was outside the norm (something I had not seen), I'd check with Eric or Dmitry too (Gee, I think I pretty much said that earlier, didn't I...). I believe Martin said "he would be surprised if he were", BTW
  10. To be fair, I don't feel I'd be qualified to reliably identify a pre-Fagnola Azzola. I think few would be (the names above are the only ones I can think of). Instruments by this maker with original labels are relatively rare to begin with... and we can't see the interior work. The examples on the Tarisio site are 1930 onward... The only reliable photo of a fiddle made before that is one from the early '20s in Blot's book on Piedmont makers (a Guad model as I recall)... and I think it's just a shot of the front.
  11. The answer is yes. Despite being a merchant, certain things are very difficult to part with, so they tend to stay on. Not too surprising. Most of us are in this 'cause we love to be around nice instruments. What did you keep you ask. None of your business I say.
  12. I'm always relieved when someone else says it... I was holding back. Yes, Dmitry or Eric Blot are good recommendations for further query.
  13. Thank you Brian, but I am still curious how string heights above the fingerboard are adjusted for inevitable varied neck heights. (Just curious)
  14. New endeavors often get whacked around a bit. Glad you had enthusiastic participation. I also liked your bridge Matt. Very nice. I'm also very happy Greg got some recognition. Yup. You know I'm a bridge nerd. I have boxes of old bridges I pull out to gawk at every blue moon. Other luthier's ideas (at least those I like) tend spur me to try different approaches, though maybe not to much of a departure from what I've found works for me. Also, I use blanks from different sources (and I even have some old Wurlitzer blanks) which require slightly varied approaches... and looking at a bunch of bridges, cut from various blanks, can supply one with some good ideas. I recall an occasional participant on this board remarking (after dumping out a pile of old bridges on a table while he was guest teaching at Oberlin) that perhaps we don't always see the "best" bridges by a maker (in terms of how they work) as they may well still be on the instrument they were cut for. I think you're correct. Bridges are an area of personal expression. Those that work well often have specific similarities, but there is still plenty of room to stretch. I've personally never been much of a competition participant or have any interest in judging, though like most here (I assume), I enjoy looking at the entries when they're all on the table... for me, especially nice before medals are announced. I usually find something I like very much, later recognized by the judges announcements or now and again not recognized by them. In this case, I'll be satisfied with looking through the entries after the fact. For those that entered, hope you had a great experience.
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