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Jeffrey Holmes

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About Jeffrey Holmes

  • Birthday July 23

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    Ann Arbor/Tecumseh
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  1. Because your comment inspired my response. For example: Performance qualities (what you like) are subjective for the most part, and price range buys you choice.
  2. Past the subjective qualities, those studying violin (students) are often "buying above their heads" (buying for the future), which, in my opinion, would make consultation with their instructor advisable. For amateur players, I would think that instruments that perform up to expectations would be the minimum. Not too complicated. Players who come to me (my clients) have a budget in mind. My usual response is that whatever the budget range is, the top of it does not necessarily buy you a better fiddle. It simply buys you choices. I get as much of a kick placing a fine contemporary fiddle with a client as I do most older ones. Phlip's article is, like much of what he writes, is thoughtful... I agree with much of it and have minor difficulties with a couple points of view, but nothing earth shattering. Has he uncovered secrets hidden by dealers? I think not, nor does he allude to it based on my quick reading of the piece. Did he point out marketing strategies (by some like those who started instrument hedge funds, or firms that exist primarily because of the appreciation rates of old expensive instruments, etc). Yes. In the past, the investment toward an instrument by a professional player generally represented a reasonable multiple or ratio of their earnings... Not much has changed. Those lucky enough to play in orchestras that have made the effort to supply wonderful old pieces to some of their players are lucky, and in many cases could never afford to buy similar instruments for themselves. In the end, this is a supply/demand scenario... and the demand hasn't seemed to lessen significantly for older instruments. Considering how many wonderful contemporary makers are out there these days, I would assume expansion of the market as well as a continued interest by those who have the means to invest (for love, greed, passion or support), the balance in the market is maintained for now.
  3. They can catch many things... good tool to have, but they don't catch everything. Might want to make sure you have UV glasses along with you when using it.
  4. Sounds as though you are being treated fairly (refund offered, etc.). Old bows are a bit tricky in general. Many things can "happen" along the way and modern adhesives followed by shellac can mask a number of sins... add the faults inherent in the pernambuco to begin with (and possibly addressed by the maker) and one can fall into a perfect storm. I honestly don't know anyone who regularly deals with old bows that can truthfully claim they never missed a problem (either when buying or selling)... I personally rely on trusted colleagues to confirm what I see when taking on an old bow for sale. I am happy to return the favor when those colleagues feel they need confirmation... but even then, rare as it my be, some small detail may sneak by or become visible later on. Though this is slowly changing, my experience is that an appraisal or certification rarely contains enough detailed information on condition. Although a replaced button or frog is usually mentioned, or a major fault like a splined head is included, lesser faults often just fall into general "condition statements" like excellent, very good, good, fair, or restored. When buying from a dealer, it's advisable to ask them to review the condition of the bow with you. They are the ones responsible for standing by the item they represent. If buying privately, a visit to a good bow restorer is advisable, as the private individual probably will not be qualified to find and disclose all the faults present.
  5. I think the motivations are often similar, but the affect of darker motives on the discussions here tend to cause difficulties, so I often don't feel I personally have the luxury to take that position when things go sideways. ...and I appreciate it and agree, Jacob.
  6. Please comply with the non-commercial nature of the board. While there is nothing inherently wrong with asking members on the board for an opinion, or question, concerning an object, it DOES matter what the intention or motive is. Suspecting a commercial motive is not a reason to behave aggressively, however. If you're concerned the line has been crossed, report the incident and please remain civil.
  7. Eric's entry for Azzola is pretty short... less than half a page... but I has more information than the Chi-Mei entry quoted above. Eric includes only one photo; a top; of a '20s fiddle... Guad model I believe. I'm away from the shop till Monday, but will check my copy when I get in and check the details (and my memory).
  8. 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...
  9. 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 bit like Hoyers, but know of no documentary evidence of this 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.
  10. For what it's worth from many years ago: https://maestronet.com/forum/index.php?/topic/58828-pique-violin-bow/
  11. 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.
  12. 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.
  13. 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?
  14. I was curious as well... No danger of that in my opinion. My comments also stand.
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