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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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  1. You were correct.. Some messing with settings seems to have brought out he yellow lines... yeah, a different color choice might be advisable, but at least now I know they exist!
  2. Morning James, and thank you for answering! The link the OP provided does not include a written description, but does include a chart with a color coded "key". The chart is blank with the exception of mention of the table being loose.... hence my question. LINK I am not all that familiar with your listings, so please (and I'm serious) educate me! I am painfully aware of the limits that inherently exist when documenting condition in report or "map" form.
  3. Off subject just a little; Why is the condition report essentially blank? If the top was loose from the table, there would be little to no struggle to see and notate repairs...
  4. Notice I am not commenting on the instruments... I try never to do so when instruments are for sale, though I'm sure blind posters get by. At least the OP did name the source
  5. Tricky call... The auction scroll is dedicated to auction items, and we don't see too much shop inquiry on the pegbox presently and very little shilling I've been able to detect. If that changes, we'll probably have to consider yet another forum section... but for now, let's just leave this one.
  6. I recall I read a paper concerning a tool for installing wooden conical bushings on the interior side of the peg box wall developed by Florian Leonhard's shop some years back. Looked interesting, but haven't seen that one in action personally. Have seen Jerry's which seems to work rather well.
  7. Yup. I did as well. Death in the family (executor duties) delayed things beyond reason, so the Beare crew stepped up and covered that subject. Oh well. $#@% happens... I have an 75% complete article I can finish when I have spare time (like that's going to happen!).
  8. Spaced that Mark. You are correct... I believe it is "worth" the money though. Loved the peer review component.
  9. Hahaha...Don't have the time or patience I'm afraid (it's not the first time this has come up here), so I'll gladly let other willing members pitch in for that if they wish... but you can start the quest yourself by searching past threads concerning the subject. At Oberlin, just in the last 12 years or so, we've seen conservation techniques evolve and "new" materials and applications show promise... and a some fall out of favor. A good thing I think. I believe Shipman and Weisshaar recognized and appreciated this rather natural process as well. As I recall, there were new materials and associated methods that were mentioned in the text (Washi paper, etc) that were being tested in the shop. I worked for a conservator, who's clients included a number of history and art museums, when I was in violin making school in Chicago 40 years ago. Some things we did and materials we used just aren't "done" or used any longer... and technology/equipment available now was essentially just a dream back then. This goes for violin conservation and restoration as well. I expect (I hope) there will be similar hindsight applied to procedures and materials used now in the future.
  10. Agreed. I believe there are a few past threads concerning this book. Some might say (and I think I did) that it's kind of like an 25 year old medical text. In the 24 years since publication, some of the procedures accepted and performed then are outdated/frowned upon. Still, lots of useful information. A more contemporary text is the 3 volume set "The Conservation and Restoration of Stringed Instruments and Their Bows". No book on the subject that I know of is a panacea, however.
  11. If this actually is a (double) bass bar crack (requiring "the works"), removing the bar, repairing and reinforcing the cracks properly, replacing the bar with a new one, installing a new bridge and associated depreciation due to the damage may cramp or exceed the value of the cello (depending on the luthier's rates and if it's a student 'cello valued at $5,000). If the instrument is insured, I'd recommend the owner consult with their insurance adjuster after visiting the shop.
  12. An effective way to deal with deep voids; Very small glass spheres (3M) & hide glue tinted to match the wood, then of filler varnish carefully leveled and touch up (colored varnish) on top. Not for sissies, time consuming, but reversible. Keep the glass below the level you'll need to scrape to level the filler varnish. Scrapers don't like glass. You can essentially paint in the grain texture with varnish.
  13. I don't use Shellac alone (I add others stuff to it when preparing it) for touchup, as it tends to harden a bit too much with time (and it's quite glossy by nature), so my touchup is a little less glossy to begin with... but I do use a matting agent (silica) as well as occasionally a bit of wax when appropriate. Several in restorers Europe (especially the UK) I know stock Jenkins matting varnish (Link) in their shops as an additive. I never made friends with it personally, but I can attest that a good job can be accomplished with it by those who have.
  14. In my experience, instruments not hindered by "stylistic errors" have a better chance of sounding great, being able to get to sound great, not being quirky (therefore easier to maintain the status of sounding great), and holding popularity/value/demand in the market. How one gets to that point in their making may be another story...
  15. Rarity does have something to do with demand, but function is important as well. If you watch carefully, violas of a usable professional size often realize higher sales than fiddles made by the same maker (but may come to sales room or auctions less frequently)... BUT... if you reread what I wrote, the sale over 300K at auction was for a violin, not a viola ... and Martin's sale was for a viola (which does probably make the price a conservative one, all factors being equal)...so I say again; "supportable verbal appraisal".
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