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Jeffrey Holmes

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Everything posted by Jeffrey Holmes

  1. I believe the highest auction price was set in 2008 @ just north of $2,100... but they often sell (at auction) between 1K and just south of 2K. I've seen them offered in shops between 5K and 8K, but don't follow up on the sales of this maker's work, so cannot confirm actual sales amounts. Ebay is a crap shoot from what I've seen. I'd not be confident of what I'd get (a wreck, a poor example, etc). More information concerning this maker: Tarisio article
  2. Jerry Pasewicz (Triangle strings) has a very good tutorial on the website concerning their method of making cleat stock and fitting/glueing cleats...
  3. I'm suggesting that cleats tend to limit flex of the glued crack (shaped and relieved) and help prevent the brittle but strong, well executed, glue joint from opening do to movement. They are installed quartered and cross-grain or on the bias. They don't exactly move in the same manner and direction as the top during humidity changes, and don't really "hold" the crack closed in the way many may feel that they do.
  4. Not sure exactly what you're asking? Is the question "do you install slab cut cleats?" If that's what you're asking, I personally have not had the occasion to do so. Probably good to consider what a cleat actually does when applied over a crack... It doesn't exactly "hold it together".
  5. You may be correct, but I'm not sure what all is in the bag that was suggested besides plain old bentonite ("clay based fullers earth" is usually a combination of minerals, correct?), but in" additional information" the product itself has listed: "Not Compatible with (May generate heat or fire): Turpentine Hydrofluoric acid Vegetable and fish oil Other unsaturated, organic compounds." As I mentioned, I don't fully understand the intricacies of the possible exothermic reaction, but I'd certainly do some testing were I to consider the using the product or other sources of "fullers earth"... or I'd talk to a chemist in an attempt to better understand possible dangers.
  6. That's predominately Fuller's earth, correct? I haven't tried Fullers on linseed or walnut oil stains in wood... mostly because I don't fully understand the chemical reaction it may have when in contact with vegetable oils. My understanding is that it is/was used as an oxidizer/bleach for linseed oil and may cause heat buildup in some circumstances. Have you used it without complications? Any chemists here that can offer information?
  7. Yup... I believe it was the Warrens that straightened that out a long time ago (the article may mention that.. I didn't read it). I always knew it as a Gemünder, and that has been over 40 years. That violin was also included in the Library of Congress for the American Violin exhibition.
  8. When I worked with David many years ago (in the '80s) we'd (us shop rats) visit the Ford and the curator would occasionally visit us (with some interesting stuff, not just fiddles). David was "their guy". Things changed with the new administration. The instruments were not displayed and kept in "locker like" storage cabinets. After the Begonzi exhibition in Cremona (the Begonzi was taken out, flown over, and exhibited there) finally things started to "open up" again. For the past several years, I believe Sharon Que has been looking after the collection.
  9. ^ What Micheal R. said ^ There are other poultices made with clay/chalk and sometimes even including paper or cotton fiber) that may also help you (like the whiting Rico mentioned) as well. Stone and art conservators use poultices for a variety of extractions including oil and metal stains. You may want to check various conservation sites for details.
  10. Glad they have them out in a case again. After the last curator retired they spent many years in storage. I especially like the Doyen and the Bergonzi.
  11. ^what Don and David said^ I use a slightly different approach when sizing an internal patch. Endgrain exposure is different...
  12. At first glance, I'd guess it to be Eastern European and not that old... but photos can be a little deceiving and it's not the kind of fiddle I see/deal-with regularly. Looks healthy. Good luck.
  13. Very nice fellow... I wondered if he was having some health problems when I spoke to him last, but was afraid to ask. Sorry he's gone.
  14. I've heard it referred to a "clear title"... and I agree... it sounds like the instrument itself does not have clear title at this point. I would not sell, or participate in a sale, of an instrument I suspected of not having clear title. What to do about it is a different matter. While a "judgement" has been rendered concerning the last transaction, it sounds to me (what few details have been presented) that it was a judgment concerning a debt and not necessarily the property itself? If it were me, I'd have been on the phone to my lawyer and insurance agent immediately... Maybe the OP was?
  15. Don wrote: "...but not have much effect on the vertical bounce mode of the end of the tailpiece, which I have found to be of the most importance..." I'd probably describe things in a different manner than Don, but I believe I understand what he's saying... and that it describes my approach. Understanding our setups may vary in different aspects , it sounds like I approach things differently than you do in this regard. I usually prefer a slightly wider spacing (within reason) at the saddle end, never twist the hangar... and am careful to select a tailpiece the gives me enough room (not bringing the tailpiece too close to the saddle), but not too much room. Feel free to correct me if I've misunderstood.
  16. I think Don explained the effects better than I could...
  17. Yes, I have found it does, as does the spacing of the gut holes at he saddle end of the tailpiece (all other things being more or less equal).
  18. I recall a 'cello that required a guitar fingerboard heating blanket to allow removal...
  19. One of the pics in the photo array seems to be missing on my screen... but my first reaction is that (unless they've been moved significantly or the head replaced... which it does not obvious in the photo; maybe the cheeks replaced?), the peg placement would be unusual for a Neapolitan head. I'll stare at the rest of it later...
  20. I'd suspect you might be right, assuming they do follow the grain. I recall a Kennedy 'cello withe grain of the top running off at a slight delta on the top... the glued in bar that was in it ended up following that grain rather closely (it was installed at what would be considered a correct angle otherwise). It had a long crack on each side of the bar. There was a late 19th/early 20th century Turin maker who produced instruments with carved bars. I've seen two that survived intact. He also glued in a pillar type support on the chin side of the lower bout rib.
  21. Yup. Nothing wrong with them... used to do something similar... and knowing you, I bet yours are very nice! I switched to rigid insulation because it allows me to make a very accurate cast quickly, following the outline and corners closely, by cutting out the tracing on the bandsaw... and it releases from the Tecstone or plaster easily once the cast sets up. With Tecstone 1 1/2" stock works very well for most casts. 2" for most cello applications.
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