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S. Hersh

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  1. I have had a lot of experience with these issues. In my opinion Shar is among those in the business who do this sort of business thde right way...problems can occur. If you deal with the right firms, the solutions make sense. S. Hersh
  2. I have not heard of a Vincenzo Panormo so decorated but I suppose anything is possible. S. Hersh
  3. Most of the e bay stories which I know are not happy ones. There is a reason that experts are reluctant to furnish opinions via photos: It really isn't possible to accurately appraise an instrument without examining the piece first hand. Even under the best conditions violin expertise can be a less than precise science. Illiquidity, authenticity, and hidden conditional flaws are glaring risk factors with stringed instrument purchases.Buying in an E bay style auction only serves to enhance these risks. S. Hersh
  4. One other clue to the dates of Hill bows is the tracking or mortice arrangement for the frog. If the tracking terminates before the butt end of the stick then this usually denotes a somewhat later bow. The tracking running to the butt end of the stick is normally an earlier feature. The absence of tracking on a fully mounted bow would make the bow likely to be earlier still. Makers like James Tubbs and Samuel Allen made excellent and often easily identified bows branded and sold by W. E. Hill. S. Hersh
  5. I would urge caution with later members of the Guadagnini family. Expertise in this area has been traditionally thin and current ongoing research into the Turin school is exposing many new relevant issues.Perhaps this is why the violin in question is being offered at a "bargain" price? S. Hersh
  6. I believe I have seen violins from the so called "English Workshop" of Hungarian makers labelled Panormo. The Panormo name is one which lesser English and French instruments have frequently been upgraded to. S. Hersh
  7. The main service offered by the best dealers as opposed to an auction house should not be minimized: It is the dealers willingness to accept the instruments they sell back in trade at a value comensurate with the changing market value. String instruments are extremely illiquid. New information can call in to question the authenticity of instruments previously unquestioned. For these reasons and others, the back up service of a major dealer that carries an inventory is the sensible way for the majority of the retail public to access the market. S. Hersh
  8. see reply posted above...
  9. Virgilio Capellini usually works with Alfred Primavera as he has for some years. In Cremona, Alfred and Virgilio have a prolific enterprise building instruments mostly for export. They produce several different grades, the best usually being imitations of semi-modern Italian makers such as Garimberti. The instruments are relatively commercially constructed but built along sensible lines so they usually sound well. S. Hersh
  10. The generally accepted weights for bows are approximately 60 grams for violin, 70 grams for viola, and 80 grams for 'cello. But I find the fixation on weight of bows that some players preach to be shortsided. The variables involved in selecting a bow for use include issues such as balance and flexibilty/strength which are at least as important as weight. For resale, however bows close to the generally accepted weights are often much easier to sell than bows which are much lighter or heavier. S. Hersh
  11. I agree with the poster about seperating the issue of investments and violins. Violins can be reasonable investments but the risk factors involved with antique violins mitigate against them being desireable purely as investments. Depreciation due to wear and tear is a factor but worse risks are illiquidity, inherent vice, and authenticity problems. These issues can not be covered by insurance and are prevelant with antique string instruments. You should try to stay clear about your motivations so that you can make a move that balances your fiscal agendas and your desire for a nice instrument tonally against the risks of the financial outlay. S. Hersh
  12. That depends on your idea of "Great." The issue is not simple. There are many instruments in the $1 million class that I would not find suitable for concert use. There are many violins in the $100K class which I would find perfectly adequate for concert use. But that is based on my subjective criteria. Violins are priced based on issues of pedigree. The quality and condition of an example is key to it's collectiblity. Tonal issues factor more in the breadth of a pieces saleability and so can have a consequent effect on price. And certain pedigrees have gained a tonal reputation and so have become more collectible. This is true of del Gesu violins. The work and materials on a first class del Gesu are not as fine as that of the best Stradivari but the tone of the best del Gesu violins is more desireable to some than a fine Stradivari. The issue becomes blurrier when crossing schools and nationalities of making. S. Hersh
  13. Some of the better violins produced by the firm of W. E. Hill and Sons were made by Langonet. His work is quite refined. The Langonet violins which I have seen were built on a solid Stradivari Model for W. E. Hill and Sons using varnish of an attractive texture, varying in color from red brown to a rather neon red. The tone of the Langonet violins which I have seen is powerful and of a high quality if a little veiled in character. This maker often represents good value in the market. S. Hersh
  14. Maggini violins are important and rare. Copies of Maggini violins are often difficult to sell, even if they are by sought after makers, because of the large dimensions normally copied from the originals. There are numerous Maggini model violins of little value at all. S. Hersh
  15. I am a 36 year old violinist living in the Chicago area. I play in the Chicago String Quartet and teach at De Paul University. For years I was involved extensively in the wholesale string instrument trade. More recently I left the trade and started Hersh Consulting Inc. to help consumers interact with the trade in an informed manner. I have been posting here for a couple of years. S. Hersh
  16. I am sorry to hear of this problem with a London auction house although it is not the first such problem I have heard of. You would do well to read carefully the contract which you have with the auction house to try to understand your agreement with them. For further advice you will have to sek a professional opinion... S. Hersh
  17. Thanks Victor...yes I am still here! S. Hersh
  18. Novelli is supposed to have been a pupil of Pedrazzini. But most of the instruments that I have seen bearing this label are apparent upgrade attempts. I don't feel equipped to give a critique of the makers work except to say that I would be skeptical and would encourage you to move slowly. S. Hersh : I can't find much information on a maker Natale Novelli who supposedly studied with Pedrazzini. I'm considering an instrument that is made by him and wanted to find out more information as I'm unable to come up with much.
  19. James: To me it sometimes seems that people look for a perfect solution in places where that ideal may not apply. So it is with violin set-ups. No one violin set-up is necessarily the best. Speaking only of technically sound methods, there are always trade offs with different changes to a set up. The relationship of the post to the bridge, for instance, is often more crucial than post placement itself. It is rare to find an old neck set that has not begun to twist or veer and even new neck sets frequently show stress early in their lives. Luthiers use various means to try to correct or minimize these problems. The neck set can have a profound effect on volume, especially the neck projection. A twisted or veering neck can affect the relative darkness or brilliance of the violin. But if you are happy with the sound and response of your violin, and a trusted luthier can assure you that there is no danger of damage to your instrument as a result of the crooked neck, then I would leave well enough alone. If you do have the problem corrected you will have spent a chunk of money and may not like the changes tonally. S. Hersh : : Stefan, : I know from the posts here, that you have extensive knowledge of the violin itself, and that you are a world class player. This is a rare combination! I've owned and played on a professional quality violin for the past 10 years, but recently it has come to my attention that the neck and fingerboard is crooked by 2mm's toward the treble side, but the bridge is centered relative to the f-holes. Should this be a concern? I don't seem to have a problem playing other violins and no one has ever complained about my violin being hard to play. : Thanks for any insights.
  20. $3000.00 sounds like a lot for Nurnberger-Suess. You should be able to get a fine Albert Nurnberger for that price. As a comparable consider: For a client last week I negotiated the purchase of an excellent gold and ebony Hoyer dated 1922 from a major dealer for considerably less than $3000.00. I would expect Nurnberger-Suess to be less than a fine Hoyer. S. Hersh : Thanks for the feedback on the Nurnberger-Suess bow. The one listed in the Maestronet auction database sold for $1,162 and there is one for sale in an online Midwest instrument shop ad for $3000. What would be a reasonable price to pay for a Nurnberger-Suess bow that is in excellent condition? : Thanks
  21. Jeff: That would likely be Edward Tubbs who worked in NY in the early part of this century. Some are pretty good but the value and quality are nothing close to James Tubbs. S. Hersh .: I recently came across a bow stamped ? Tubbs N.Y. : Would this be James Tubbs? If so, can anyone tell me when he worked in New York, and how his work stamped as such is regarded?
  22. August Nurnberger-Suess was related to members of the Nurnberger family but he settled in Novato,California and his work is different from the more famous Albert Nurnberger. Nurnberger-Suess bows are sometimes quite nice but the value is less than a good Albert Nurnberger. S. Hersh : I have been looking at a bow with August Nurnberger-Suess stamped on it. In the Maestronet price history data file it is identified as a bow made in the USA circa 1930. Does anyone have any information on any relation of this maker to the German Nurnberger family of bow makers. Is it the same? I'm interested in buying this excellent bow but want to know more about it's pedigree. Thanks Hersh Consulting Inc.
  23. Patricia: It is difficult to comment without seeing the violin in question. Roth violins have different values in the marketplace depending on quality, measurements and condition.Current perceptions of quality do not always correspond to the Roth grading system.Also there are many so called Roth violins which have been upgraded to this name from lesser Markneukirchen work simply by adding brands, labels and signatures. The idea that Roth himself made the violin in question seems unlikely. In any case the real assessment of price should be based on the above criteria. $6000.00 is a reasonable price for a top quality Roth but could easily be too much for anything but a very fine example. S. Hersh .: Hi, : I recently was given the opportunity to purchase a very beautiful violin with the Roth label and brand. The label is dated 1927 and is also hand signed across the label with Ernst Heinrich Roth's signature (written with a fountain pen right over the other printing on the label). The label states that it is a model of a 1724 Stradivarious. The brand includes what appears to be the model number "B411". : I was told by a friend that the $6000 asking price is a bargain because it was made by Mr. Roth himself. My friend explained to me that Mr. Roth would sign only the labels of instruments which he made with his own hands, indicating that this is not a workshop instrument. : Have any of you ever heard that Mr. Roth signed the label of instruments that he produced with his own hands? Also, does the model number B411 mean anything? I checked the Maestronet archives but didn't find anything. : It really is a beautiful violin, is in great condition and plays wonderfully, but I sure would appreciate any advice that you would be willing to share before making the $6000 purchase. : Thank you, : Patricia Hersh Consulting Inc.
  24. Get your violin to a qualified appraiser. If you e mail me your location I may be able to furnish a name in your area. S. Hersh : Help! I have just inherited a violin from a deceased relative. My great-great grandpa played, and then it sat in a closet for a lmost a century. It is about 100 years old, I think, and seems to be all right, except some wear and tear to the body . Any suggestions on what to do with it? Hersh Consulting Inc.
  25. This is weak language. It usually means that the seller is advising a would be buyer of an attribution for the piece in question with which they do not necessarily agree. On certificates it sometimes seems to mean that this is the experts best guess but not a strongly held opinion on their part. S. Hersh : Looked in the archives but couldn't find anything. What exactly does "attributed to" mean when an instrument is presented or sold? How much does this affect the value? Seems their is considerable difference when compared to the actual maker's work. Thanks. Hersh Consulting Inc.
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