Christian Pedersen

The centerline of the back does not line up with the centerline of the new button and the added purfling is also misaligned. The repair is quite visible. Possibly solid but shy of well done in my opinion.

How does your cello sound to you with the new bridge?

Early french or a later copy with old wood?

What is this violin? $12k-18k estimate goes for $66k. https://t2-auctions.com/auctions/lot/?csid=2199502848&cpid=3735371776&filter_key=

So, it's ambiguous to you as well? Seem strange to me that a competition celebrating a great copyist wouldn't allow antiquing.

Any thoughts about this competition? http://nemessanyicompetition.hu/en/ In the rules, the english translation states "Don't copy the abrasions." does anyone have have an idea what that actually means? --Christian

More specifically, I would believe that the varnish was just not yet fully dry.

In the words of my boss, "Golden red orange brown."

"Gerard doesn't yet know how much he doesn't know, and failing to know how much one doesn't know continues to be one of the major buggers in our business." Mr Burgess, this is one of the most accurate statements you have made!!! Thanks!

The Becker 100yr stain noted in this previous thread is the closest I've seen to what you are looking for. Historically possible. --Christian Pedersen https://maestronet.com/forum/index.php?/topic/333364-dichromate/&do=findComment&comment=697775

Thanks for the lead. Does anyone else have any thoughts? Vuillaume varnish isn't necessarily my favorite but if I fall short of Cremonese I wouldn't be too disappointed if I failed in this direction.

Are there any studies with definitive information about the varnish used by Vuillaume?

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"I've spent a lot of time over quite a long period actually looking at examples of the long arches trying to work out what approach makers in the past might have had when either carving or making templates for them." I'm curious if you are looking at photos of instruments or actual examples of many classic fine old Italians? The distortion and inaccuracy in photography makes conclusions from this data quite unreliable.

Mr Beard, is it possible your lack of hands on experience prevents you from understanding what is obvious to people with many decades of experience in major violin shops? Mr. Burgess presented an example he happened to document from years back. His example is completely consistent with every experience I've had with long arch deformation. The difference is considerably exaggerated when an arching height on a violin is increased from 14-15 mm starting point to 18-20mm.