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Ratcliffiddles

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Everything posted by Ratcliffiddles

  1. Some people would cut on the inner line of the purfling right through the plate (without actually fully detaching it the edge), in order to keep and re-use the original edge, and after reducing body to required length, fold back and glue the edge, and half edge the affected areas. No joints will be visible apart from the ones with "nocetta" and the half edge.
  2. It seems clear to me that the purfling disappearing at the sides is a sign that the arching was created on the present instrument from a flatter pieces, probably using several techniques. Look at your edges, where the original pieces have been somehow fitted to new edging. I know the Hardie viola pictured above from an earlier 2014 post inside out (in Rattray's book) whose back was in several flat staves, bent and glued with angled joints to create an "arching" of sorts, then the whole thing cut to shape, somehow flattened and glued on onto a base. Quite crazy sort of work, but amazingly, one of the best sounding violas around! By the way, the front of that viola was in ( at least) 4 main pieces, with baffling architecture, including a lovely flat joint right across the top of the sound-holes. That not counting the pieces forming the edges. Altogether quite crazy sort of work, but amazingly, one of the best sounding violas around!
  3. That's probably why some of the purfling decoration has disappeared whilst scraping, attempting to give it some arching.
  4. He also made guitars, which may be why the label says " violon" La Prevotte, in case somebody thought their guitar sounded a bit dead.
  5. Tubbs "inspired", but it's all wrong for genuine Tubbs.
  6. Looks pretty convincing to me as a Sartory. Nose has probably been damaged and shortened which makes it look a little different to what it should bee, but yes, do show it to an expert in person.
  7. There isn't just one forest, in any case, and in the location where some of these were, very few trees are extant.
  8. Bruce, No, mostly, they do not go "public", and the information is confidential between commissioner and myself, but there are a few ( very few, and nowhere near 20%) of the certificated Strads which are not "quite" by Antonio. Some are likely to be later Strad workshop, some have Voller fronts, some ARE entireley by Voller. With dendro now being "almost" a requirement when selling his instruments, these become difficult to be sold for what they are not. The beauty about Stradivari and the wood he used, is that many cross-match each other exceedingly well, and are made from wood from the same tree, often during specific periods, although leftover bits occasionally appear in (his) later instruments. The above is mostly the case for instruments made after about 1690.
  9. The data is public, and it's freely available. Why you cannot access it is beyond me. "Could anyone pretend to be a Dendrochronologist? " Yes, I suppose so, as much as one can pretend to be anything else. I don't know of a convincing and universally accepted definition of "best Spruce". As far as the 3 "Filius" violins which, most likely share wood from the same tree, the tests suggest that the source of that tree is not quite the same as the one supplying wood for the majority of Italian contemporary instruments.
  10. Incidentally, contrary to what the paper says from the o.p., my report on the Joseph Guarneri "Filius Andreae" from Vichy did contain the dendrochronological date of the wood (1695), and had already identified another highly probable same-tree match to further violin by the same maker.
  11. Then you're not looking in the right place. Access via https://www.ncdc.noaa.gov/data-access/paleoclimatology-data/datasets/tree-ring
  12. I am not sure what searches you are referring to, I thought we were talking about the suitability, or not, of published regional reference data? Sure, not all instruments do fit a published chronology, that would be too easy.
  13. Yes, unfortunately, that one does not cross-match with any published regional references comfortably. With data from other instruments, it's a different story altogether.
  14. Incidentally, I have just tried one of the ITRDB's southern Austrian references against data from instruments in my database, and well over 1000 ring-patterns from instruments cross-match with t-values between 6 and 11, so some do work. How many instruments have you tried to cross-date?
  15. Strange, I have plenty (daily?) of success cross-matching instrument data with published ITRDB regional data.
  16. I am wondering whether the head has been hacked and re-shaped during that wonderful head repair. Seems to have lost all Hill features in the process
  17. Doesn't look French nor Italian to me, more like something from Markneukirchen.
  18. With that style of corners and rib mitres, it looks ordinary Bohemian to me second half 19th century
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