cheleno

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About cheleno

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  • Birthday May 7

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    San Jose, Ca

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  1. It's been 7 years since I first posted to this site. Some of you will remember the Klotz cello in need of restoration. The restoration began approx 1 year ago by Paul Perley. It should be ready in approx 45 days. We had to replace the bottom rib, I have it for future restoration. When it's all said and done restoration plus cost of instrument should amount to $17,000. I will post pictures soon
  2. Thanks for the imput ibukard. Restoration is waiting on the shops to take on the tasks at hand. I am in line probably start next month
  3. Hello again, I came across this Aegidius Klotz cello of 1795. I'm trying to do some leg work myself to try and pin a possible maker to my cello. I'm not savy in these things, what are your opinions. Were these "f" holes and scrolls cut by the same hand. I know my cello was made during the later part of the 18th century, possible beginning of first decade of 19th. Aegidius Klotz died approx 1807. I respect your imput, its always a learning experience for me.
  4. Hello and thanks for this information. Is this something you would do. I would rather have this job done than just another "band aid" type repair. Would you be interested in doing this job if so, what might I expect to pay. I'd have the current repair person remove the rib and I'd sent it to you if this is possible Thanks Harry
  5. Chet, I am a friend of a violin maker here in California. Scott has factories in China that supply the U S with instruments of varying quality. Once a year in March he travels to Europe for wood to supply his business. His better instruments are made of wood thats been aged at least 5 years. I commissioned a cello from him once. I wanted the back to be made of poplar. It seems I waited for ever before that piece was ready for construction. What I'm getting at is this. How abundant was cured wood available for instrument making in the 18th and 19th centuries. Those guys were also running a business and I bet they went through alot of spruce relatively quickly. It makes more sense that once the tree was cut, the belly wood was carved 5-10 years later. Now I am basing this assumption strickly on the knowledge I got while dealing with Scott. I worked in his shop for over 2 years. I may be way off base in this opinion. Thats whats great about this forum. Someone will probably shed light on this opinion today. How practical was it to have wood lying around for decades before it was carved, what are the odds. In reality isnt that what plays into all this. You consider the odds and the testing of wood, as so eloquently was done by Peter Ratcliff and you make an educated assumption. Chet in regard to my cello the instrument in question. It has been through the ringer. It is in the process of restoration. My main concern is the one piece bottom rib. I don't want to replace it but rather have it repaired. Writing inside the instrument was translated. The cello was repaired in Moscow 1937 by a guy named Sergi Buyevski. The neck was been re grafted as many 18th century instruments have. The peg holes have been re bored and it exhibits the wear and tear of two centuries. Roland Feller of San Francisco told me " Instrument in its time was a good instrument." Its not a fake antique. You input all this information into the equation coupled with Peter Radcliff's analysis and you come up with a conclusion. Many great instruments have gone through a dendrochronolgy analysis as part of the authentication process. Its just a tool, one of many used to place a name and date on instruments. I like the sound of Joseph Klotz 1795 for my cello. It has a nice "ring" to it.
  6. I want to thank all of you who posted responses to my inquiries about my cello. Many of you said Mittenwald late 18th century Klotz school, congratulations you are probably right . Peter Radcliff of Radcliffiddles did a Dendrochronolgy test and the results are as follows: 1. " The treble side on the most promising picture I have a strong date of the latest ring at 1785, which is a bit later than I thought, but sometimes, the condition makes an instrument look older than it is. So realistically, your cello, considering the narrow growth near the centre joint, will have lost several growth rings in the preparation/planing for gluing, how many is simply impossible to say. But between the latest ring measured and the bark, you have to assume that there probably are a minimum of 10/15 years, which inevitably leads to the conclusion that you cello was not made before about 1795/1800. That at least rules out some of the Klotz's, and narrows down your research a bit. 2. " I just got a date for the bass side, 1787 is the date of the last ring I measured on it, there may be a couple of more rings unmeasured. The growth pattern is very different to the treble side as you can see. The treble is likely to have come from a tree growing at higher altitude than the bass, hence the wider rings on the bass side. Both wood patterns, though not matching each other well at all, are both matching Mittenwald instruments. The bass less so, matching also English instruments. This is not unusual, as the wood from late 18th and 19th centuries English instruments often matches Mittenwald wood, but often with wider ring " This is extremely interesting information that narrows the research. It isn't a Mathius Klotz or from the hand of his son Sebastian. It could be a Joseph Klotz cello son of Sebastian.( 1743-1819) Ken Su's opinion again, is that its not a shop instrument. We'll probably never know for sure. Either way Klotz cellos are rare to begin with. Its very difficult to find one to compare mine to. Many thanks to Peter once again for all his time and for the most valuable information so far
  7. Well thanks to all that attepted a translation of the writing found inside my cello top. A guy at work who at one time in was in U S Army intelligence said he's rusty but came up with the following "Sergei Buyevski" "Cracks on upper deck and обачай фўтор on upper deck" "Moscow 1937" Nothing special here unless someone can shed light on Sergei Buyevski in Moscow
  8. I hope someone can decipher the writing inside this instrument. It probably only I'D's the repair person. Looks to me like a slavic language, Its just another piece of the puzzle I'm trying to put together.
  9. Thanks Ken I agree with your assessment. It is my intention to bring this cello back to playing condition. I'd like to do that while trying to maintain its original character. We'll see if it can be accomplished
  10. Thanks Iburkard, I don't uderstand the comment at the end of your post. "Please be considerate" Forums are just that, forums. I consider the folks in Maestronet pretty savy. I appreciate their imput. But they respond and comment if they like. My posting or anyone else doing same doesn't prevent others from participating if they desire to. I'd say just ignor a post, question or whatever like the vast majority does. I think this is what you are referring to when you say "please be considerate".
  11. Thanks for your post. Ken is old school and hes charging by the hour. He said to me this one area is the most difficult and would take longer to repair. He suggested originally, that we replace the whole bottom rib and keep the original for later replacement. That would mean more money. I trust him whole heartedly. I know the stuff works but hes never used it. I put this out there to see if any of you have had any experience with the stuff. I think it will work.
  12. This is regarding that Klotz like cello again. Ken Su in San Mateo , Ca. will be doing the restoration. The cello has a large piece of fabric like material glued along the inside of the bottom rib. This was the method used when "repairing" the cracks seen in the picture. Ken said the fabric has to be removed to do the job correctly using wood cleets instead. Another luthier said he would apply hot water to soften it off. This scared me because what will constant exposure to water do to the already fragile wood. Ken said he will carefully carve it off. My question is this: I've worked on many pieces of antique furniture. On some of these restorations I've had to strip off old paint to expose the wood underneath. I've done this with that commercial stuff used to remove varnish etc. Do you think I could apply some of this stuff sparingly until these "skins" swell off. It wouldn't be on there long. That gooey acid stuff doesnt take long to get the job done.
  13. Thanks for taking the time to give me your detailed response to my inquiry. I understand that Klotz cellos are rare. I've looked online for any information regarding Klotz cellos. There isn't much there. There is a refrence of one belonging to Spanish cellist Josetxu Obregon. He owns a Sebastian Klotz whose scroll is not original. My cello accordng to Ken Su of Ken Su Violins in San Mateo is well made. He looked at the nuances of the instrument and said "made by a steady hand", "this cello not made by apprentice". When comparing my cello scroll with the "attributed" to Sebastian Klotz cello scroll recently presented for auction by Tariso, Peter of Radcliffiddles said, "yours is better executed". Yet another reference to the "steady hand". All this leads me to believe that this cello is just not a plain Klotz school Mittenwald instrument, well at least thats what I'm hoping to establish. I hope its construction will "sort out all the Klotz's ". You mentioned east coast appraisers. I hope to snare some tickets afterall to the Antique Roadshow coming to town. Ebay and Craiglist are listing some. I think its worth to pay the $280 for the tickets. A decent written appraisal is going to cost just as much and more. The advantage the Antique Roadshow brings, is the depth of their appraising staff. I hope Kerry Keane of Christie's auction house a regular of the Antique Roadshow, takes a look at the cello. He is definetly an east coast guy. Do you agree that leaving the top off helps the appraiser. There is no label or other visible identifying marks inside that I can see. I however do not have a trained eye. I don't know what these guys look for in side.