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  1. Nicolaus


    Thank you everyone for this information. I'll do more research in the Hill's book. Nicolaus
  2. Nicolaus


    May I please know if anyone knows how Stradivari's workshop labels were written (in Italian)? I read that some book contains all of Stradivari's labels, including his workshop violin labels, but I don't remember which book it was. It was said that most of his violins that had workshop labels, the labels were removed because the violins would sell better as unlabeled Stradivari violins than ones with a workshop label in them. Thank you, Nicolaus
  3. Thank you for this information, this reinforces my idea to use water based sealers.
  4. Thank you. I tried shellac on one violin and spirit varnish with venetian turpentine on anoter, sealing all interior surfaces, but, being quite a good violinist, when I performed on these violins, people gave appreciation for my talent, but tried their best to hint to me to buy a new violin. I was told by an older violinmaker no longer alive to use water based interior sealers if I use one at all. Thank you for your warning, Nicolaus
  5. I use to play a violin made by John Banten 1784, its interior back side's only pores were filled with what I suspected to be seedlac, this violin had profound powerful tone for being a smaller type violin, but resonance was seriously wanting. I doubt that Stradivari filled the pores of any interior sides of any of his violins because Stradivari violins are not wanting for any resonance. I've heard of some "sealers" that you wipe onto the wood and rub it deep into the wood, through the pores but don't leave any coating, not fillig the pores, and, I have been told that water based "sealers" are the best. I looked at an ordinary piece of white pine under a black light and it reflected a weak purple fluorescence. This purple fluorescence was the wood slightly reflecting the black light. If you observed a srong or solid purple fluorescence, I imagine this will lead to the identificaton of a certain substance. Did this substance fill the pores, or did the wood appear to be just subjected to a drying liquid not filling the pores or leaving any coating on the top of the wood? May I please know who made this violin?
  6. Thank you everyone for this expert advice. Does anyone know if the sealer was applied only to the back or to all interior sides? Thank you very much, Nicolaus
  7. May I please know if anyone knows if Stradivari and Guarneri used the known, common "old Italian sealer", which is observed on many 18th century Italian violins? May I please know if anyone knows what the old Italian sealer was? Thank you, Nicolaus
  8. Thank you. I will use this. I didn't know if it was commonly used or not.
  9. Thank you for all these recipes. This is fine information.
  10. If this is of any help, I add the smallest amount of yellow iron oxide to my madder root lake when it is dissolved into oil. To me, madder lake is tremendously in want of strength/completeness of color tone. Adding the very small amount of yellow iron oxide actually makes the color of the lake thoroughly deep, vivid, and perfectly mature and to me, acquires this quality that I can tirelessly look at it. The iron oxide, when added in the smalles amount, does not create any opacity, but any significant amount of iron oxide will destroy the varnish.
  11. Thank you for this information. This will greatly help me when I make lake pigment, and I will study Rubio's information also.
  12. Thank you all for expert information. I will try these methods.
  13. May I please know if cooking pine resin for extended time can turn the resin red, if there are any ingredients to add to the resin to accomplish this, or, does extended time cooking pine resin fully accomplish the task of making deep red tinted pine resin for making rich red oil varnish? Thank you, Nicolaus
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