Bruce Carlson

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  1. Manageable in the sense of shorter body length, compact upper shoulders and not as broad and cumbersome as Domenico Montagnana cellos which are similar body length. Gutman didn't seem to have any trouble getting around on it. Raising the arch on the front a little is a good idea and then it's a question of orienting the fingerboard and bridge to gain the clearance required.
  2. The instrument changed owners at the exhibition in 2008 and the new owner stopped the loan to Gutman. I don't know where it is right now but I'll see if I can find out. I like the cello a lot and it's in a manageable format. 79, that's a lot!!!!
  3. This is the only one I have had in my hands to examine. At the time it was played by Natalia Gutman. Natalia Gutman - 'Messeas' del Gesù This is the only video I could find where I recognise the cello. In her career she has had many cellos on loan. In the catalog, when it was on display in Cremona in 2008, describes a back of poplar or willow, sides of beech and a five piece spruce front. It is labelled Joseph Filius 1731. Bruce
  4. No. Even the Messeas violoncello of 1731 that was identified by the Hills as a Joseph filius is now recognised as a 'del Gesù'. Joseph filius entered hospital in 1730 and once back home he would not be making any more complete instruments, in particular a cello. In the future he would only be carving scrolls for 'del Gesù', Page 15 vol II Biddulph et al.
  5. I would prefer to say Bavarian from Mittenwald rather than German. Some of the locals can be very touchy on the subject. This sort of violin we call a Tone ohne, ohne in German meaning without. Tononi or better, the Tononi family did not make blocks like that.
  6. True enough, Paganini "gave" Sivori the Vuillaume on the condition that Vuillaume would be paid for the violin as it was given not to Sivori but to Paganini.
  7. More info. Stanhope lens and Vuillaume picture bows by Philip Kass for Strad Magazine
  8. Here's the 'Chardon' 1735 from above in reflected light. You can see the gouge cuts.
  9. I do know him. His name is Christian Zens but he has always been difficult to contact. I haven't seen him for some time now (2 years?). I will see if I can find any other contact information besides that on the website.
  10. This small violin is the equivalent of the 'Messiah' for Guarneri 'del Gesù'. It even surpasses the 'Messiah' in that the fittings, tailpiece, lower saddle, 3 pegs (at least), fingerboard are all original and the neck is still nailed in its original position with four nails. It is fully varnished including the neck. The only Stradivari in this condition, and one better, with the original bridge is the Tenor in Florence at the Accademia.
  11. There is a Martinus Kaiser violin in Venice with the purfling center that appears to have been pewter or similar metal. In time it has corroded but it shows up as metal in the x-ray. Normally purfling is almost invisible or with far less contrast. Bruce
  12. Hi Peter, The image that you are using of "il Cannone" is a drawing and not a photograph introducing a further possibility for error. One can read on pages vii and viii of the Preface to the Hill book on the Guarneri Family: "We succeeded in obtaining permission to make a drawing of Paganini's famed Guarneri violin, thanks to old friends, M. Camille Barrère, the ex -French Ambassador to Italy, and Signor Robert Foltzer of Genoa, both lovers of our subject; nor should we omit to thank Mr. Harry Currie for the drawings which he did at Genoa in 1925." The 'Cannone' has been somewhat idealized in these drawings. The other instruments illustrated in the book are 'photgravure', black and white and color plates derived from photographs. Photogravure process The 'Lady Blunt' currently has a neckset that reflects what J.B. Vuillaume and many other French violin makers were doing at that time which is characterised by a steeper neck (more back slant) and a lower 'overstand' or 'appui' than we would normally do today. In many ways it is more similar to the neck reset on the Messiah Stradivari of 1716 in Oxford, also done by J.B. Vuillaume. Bruce
  13. David, I have changed that rule which the museum evidently got elsewhere, a little led light is fine. You can also take photographs. No tripods. Any UV light source is obviously not allowed. Sorry you had trouble. If you're nearby make a second trip. Bruce
  14. No, only Columbus, as it is part of the sister city cultural exchange program. Then it goes back to Genoa.