Bruce Carlson

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  1. Well, his father was cutting a number of the scrolls for violin bodies made by 'del Gesù'. +
  2. Del Gesù did chamfer the inside of the pegbox and would blacken it as well. Stradivari is as Davide described, outside with chamfer and inside sharp at the end of the pegbox opening and the inner side of the walls only slightly softened but not a real chamfer.
  3. It can be but in the Neapolitan school they sometimes put them too close together and it was therefore easy to create a crack between the G and E peg holes or the D and A or in a viola or cello the C and A or the G and D. Most pegs are staggered so that there is more clearance for the hand. Some more, some less. The scroll below is a viola.
  4. I believe a number of these bridges are branded. Forster, Gilkes, Betts etc. (all later makers). Those in the Schreinzner collection attributed to Stoss, Geissenhof, Thir, Leidolff, Stadlmann, Stauffer etc.
  5. You can't believe everything you read in print. I totally disagree the hypothesis that this bridge could have been put there by Guarneri 'del Gesù'. The other bridge, in the collection tagged 'Guarneri', and housed in the Cité de la Musique in Paris, could have come from the 'Alard' but is certainly not in a style that you could attribute to Guarneri 'del Gesù'. If you look at the bridges in the Schreinzner collection from Vienna, this style of bridge or similar were being used all over Europe from London to Vienna and most of these bridges are tagged with makers active after 1750 a Mark Caudle mentioned.
  6. F.W. Chanot Manchester and Carlo Giuseppe Oddone Turin.
  7. If you have other pieces of this particular wood lying around why don't you graft on a small piece, like a wing? If you choose your wood well and orient it properly the joint could almost disappear on the finished instrument. I have done a small doubling on the underside of the plate because just before gluing the plate could be fairly flexible in that area and with a small bend you'd be set.
  8. I'm sorry but I have reason to believe that a number of instruments were intentionally falsified with this label and possibly one or two others. Much of this happened during and just before the second world war when economic times weren't exactly flourishing.
  9. Here in Italy, where the virus got off to an early start, many initially said that the warnings were way overblown. Then as the death count and number of infections piled up and the virus went exponential, the disbelievers who wanted to keep everything open had to change their minds quickly. Now they are really tightening the restrictions because although the infection curve is flattening out, there are still way too many deaths. We are reaching the figure of 100 deaths of the Doctors who are treating these patients. The death rate in Italy has been as high as 475 in one day. We're a lot smaller than North America. It's not a time to think it's not going to happen to me but to everybody else. The most effective measures have been to get yourself a few masks, some disposable rubber gloves for when you have to go shopping and for the rest, STAY AT HOME. The only people circulating are those directly involved with health care and the food chain. Music directors here are organising for concerts starting in September of 2021 unless researchers can pin down an effective vaccine.
  10. I've seen instruments of all sorts, invariably not of Italian origin, with the Antonio Comuni label and nothing in common stylistically that you could think it to be a brand or line of instruments. it's just an invention of some dealer or violinmaker of the beginning of the 1900's attempting to do what Jeffrey said in his first reply; insinuate that it could be Italian. The instruments I've seen are usually not old enough to be from the 1820's.
  11. Unfortunately it's not even a real label of a fake maker. It's a fake label of a fake maker. I think the saying goes: "If you sincerely want to discover who, where or when an instrument was made and what it's worth, don't read the label." The label has nothing to do with the valuation of the instrument in this particular case as Jacob pointed out.
  12. Antonio Comuni does not, nor did he ever exist.
  13. Kevin, The only two x-ray images I could rustle up on short notice are in the book "La Musica e i suoi Strumenti" La Collezione Granducale del Conservatorio Cherubini, Giunti editor 2001 ISBN 88-09-02184-3 . These are partial x-rays and are likely taken from a full image of the body. In the interim, CAT scans (medical resolution, relatively low) have been made of many of the lesser instruments in the collection and I would be surprised if they hadn't done the tenor as well. Bruce