christian bayon

Agree completely, LOB up to 360 are not unusual on that school.

Very sad news, Patrick Robin left us yesterday, after a tough battle with illness .

Is the file and sandpaper use to make the FF holes normal for cremonese makers of today or it’s a personal technique ?

Back to my usual model.

Yes, I was just pointing that I don’t make artificial marks or wearing on the edges for exemple, but colour variations can be considered as antiquing. For me it’s a way to give life what I’m not able with a very uniform varnish.

Back to my favourite inspiration.

Is not "modern" in opposition to antiqued ?

It´s a bit complicated to have a lot of people looking at instruments in hand.

No, only for the members. Some are present in Maestronet.

It’s for the EILA ( https://www.eila.org.) convention and exhibition in Torino end of Mai

It’s a personal choice, I started to do this way 22 years ago, first to avoid the ghost marks of the glue on the ribs, I put only the ground on the ribs, then on the back, then some varnish and so on. I was a restorer for the main part of my career, I’m use to work on varnished parts. I noticed that when you varnished a complete violin, the varnish induce tensions on the instrument ( one face of the wood with varnish, the other not) in old instruments, this tensions doesn’t exist anymore, because they have been opened, dismounted. Maybe it helps my instrument to be "ready to use" at early stage. I don’t think it’s for all luthiers but it’s comfortable for me.

Concluded for the Torino exhibition in few weeks.

Varnishing time with violins in the style of Cappa, Bergonzi and Del Gésù.

Like that?

It’s to have more stability on the body and neck projection. I have since then a new version settled in that ribs.