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andrew weinstein

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Everything posted by andrew weinstein

  1. Not to get too picky, but the "Strad " Morel is holding looks more like a Maggini
  2. That's an interesting looking violin. Can't say that I recall seeing such pronounced fluting at the lower wing of the ffs on a Pedrazzini before. That said , there are many types of Pedrazzinis, and it is safe to say that some were made by other local makers, though that would apply more to later ones. Just to be clear, I'm not saying that it's wrong, just not as common as the other 2 shown from Tarisio.
  3. Sometimes one gets lucky and the ribs need to be shortened, then there's no need to extend them. If the extension is only a mm or so, I'm not averse to running a piece of wood with grain perpendicular, those short end grain joints aren't so strong in my experience.
  4. [Weishaar's book says that the 192 gram is stronger than wood and therefor sufficient for all uses. My experience tells me otherwise,but maybe I had an odd batch of 192. I did by a lb. of each strength from Workers of Wood (?), and the 250 strength was darker in color than the other 2. The other thing theymention is that the the higher strengths are more brittle, and more prone to failing due to impact. I've been using the 315 alot for cracks, patches and things. Wouldn't glue a top on with a fresh batch of it.
  5. Not so many of the old Italians; Magginis and long Strads. Alot of Maggini copies are oversize, as are some French violins, notably D. Nicolas and similar violins. Some modern Italians are big as well.
  6. A couple things. A 6.5 mm overstand is not high for a high arched violin. Someone mentioned that the angle the strings make going over the bridge is the most important measurement. Generally a 34 mm bridge on ahigher arched violin will yield a steeper angle than a 34 mm bridge on a flat violin. So, I would say say that if there is a good deal of arch between the bridge feet, as one would expect with a high arched violin, the 26 mm may well be enough
  7. [ Looks like it could be 100 yearold Naples, and several of those guys used continuous linings
  8. I'm afraid you haven't supplied enough info for anyone to give you an accurate answer. Most old fiddles have some cracks, where are they? And who is it that believes the Mayr is genuine.I think you should be able to find a violin that both sounds good and has the expectation of holding it's value, but you probably need to show theses to a pro for an opinion.
  9. This one looks to me to be Saxon, maybe the Glass company, circa 1870
  10. You'd have to post some pics. Is it possible it's AG? That was a brand used by Gragnani, as well as his copyists.
  11. The Markneukirchen fiddles we mostly know appear after WW I. Prior to 1910 there are Heberleins which are quite similar to Lowendahls, and your fiddle has a resemblance to those. Can't see quite enough detail, but given that all these are East Germany, if the label looked really good, it could be right.
  12. To me it appears Bohemian, about 100 years old, or maybe a tad more
  13. The neck block missing, and the cut in saddle both confirm the Saxon, probably Klingenthal, attribution. though I would have put it at 1847. There are many violins like this, not so many celli.
  14. I've seen a couple over the years, and they were above average Mirecourt violins from about 1900
  15. If it was the one I saw, it was actually a 1954 Esquire. I don't find anything depressing in these guitar prices. It's the same market forces that apply to violins and many other things. The Gibson Explorer that sold for so much was quite rare, and 2 stubborn people wanted it. Nobody knows what the future of guitar or violin markets will be, but considering that most people would rather listen to electric guitars over violins, it wouldn't be a surprise to see guitars continue to appreciate.
  16. Here's a couple pics of the gouge I mentioned. I have no problem bashing my knuckles, though the technique I use is more pushing with the whole body, and steering with the hands. You can't very easily go cross grain in the c bouts, so this might not be good if you were onlygoing to own one gouge, but it's my primary tool for rough arching.Never really finished the handle, someday....
  17. My favorite for rough gouging is ground on the inside and ,and the gouge is at an angle from the handle. The reverse bevel makes it cut deeper, and may take some getting used to.
  18. I was taught 87 for violin, and have stuck with it. One good reason for it being deeper towards the back is that there is a lever effect, and the string tension pulls harder down there than at the top
  19. Melvin, And what do you use the paper for?
  20. I only saw a front and back image.It appears to the show the hand of Giovanni Juzecki
  21. Most of us are more familiar with a planed surface of plank, especially if it's quarter sawn. I'm sure there are people with logging experience who could identify your wood from these pics, but for me this is like trying to identify a car by only seeing it from it underneath
  22. It certainly looks like a Dresden/Leipzig trade instrument circa 1900
  23. I was thinking English as well, it has that wood that appears American that you see in English fiddles. Peter, do you find that maple to be English or imported from one of your former colonies?
  24. It's a bit early to understand what the current financial situation's impact on the market will be, though it would be unlikely to spur the instrument market. In any event, there aren't so many cellos like what you describe around, so that will work in your favor, however, I wouldn't say that in this part of the market there has been much inflation the past few years. As pointed out, insurance appraisals tend to be high, so probably it would be close to today's market value.
  25. Maybe not the highest grade, but looks okay
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