Jump to content
Maestronet Forums

andrew weinstein

Members
  • Posts

    541
  • Joined

  • Last visited

Everything posted by andrew weinstein

  1. Hi all, This violin came through recently. It's a bit obscure for an ID quiz, though, if anyone wants to try, go ahead. I won't reveal the maker right away. The last 2 pics will pretty much give it away, or at least provide a major clue. Some of the file sizes may be large for dial up( Hope this works) Andrew [
  2. A Chinese cello came in today, and the fingerboard drops down about 3 mm away from the strings, giving a string height of 11-12 on the C , with a normal height in thumb position. I'm not going to replace it, I'm wondering if anyone knows of some miracle solution I could apply to the playing surface to shrink it, or underneath to expand it, to get some semblance of playability. Yes, I know I could plane 5 mms out ofthe middle of it.
  3. It could be a revarnished Mittenwald, klotz/hornsteiner school, with a different head. Hard to tell what repairs have been done on scroll. I see there is new wood at the button on the back, I wonder if in real life the varnish on that wood looks like the rest of the varnish
  4. Over the past couple years there have been some pretty low grade tailguts that have hit the market. I know I've had some that let go within a month, and it's not like I was shopping for low price tailguts. I doubt that it poses much of a threat to eyeballs, less than an e string breaking.
  5. The violin I know, and is early 20th century
  6. Though this violin wouldn't win a competition, it has a certain charm that indicates some experience and knowledge of what a violin looks like. There are many 20th century Italian violins which are no better, though I suspect that American is a better suggestion
  7. It looks to me like this is a new violin, and the bushings were added to give a look of age. Lest anyone miss them due to close color matching, color was allowed into the endgrain to make them more visible
  8. I assume we're talking about the long split, I'm not sure what you mean by turn the plate around. As there is often some twist in the split through the width of the plate, pay most attention to the split near the center joint. You can then plane some from each half before joining, taking just from the ends as needed to bring it closer to split. Bear in mind the thicknesses you'll need in the end, thin plates won't allow much correction. BTW, there is a real easy way to check the split between the two halves. Before gluing, hold them together in their joined position, and rotate slightly, observing how the light reflects. You get a whiter reflection on the perfect split, so when that reflection is in the same spot right and left, they are parallel.
  9. When you say that labels don't mean anything, that's not accurate. A good deal of knowledge comes from seeing instruments with original labels. I'll give you an example, many years ago I showed an early Joannes Gagliano to a well known London expert, who examined it ( without looking at the label) and said it was a Gennaro Gagliano ( I think that's the uncle). When he looked inside, he said the label looked great and that's what it had to be ( I suppose it would have been more valuable without the label, and this is why labels get changed and you can't rely on them) I am also not aware of any book or article that will truly help. Although great pictures are an excellent tool, there will I think always be an element that photos can't communicate. I would say that you can declare that an instrument is wrong from a photo, but you can't be sure it's right. Also, the more knowledge and familiarity with violins you have, the more useful photos become.
  10. As said, this practice was used in many countries, so one can't tell nationality by it. I believe it is more commonly used with outside molds, as well as by luthiers who made other instruments , like guitars
  11. Wasn't there some talk of putting some microchip sort of thing into instruments for id/ownership. I believe they use this for pets, and although the idea was more for older instruments, should work for new as well.
  12. Although the pics of #2 were poor, it looksa bit like Wilkanowski
  13. I use the strong version of everclear myself, got it at wine chateau (mail order) I bought a whole case, think it was about $15 a bottle. I feel like it's thicker somehow than denatured, but not really sure
  14. There are arange of quality made with with such plaques. I have one now that is clearly a Heberlein, circa 1910, but usually they are lower quality than that. And sometimes awful.
  15. Depending on the missing wood inside the purfling, you may have to be creative here, maybe replace that first and then do a more conventional button graft for the rest, as described by Brad. I noticed in your original description you mention a bowl shape patch, which, though not as Weisshaar describes, is a better way to go IMHO.
  16. Omobono's comparison makes it easy to say there is no chance that they are the same bow. They should at least issue you a new cert. with photos of your bow.
  17. The string length comes from the neck length and the mensur. Since most necks have been grafted, that part of the equation isn't as well known, but the mensur can be close to 200 mm, or sometimes less than 190 on some Gaglianos ( not Allesandro). So, if your violin sounds better at 324, and especially if that bridge location is close to the middle of the ff's, leave it there.
  18. I recently ordered 3 different grades from tools for working wood, which someone here had recommended before. They have a very clear 192 gram strength, and two higher strength, but less clear versions. In their description they say that the higher strength is more brittle.
  19. Wow, they look different when they're more than 2 inches, and in color. I think Stainers influence was huge, Tononis used a model like that. Just checked my Venice book, Beare says Gofriller, Gobetti, and to some extent Montagnana copied Stainer from 1716 -1725. And what about Tecchler in Rome?
  20. It certainly appears to be a Mirecourt mid nineteenth century violin,so it likely is correct, though not necessarily of great value. Can't tell much about condition/ work needed.
  21. Nonado, you say going back to friction pegs is no problem. I know they recommend gorilla glue for the installation of pegheds, have you ever removed a set, and if so, was it difficult?
  22. I'll go with C.G. Testore for #1, #2 looks more like del Gesu than anything else Italian, need to see more pics, too many makers used a model like #3 to guess at this point ( for me)
  23. Interesting that Bin Laden is a n Arsenal fan, as I read many years ago that Salman Rushdie is an arsenal fan. Perhaps Arsenal can be what brings peace to the mideast?
  24. That is a great story. You've inspired many to waste countless hours trying to duplicate it! BTW, forgers are quite aware of the second Sartory brand. $900? I guess when they only make $34,000 on the sale you need to find some way to get a profit on the deal
×
×
  • Create New...