Philip Ihle

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About Philip Ihle

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  1. Thank you, Francois, I understand! I do like to speculate on forms used by comparing outlines of violins with tracings of the forms myself. My focus is mainly on Strad, but of course, it is most intriguing to find connections across the classical Cremonese school like the one you mentioned between Andrea Guarneri and Andrea Amati -a direct line with two generations in between. When comparing some of Stradivari's forms with the Alard outline, I found that the M/B (MS1) is possibly an acceptable match. A second maybe even more speculative hypothesis came up, when I compared the outline of the 1686 "Amatise" Strad with the tracings of the forms: that the P( (MS6) is cut down in the width of the lower bout - all the rest fits so well. Any thought on these two observations? Bests, Philip
  2. Dear Francois, thanks for sharing your findings about the Andrea Guarneri rib outlines matching on the small Andrea Amati pattern! What is the source of the Andrea Amati form? Bests, Philip
  3. Ok. so, here's the 1700-death draft. I used the Cozio archive names for the instruments as well as I could to make it easier for people to find info on them. Strad model database updated draft.pdf Hi all, this has been a very interesting thread for me. Thank you AD for starting it and for all your very valuable contributions (Davide, Paul, Melvin, Addi and Michael, just to name a few) what a wealth of information! I have been doing some work on the forms my self and want to contribute to this thread by adding my evaluation of your ginourmous list, AD. I printed all the twelve pages out and sticked the notes on the side of the attributions and compared it with my own list of 125 violin attribution attempts. I tried to attribute the violins from volume 1-4 of the Stradivari book. 67 of the violins in my list are coincyding with yours, AD. About a quarter of the my attribution attempts ended up with a probably MS... , one quarter as possible MS... , one quarter as rather this MS... then the others, and the last quarter is, at this point, not be be attributed. The violins with maching attributions from both our lists got a heart, the one with contardicting attributions a cross and then there were some half harts and some quietly not matching but not contrasting. Out of the 67 violins we both tried to attribute, I got 22 hearts, 5 half hearts, 15 not matching and 25 with differing contributions. I do belive that crowd knowledge is generally helpfull for this project, and that in this case it is particularly important to always know the source and method behind the the attribution. If this discussion takes off again, I will be happy to go into more detail. Thanks again! Philip
  4. Thanks David, I agree with Martin, it felt like a party game rather then an experiment. The exciting thing for me was, that I was rather exposed but not in control of the situation. I had never met Sean, the moderator nor Roman before.
  5. Here you go, the Strad have put up the audio stream! http://www.thestrad.com/cpt-latests/put-your-ears-to-the-test-can-you-pick-the-stradivarius-violin/
  6. I do about one mm on either side. This would be a two mill in total. Similar to Conor, and propably more so, I will make sure that all the spring is very near the bridge. I cut the bar down to near finished hights since I want some of the spring to be on the bar rather than on the table. Why? I have been told to do so with old fiddles, to compensate for sunk archings and stug with it, since my violins work really well this way. Though I can not tell you, wheather it is an important factor. Can I be hung, rather than shot, please? I would rather want to have the tension!
  7. I have received the very friendly and detailed email from a US Customs officer which I have pasted in this post. It tells me to inquire with the port of entry directly and if this will not be successful to ask help from an US customs broker. Brief: my "zen skills" are now exhausted and I will enjoy the "humble pie"- I like your language, Martin! Hi Philip, Thanks for the email. First, when you say that the violin was built “here in the UK,” I’m assuming you’re shipping the violin from the UK? I ask because the webpage that you were looking at pertains to NAFTA (North American Free Trade Agreement) between US, Canada, and Mexico. For reference, you can get a sense of the item’s general tariff rate by reviewing the Harmonized Tariff Schedule, specifically 9202. A link to the tariff is here: http://hts.usitc.gov/Table%2092.xml#9202. This would be important if the value of the violin is high, which, if you’re entering it into a competition, I imagine is the case. The most appropriate document, which pertains to temporary importation without the requirement to pay duties, is here: http://www.cbp.gov/sites/default/files/documents/temporaryimportationunderbond.doc The above document addresses Temporary Importation under Bond (TIB). The article states, in part, that “TIB stands for Temporary Importation under Bond and is a procedure whereby, under certain conditions, merchandise may be entered -- for a limited time -- into U.S. Custom's territory free of duty. Instead of duty, the importer posts a bond for twice the amount of duty, taxes, etc. that would otherwise be owed on the importation. Under this procedure, the importer agrees to export or destroy the merchandise within a specified time or pay liquidated damages, which are twice the normal duty. Only certain items, listed below, may be entered as a TIB.” The document also specifies that the only goods that qualify for TIB entry are those listed in HTSUS subheadings 9813.00.05 through 9813.00.75. For that section, see http://hts.usitc.gov/Table%209813.xml I suggest contacting the port of entry through which you anticipate shipping the violin, and explain the situation. They can provide you with good guidance. I’m not sure where in Indiana you’re sending it, but I’d guess that it’d be routed throgh Indianappolis. The port contact page for Indiania is here: http://www.cbp.gov/contact/ports/in Indianappolis, specifically, is here: http://www.cbp.gov/contact/ports/indianapolis Personally, I would pursue one of two routes. First, I would speak to a port in Indiana to get a better sense of temporary importation, and see what they recommend as the best way to go since this would be better guidance than I can give. If this doesn’t help, I would either find another shipper in the UK, or I would contact a US Customs broker, as they could likely arrange the whole process. But the most important step is first contacting the port! If anything else, please don’t hesitate to get in touch. And, best of luck on the competition! Craig Craig Briess U.S. Customs and Border Protection Office of International Trade Trade Agreements Branch
  8. Martin, I am pragmatic enough to eat what needs eating! Will wait a few days for a reply from the US Customs though. Philip
  9. Dear Michael, Conor, Martin, thanks for your answers regarding the ATA carnet, packing etc. I will certainly pack it well and take pictures! For the US there is aswell a possibility of exemption of import duties called temporary admission, see the following link: http://www.cbp.gov/trade/nafta/guide-customs-procedures/effect-nafta/en-temp-admissions Fedex said, that they used to advice it but have stopped since last December. They told me to ask the US Customs, which I did just now by email. Will see and let you know. Philip
  10. Dear Martin, your experience is much appreciated! With regards to the insurance issue, I am sorted since my business insurance by Lark includes shipping. Your stories about getting it back here in the UK are somewhat worrying... Fedex asked me to fill out a UK CONTROL SHIPMENT PRE-ADVICE form, which should help this process. I will attach it to this post. PhilipControlled Shipment pre-alert form.doc
  11. Dear all, I am planing to ship my violin for the VSA competition by Fedex from the UK to the USA. I find the process to be difficult to understand and am not satisfied with the help I have received from Fedex: they told me that I will need to pay duties and taxes entering the US but none for bringing the violin back to the UK. When I told them, that, considering a retail value of 20 odd thousand US$ this would be a lot of money and that I was not going to sell it in the US. She recommended me to declare a lower value of 1000 US$. The violin, when imported from the UK, has an import duty rate of 3.2%. At a value of 20 000 this would sum up to 640$, at a value of 1000$ to 32$. The 32$ sounds like a viable option, but still not quite right. The other issue about declaring the lower value is that the violin will only be insured for 1000$. Is there someone who has looked into it more into depth and can come up with some suggestions, experiences? Best, Philip
  12. Photo 18 of the link posted in post no 10 makes me belive that the metal purlfling has been added later, not by Tecchler himself. There is a scribed purfling line running parallel to the metal purfling, which could indicate, that the back had not been purfled but scribed only. I have seen a couple of Tecchler with conventional wooden purfling. Best, Philip
  13. Doing a bit of research on the web, I found an interesting book on the subject: paint testing manual by Gg Sward and JP McGuigan. It explains how to test the various acid values: Page 84, Chapter 2.3 14: Two kinds of acid values are often reported for natural resins, direct and indirect. The former is the normal type, the latter a sort of saponification value conducted in the cold The seemingly simplest of the three methods described for testing the acid value of rosin in particular is described as followes: Internal Indicator Method -- From 3.950 to 4.050 g is dissolved in 200 ml of neutral ethanol and titrated with 0.5 N alkali solution (NaOH or KOH), using phenolphthalein or thymol blue indicator So far, I have not found any explanation for the link between a low acid value and a tough resin. In my old pharmacy book, I found Joe's tip of cooking the rosin with some lime and zinc ocide confirmed as common practice in traditional varnish preparation. The book explains, that if heated to 180 and with the above material added, it would be esterificated. I understand, that it would takes quite a bit carefull thinking and reading to understand what all this means!! Could this esterification mean, that the acidic value will decrease? Best, Philip
  14. Thank you Joe for your precious imput! What do you mean with best results? I want to be able to manipulate the results, want to be able to make two different types of varnish: *one varnish, that is termoplastic and dissolvs easyly, and has a high acid value *and one other, which is rock hard, does not wear and will be unsolubile in alcohol. I would love to learn to control this. If I understand you correctly, we can manipulate this, at least with commecial rosin, by adding lime or zinc oxide. Do these additives change the acid value? Is there a way of measuring the acid value? Joe, to make sure I understand you correctly. When you said that Garry was wright about the oil, but wrong about the resing, did you mean that he misunderstood the purpose of adding alum to the resin? Thanks Geoff, if I add lime, I raise the melting point of the rosin. This is very hands on and helps me to manipulate the varnish in a way I want it to be. Is there a source of literature, that can help me to understand this underlaying chemistry of acid value, melting point and toughness of the varnish? Geoff, I am not expecting this from you - if I had had the set, I would be asking in the first place. Alkis? Are you reading? You had a big set, at the uni, didn't you? Philip
  15. Hi Jose, just scanning Bease for alum and lime and whatever is added when preparing an oil varnish. 1.: He quotes Cennini on page 5 who recommends to add some lime when boiling the oil for the varnish. Bease writes, that the lime will help to insure the durability of the pigments by rendering the oil less reactive and assist in the setting of impurities. 2.: On page 7 he quotes from the Marciana Manuscript: after the Greek pitch and mastic has been added to the boiling linseed oil, "... put in a nut-sized piece of crushed burndrock alum and add it so that it dissolves and incorporates well ..." (the underlined is impossible to read in my bad photocopies). 3.: On page 8 one more quote extract from the Marciana Manuscript, this time: P. 195 #400. It describes the process of making a varnish for lutes, leather, painting of panels, of cloth, for works of wood and pastelboard. The varnish consisto of three ounces of clear linseed oil and one half ounce of powdered and ground mastic. Once the resin is dissolved "... put in a bit of burnt and poudered rock alum, enough to affect the entire quantity of varnish: keep it on the fire until its virtue invorporates and dissolves with the varnish and evaporates. ..." Following to this extract, Bease explains, that the rock alum serves as "a clarifying ingredient used to settle impurities". This is all I found in the Bease. I understand that the lime Cennini adds to the oil could possibly bring down the acidity, but am all but certain about that. Whether the alum has any effect on the acid value is a one more question! I have just started to dig, this always leads to new questions, but I hope these are easy questions to some on this list. Remaining curious, Philip p.s.: I would still very much enjoy to receive the piece of Cypressus