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martin swan

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Everything posted by martin swan

  1. I don't really understand the fuss about Mario Gadda. He was a very talented trade maker who produced violins of various qualities. The best of these are quite distinctive and are worth the same as any well made professional Italian violin of the period. There seems to be broad agreement amongst experts in modern Italian violins as to which these instruments are. Then there's a sliding scale of lesser instruments, all the way from "made in the workshop of" to "briefly looked at and certified and sold at a rip-pff price by" .... Inevitably the dodgier "Gadda labelled" violins have sullied his reputation, but there have always been examples which have sold for high prices. This is reflected in the auction records.
  2. If the bow has an ivory face or something that looks like an ivory face it must be registered under the new 2018 Ivory Act at a cost of £20. For now pernambuco is fine but Brazil has recently moved to list pernambuco on Appendix 1, at which point travelling with a pernambuco bow will require a certificate, and selling a pernambuco bow across national borders will become nigh on impossible. This will all be decided at a CITES conference in November.
  3. Jerk or not, I agree with Jacob. Therefore Renegade makes a fair point - can these 2 scrolls really be bu the same hand?
  4. It was slightly rhetorical ... It does seem a bit unreasonable that Beares should sell a violin, take a nice commission, and then get kudos from appearing to lend it to a deserving player.
  5. She plays beautifully and that's a great ensemble. However I do wonder what it means when people say "on loan from Beares ...". Do Beares own the violin or did they sell it to someone for the purpose of lending it?
  6. As Jacob says the engraving on the slide and ferrule look quite generic, but the adjuster is conceptually quite different and seems to belong to the same aesthetic universe as the silver eye in the frog. I can't draw any conclusions from that but the bow is a bit of an oddity.
  7. There was a Squier at a UK auction very recently - I'm afraid I haven't looked at Ebay for years
  8. I thought the research showed that according to the measurement method chosen the Plowden (in recordings of a 15 second snippet of the SIbelius) had the smallest amount of "dunnwald parameters". Such research is not about better or worse.
  9. Is it the one that just came up at auction?
  10. About 3 months ago … I know of a Strad model that’s available but not another DG right now
  11. Double post I see we are both working to achieve a 7 post per day average
  12. The thing about asking for advice is that first you need to know who to ask, and then you need to listen to and follow that advice. Asking advice on a public forum guarantees that you will get conflicting advice from people with very different levels of experience, and further guarantees that you will alienate those people whose advice you don’t follow. Perhaps this explains why your flood of tecent postings here on Maestronet gets a mixed reception?
  13. Attacking the scroll fluting with a chisel is not a repair, it's a completely mindless action that serves no purpose. You are completely entitled to destroy this violin, it's your property and it has no historic value, but it would be better to cultivate respect for old objects and to understand what is right and what is wrong about old violins, rather than impose your own home-baked ideas on them.
  14. I hope you're joking. Why would you want to change the features and turn a $5 violin into a $0 violin? If you're so desperate to destroy something with some sharp tools, why not buy a white violin from Sandner or China and practice on that ...? I would say again, I think you need to learn a lot more about violins before you start on batty "improvements".
  15. Reg, the graft is quite clear on your photo no. 4. You can see the start of it curling away from the nut, and you can see a vertical line of the top of the graft on the far wall of the pegbox.
  16. You need to learn a bit more about violins before attacking them with sharp tools. The rib corners protrude in this way because that’s how the violin was made. The wear to the top right shoulder is entirely normal on any well used violin and doesn’t merit attention. On the other hand, if you want to practice making invisible new edges, this would be a good violin to ruin.
  17. When discussing pricing I think it's helpful to consider the rock-climbing analogy. Pretty much anyone can walk along a beam of wood that's 6 inches wide if it's on the floor. Most people could do it if it's a couple of feet off the floor. How many people can do it if it's 5000 feet above a vertical drop? So are you rehairing a Marco Raposo or a Tourte?
  18. I think you're missing my point, which is that the true "Baroque sound" is unknowable, but is more likely to be recreated faithfully by using instruments that are relatively new than by using instruments that are 300 years old (or 150 years old). The only thing we can say with certainty about violinists in the early 1700s is that very few of them played on 100 year old instruments!
  19. All very useful information thanks but what purpose is served by barking at people? It just makes enemies ...
  20. It's a complete philosophical rabbit hole ... If you are looking to recreate baroque sound and technique etc. should you use an instrument that's 300 years old or a new instrument made in the way an early 18th century instrument was made? After all, most players in the baroque era were playing on new violins. And without antiqued varnish ... Surely a new or nearly new violin with a nailed neck and a baroque style fingerboard & bridge, gut strings etc, is more faithful.
  21. Franz Hell is a name found in decent but inexpensive Schoenbach violins from the turn of the century and a bit later. You have a decent but inexpensive Schoenbach violin from the turn of the century or later. Having someone's name in it doesn't add value.
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