martin swan

Members
  • Content Count

    10105
  • Joined

  • Last visited

  • Days Won

    9

Everything posted by martin swan

  1. Yes I agree, this isn't a post crack. I think that restorers in the US have been quicker to adopt the "less is more" approach ...
  2. Actually the image of the corner on the "Blanchard" belongs on the listing for their "English" cello. The "Blanchard" is a rather odd affair. It's missing one detail without which it cannot be Blanchard, and the f-holes are so upright as to be almost making a V shape ...
  3. These estimates are just ludicrous, particularly 60-100k for a "Blanchard" cello with fake purfling Ah no wait a minute, that's the same corner photo as on the listing for the "English" cello.
  4. Best to look at the back corners as they are less susceptible to erosion. The corners on your Strad model and our DG model are different but they are both unusually long. The corners on the first violin you posted are more economical ...
  5. OK got you - we are in perfect agreement! ... a witty bon mot which sounds impressive but is demonstrably untrue! You dumped it so soon? I have been following that violin's fortunes for a while, doesn't seem like anyone holds on to it for very long ... or did you buy it to sell it?
  6. Are you talking about mine? It's exactly the same model as the two of Michael's that you liked so much in 2006 Whether it's very faithful to del Gesu or not is a moot point, but for me it's more like a DG than a Strad.
  7. One regular feature of Nestor Audinot, not immediately visible on these photos, is that the scroll tends to narrow down very suddenly with an obvious ramp as it hits the level of the bottom of the volute (ie just above the A peg).
  8. The current thinking seems to be moving away from patches for a first attempt at a clean post crack ...
  9. To me this is a nice Mirecourt violin - there's nothing that would really make me think of Audinot.
  10. I find this kind of puffery pretty depressing - there’s far too much of it in the violin trade. There is absolutely no common ground between a Maidstone and a violin by one of the Pilar family.
  11. Mostly this sustain is sympathetic vibration from the G string. It's easy to see if this is the problem by putting a tiny bit of tissue or cotton wool under the G just after the nut. If that's the problem, you can generally mitigate it by adjusting the afterlength.
  12. People complain that on most internet chatrooms, by the fifth page someone has mentioned Hitler. My complaint is that by the fifth page, most Maestronet threads descend into a discussion of cars.
  13. I'm not sure of the reasons for debating the age of a label which has nothing to do with the violin ... what would it gain you to know exactly when the fake label was inserted, given that you can already pinpoint quite accurately when the violin itself was made? There is no real commercial or historical benefit - it's just something to disagree about ...
  14. I can think of a couple of instances of people borrowing (ie. pretending to take on trial) an instrument for an audition, only to be told that they would be offered the job provided the instrument was part of the package. It's a total minefield.
  15. The hilarious thing is that everyone wants a solistic instrument so they will have the edge in an audition. The second they get the job, no-one likes that instrument because it doesn't blend.
  16. A new maker's star rises because some influential player uses one of their instruments. So it's a logical impossibility to get in there ahead of the crowd Many makers who produce excellent sounding instruments will forever remain unrecognized for their talent. The big problem with the violin trade (new and old instruments both) is that if you want a great sounding violin you have to be able to use your ears and act on your convictions. Most people can do neither, so they resort to following fashions or buying a label. Edit : I see Rue has just made pretty much the same point!
  17. Bruce was talking about the thickness/comfort of the neck for the player. His comments were based on study of original examples.
  18. No it's a way of saying tactfully that I don't think you have any grasp of the issues, any real understanding of what Hargrave is propounding, nor any way of assessing whether Bruce's patient engagement with you merits being rejected with a clever quip.
  19. Maybe you want to run us through those arguments again?
  20. I see no reason to conceal the link since it's on a public website : http://www.isabellesviolins.com/gandbernardel/?photo=SideLeft That label is authentic, as is the violin, though it's in rather poor condition and has little of its original varnish. The number and the date are beautifully scripted and legible, and the label also doesn't have a black border. It doesn't look anything like the OP violin (though for some reason we haven't seen the front of that one), but entirely like the 1866 example I posted.
  21. Maybe you need to share your pretty convincing evidence?
  22. Really? Here is an 1866 Gand & Bernardel.
  23. I wasn't aware of that - good to know. I tried to find the article you mention on Cozio - do you have a link to it? I still don't believe this is a genuine label. We've had several Gand & Bernardels and the handwritten numbers have always been legible and italic! Here's a G&B Freres label from the second empire :