Christopher Reuning

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About Christopher Reuning

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    Boston, MA

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  1. Greetings all, It has been quite a few years since I have checked in on my friends here but happy to see things are still vigorous! Someone suggested I weigh in, so here I am. This is a good post IMO and there are many interesting aspects to comment on. here are mine if you care to indulge. If not, please move to the next. 1. Chinese fakes are easy to identify often by their Chinese wood which looks like American wood, (with “snot marks”) generic Strad models, feeble heads, thin varnish and ropy edges. There are more American dealers that can ID them as would normally populate a Tex
  2. Dear Omobono, First of all, kudos for your very alert (as usual) detective work! I am happy to see that Cozio has corrected their site, though they may want to add the other important owners of "The Spagnoletti" Amati such as Charles Oldham, etc. A few comments: I notice that Charles Beare was careful in his characterization of the provenance of the small pattern Amati he refers to in his letter of 1988. Robert Bein was less careful and made the error of referring to the small pattern violin as "The" Spagnoletti in his certificate of authenticity. Robert was not aware of the exi
  3. Dwight, If you like soft, whippy bows with the strength of overcooked pasta, this is a great way to buy a bow!
  4. Hi Michael, I have not seen this viola at least with Pierre, but I have seen a handful of Lorenzini violas and agree with you that they differ from the violins like the one in the Hamma book. Thanks, Chris
  5. I have seen 1 or 2 labels of the second type shown in the Doring book on page 44 that appear to be old and original to the violin. For me, these are the most compelling evidence in support of the traditional attributions. This label brings up some interesting questions such as the use of the word "Pater" and the claim of being alumnus Stradivari. Of the two Lorenzo Guadagnini violins pictured in the Doring book, consensus is that the first one on page 48 matches several Piacenza G. B Guadagnini violins like the 1747 in Hamma. There are a group of Lorenzo violins that fit into this catego
  6. To echo Jeff, I am happy to debate and discuss the topic, but please read Duane's book at least. I can not paraphrase his detailed research in an internet forum. As to the recurring question of who may have taught Guadagnini, the answer is the same as with many makers: we do not know. On this question, I would make several points: 1. A super talented "genius maker" does not necessarily need a full apprenticeship to become proficient. He should be able to pick up the basics very, very quickly. 2. Some of these best makers first instruments can be relatively or very feeble then r
  7. I did use this term... GBG signed a statement to his priest that he was born in Cremona. He also lied to his own children about his biography. Add to this the various statements on his labels and then look at the Lorenzo Guadagnini concoction and you do have a pattern of behavior. However, I do love his violins!
  8. Dwight, As far as I know, all of the Gasparo violas that are uncut follow virtually the same model. Yes, there are a couple outliers that may be more Maggini or other maker, but the half dozen mainstream uncut violas are all peas in a pod. The Brescian exhibition book, "Liutai in Brescia" is a great resource. I think we have some here for sale. Chris
  9. Stephen, Why try to do it yourself? We use a customs broker for many years never with a problem.
  10. Fellow enthusiasts, So happy you caught this program, I agree it was very well done! The Paganini name is important because Duane Rosengard proved that this was the cello in the famed Stradivari quartet Paganini assembled at the end of his life (not the Ladenburg) Duane also discovered that Count Stainlein (note corrected spelling) was in important amateur cellist, the Countess inherited the cello. If you read Duane's essay under the "history" button on the website, you will see so many other newly discovered aspects of this fascinating provenance. Enjoy!
  11. If you agree that the pegbox is replaced and ignore it's hideous shape, the volute is actually quite good. I also like the outline and the label looks compelling. soundholes are good too. One must beware of reaching too far when evaluating a violin from pictures. I think it is enough to say that the violin is good enough to bring in for further study. Going beyond that is probably not too wise or viable
  12. Wooden, I think these guys are being just a little tough on you. I think your violin has a chance to be something decent. I don't think it is possible to get a good opinion from posting pictures online, however...you need to show it in person to an expert. Christopher Reuning
  13. Bassclef, My favorites are the "Cramer, Heath" and the "Salabue, Martzy" but the "Earl of Falmouth", "Kreisler", and "Perkin, Burnford" have to be considered the top 5 from that best period of his work. Christopher Reuning