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Barry J. Griffiths

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Everything posted by Barry J. Griffiths

  1. I believe there is a waterproof version of Titebond.
  2. Walter Kozowsky worked in Greenpoint Brooklyn, NY for many years and later moved to Philadelphia. He was the apprentice to Dimitri Didschenko (spelling ?) for many years and finished many of Didschenko's instruments. Though not a well known maker he was very active in the field for decades. If the viola IS a Kozowsky the price seems quite fair. Can you supply a photo or two?
  3. I've heard 12 year olds play that piece better. Oh wait; that was young Sarah Chang I was thinking about. What happened? She sounds as if she can't wait to get out of the place.
  4. I'm with GeorgeH on this one. Take and print as many photos as you can plus detail in writing all of the bow's current problems and have the client sign and date the papers. There's a pretty good chance that having to do so might send him packing. If he still insists on you doing the work you have documentation on the bow if things get even nastier in the future. Plan B: Explain that you're just under qualified to work on SUCH a wonderful bow for SUCH a wonderful player. Barry
  5. It looks like the winding is tinsel. IF the bow happens to be light in the frog end, then replacing the tinsel with silver wire would get the bow up to 58 to 60 grams. If it balances well as is then adding weight near the frog is not an option.
  6. I'm not quite sure, but it looks mainly quarter-cut. I have seen maple referred to as "off the quarter" or "slightly off the quarter". One of those could possibly apply here.
  7. Write it down. You sign, the client signs. Problem averted.
  8. I do not charge installation fees on strings which are bought from my shop. I put them on, lube the nut and the bridge, put peg dope on the pegs, if needed. Strings bought elsewhere incur a modest fee. If my time isn't worth anything, why are you here?
  9. I always tap the closed end of the tube (I use Vigor brand, thin) on a hard surface immediately after squeezing out what I need. I then store it upright in an air and lightproof container. It doesn't completely solve the problem but I get a longer life out of a tube of glue. I keep unopened tubes of glue in the fridge.
  10. I don't know what it means but I've seen lots of violins marked BKN and have always wanted to know the answer. I'm giving this one a bump before it falls into the abyss.
  11. While reading the post about stinky cello clamps I wandered into the "seller's other items" and found this: http://www.ebay.com/itm/Violin-viola-making-tools-violin-viola-neck-install-clamp-and-repair-tools/282276768089?_trksid=p2047675.c100005.m1851&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D2%26asc%3D38530%26meid%3Dc1c5aebed5794618892e7953223cecee%26pid%3D100005%26rk%3D2%26rkt%3D6%26sd%3D282197857329 I've always used a bar clamp but this intrigued me. Barry
  12. Getting the original label out and putting the new one into a closed box might be a challenge. I'd 'simply' turn it into a left handed violin.
  13. I have two cabinets which I got from department store "scratch and dent" stores. One is glass front and sides with a mirrored back which has double glass doors top and bottom. The other is similar but only double glass doors on top and solid doors on the bottom (good for storing 'stuff'). They both have bars near the top (either a wood dowel or 1/2" electric conduit pipe. The violins hang from the bars on heavy fishing line loops.
  14. Mediocre Violins of Dubious Origin
  15. The "Florentina" I have has nothing to do with the Colin Mezin workshop or any other French workshop. It's straight Mittenwald factory work. Coincidentally, I just had an authentic (Rampal Certificate) Collin Mezin in the shop last week. In non violin terms, think Kia vs. Ferrari. Barry
  16. I have a "Florentina" violin from 1956 in the shop with the same "Approved by Leopold Auer" label. Decent looking violin that was WAY too thick and had perhaps the worst bass bar I've seen (6mm and 19mm off the centerline). It's currently in rehab and will be getting a new bar soon. Barry
  17. I was in that shop many years ago. Different building, same M. O.. I remember it as being in Damariscotta, ME.
  18. I had a client many years ago who brought in a pristine John Juzek Master Art violin from 1956. He wanted a very low and flat bridge which I made with no hesitation. He also wanted me to thin down the neck (which was a very normal thickness) and I refused. I did make it feel thinner by removing some excess crown on the fingerboard. He also wanted me to lop off about 5mm of fingerboard at the nut end to give him a shorter string length. I refused again, but did fit a false 5mm nut to the end of the board in front of the original nut, preserving the original board. Some time later he fell out of love with the violin and traded it in for another. I removed the false nut, put on a normal bridge and sold the still pristine violin without a problem. I fully understand that a Juzek is not a rare work of art but still deserved better than a hack job. Had I done the work he originally requested I feel that the violin would have required more work to get it 'right' and been a tougher violin to sell. BTW, the client understood the position I took and went along with the program.
  19. I'm on thin ice here, but I'd look at the fingerboard being totally glued to the neck, and/or a loose endpin. Barry Afterthought: Is there any gunk pinning the F-hole wings to the top?
  20. Welcome aboard. You might try the 'Luthier Exchange' on this board for wood, tools, books etc.. Lots of good stuff for reasonable prices.
  21. I'm sure we would all like to know who the maker is. Have you seen any other violins from the same maker? I don't understand why you bought it in the first place and would be very surprised if you ever get some or all of your money back.
  22. I'm giving this one a 'bump' since I added a photo. Barry
  23. I had a violin in the shop today; commercial German, possibly Czech., 1900-1920, nice clean work, very good wood, normal measurements, shaded and slightly antiqued. The button had the following stamp: an eight pointed star or sunburst design, a circle inside of the star, a ring of dots inside the circle, another circle further inside and finally more dots in the center. Nothing looked even remotely like any letters. Inside was a typical "Strad 1720" label. Any clues? As requested, here are some more photos. There was a bit of a lacy line on the back of the pegbox. It did not appear as if a shield had been removed from that area. A UV light indicated that the scroll, pegbox and the rest of the violin all had the same varnish. The violin has not been revarnished. Barry
  24. I had one client who thought it was her God given right to have her bow(s) rehaired while she waited in the shop. When she pushed the parameters to include hanging over my shoulder during the rehair I drew a chalk line on the floor and told her to stay on her side of the line. So, to answer the O P I didn't exactly kick her out but I did move her over a few feet. Barry
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