Ron1

The luthier I have been researching for some time, began numbering with the number 200 on his 200th violin. When I first discovered this, I was skeptical, but figuring backwards in time from his 200th, and using his known rate of making, the numbers come out correct. He numbered violins, violas, & cellos all separately, apparently starting with number 1 from the beginning for violas & cellos. Or is it celli? There are a few minor discrepancies in his numbering over the span of his making life- likely occurring when an instrument went unfinished for a time, and messed-up the sequence, or possibly when he didn't want a customer to know an instrument they were interested in had been 'sitting around' unsold for a time.

A novel location for Albert to have pasted his label.

I felt this reply post by ctviolin was amazing. It was exactly what the poster was looking for, and it illustrates what Maestronet is all about. Thanks, Craig.

There apparently is no standard method of naming, and even more amazing, no where is it written who can name an instrument. Makers can surely name their own, such as Manfio does, but beyond that, it's whoever can get away with it- what ever 'sticks to the wall'. Indeed, even I, a non-maker, have named a number of instruments & am confident the names will stick.

I keep coming back to this thread- It seems there are two separate and distinct things involved: First, the name of an instrument- generally after a player/owner. Occasionally, when such a name is replaced by another more recent, and possibly more important owner/user, the previous name(s) may still be used as an "ex", as for instance: "The Kreisler ex Huberman Strad". Secondly, I think the use of "ex" classifications should be viewed only as indications of the instruments provenance, and not considered a part of the name. In the example, the name of the instrument would be the Kreisler Strad, and the ex Huberman attribution would show additional provenance (although it can certainly help to narrow-down exactly which instrument is being cited).

Chris- Can you tell me, is the neck a laminated 2-piece?

...and that's just for Strads and del Gesu's.

It's my belief that "Ex" signifies prior ownership by a player who played the instrument. If the prior owner did not play the instrument, "Ex coll"(ection) is sometimes used- when the owner was noteworthy enough. At least that is my belief.

Apologies.. I should've posted this on The Auction Scroll.

From a current eBay listing... a mite grubby, but it could be the real thing.

ad nauseum

Alma- I don't know if the color distortion (that's what I feel it is) varies from manufacturer to manufacturer, but I could check brand if you would really like to know. My doctor would not recognize/admit to any such problem, and I am doubtful anyone in the industry (product or medical) would. The color difference was definitely not imagined, however the good news is that after both eyes have been done, everything seems fine!

Jeff- Thanks for the clarification. I'm curious as to which option (mono vision or not) you would recommend to the violin makers & others who do close-up, exacting work regularly. Also, are you saying that I was perceiving color improperly before my cataract surgery, and that now, with the enhanced 'blue' hue, it is correct? If so, it seems 'normal' vision is seeing the red/violet hue which I think is unpleasant- certainly not a color I would try to produce.

When having cataract surgery, it seems they always try to talk you into getting a 'far-sighted' lens in one eye, and a 'near-sighted' lens in the other- which, they say, will eliminate the need for glasses. I, personally, feel this would be a big mistake, which would limit you to the use of one eye for close work (and one eye for distance). The doctor told me that the brain will learn to 'disregard' what the other eye is seeing! Wouldn't that be wonderful. The other phenomenon I noticed (but that no one would believe or admit to) was there is definitely a change in color hue with the artificial cataract surgery lenses. And not for the good. It is noticeable after the first lens replacement, and before the second, because that is the only time in which a comparison can be made. The difference is mostly noticeable in the 'reds'- for me former hues of red which I perceived to be pleasing, took on an unpleasant red-violet hue. I think this might be significant, especially for artists, violin-makers, etc. I have had tri-focals for many years, and have no trouble with lines- I have tried progressives, and don't like them- there is a blurred area between each focal length. You can have your eye-glasses made however you want them- for some, the focal length for close-up work may be best at the top of the lens rather than the bottom, etc. But do get cataract surgery if you need it- it's simple, fast, and astonishingly effective.

Apparently tame enough for your clients to feed... Do you have to tether her, or does she roam the courtyard freely? Anyway, nice shop! Is that part of the main house I see off to the left?

It's also puzzling why the auction houses do the very same thing- their on-line images are often nowhere near the true color. Perhaps just a quick & easy way to get no-glare pics?

Thanks, Roger- Yes, it makes a fine neckerchief!

How about this one? Doesn't always have to be stuck to the instrument. A 1905 American made instrument that recently surfaced and sold at auction in England. Does anyone have any ideas or comments regarding this seal? Should it stay on the instrument? Or merely be kept "with" the instrument.

My vote is "no". So far it's (1) "no"; (0) "Yes"

Pearwood is easier to carve and often chosen for aesthetic consideration as well, but these are not the only reasons for it's use, and grafting onto (usually) maple necks.

Possibly someone's method of re-graduating an instrument?

No one else would expect your first violin build to sound good, but yes, you should.

John- I'm curious as to why you posed this question. I don't have the answer, but I wonder if you are able to produce the consistancy you asked about, with the carver you have built?

BESIDE, but not including the button. Some folks, like me, could still be confused without this further clarification. Actually, both ways (with calipers, or with a tape over the arch) are acceptable. The important thing (that is usually omitted) is to declare what method was used to arrive at a given measurement.