Ron1

How do you bend the wood?

Just found these pics of another KR bow- apparently the one I had remembered with the larger stamp.

Will- I have records of about 40 sales (both public & private) of his instruments, but I don't seem to have the one you cite- can you fill me in? In my list of sales several run in the $10k - $14k range.

Mike- Yes, definitely some differences. Yours has the large stamp, which I mistakenly thought mine had too, but I was apparently remembering another one that I had seen.

Thanks much for the comments Brad. It's nice to have that information from someone as familiar with bows as yourself. Regarding the non-conformity- it's something that is evidenced in all of his work- admirable in some ways, but in others, may have proved to be detrimental.

Here's some pics of my bow for comparison (I'd also appreciate any comments from the 'bow folks'.

I think a certain minimum number of posts are required before a member is allowed to post pics. I'll also try to get some decent pics of mine posted.

Knute Reindahl definitely made a number of violin bows- I don't know how many, but based on those I am aware of, I would guess maybe 50-100 or so. I have one that came with one of his violins; the violin is dated 1907. Mine & the others I've seen have an apparently original reddish-colored leather wrapping and, at least on mine, his K REINDAHL stamp is quite large. I'm clueless regarding bows (and most other subjects), but players that have tried this one have said it is a very good bow.

Caspace is back.

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.