Ron1

O.K., you can see them online @ craftoptics.com

Trying to post pics again:

I saw these demonstrated at a craft show recently, and wonder if any of you makers have seen or used them? I think they are a fairly recently developed product- originally intended for dentists, but now being marketed much more widely. The company is local (Madison, Wisconsin). They can furnish the 'glasses' either plano or prescription, as well as customize the focal length. Fairly pricey at around $400, but seem to be a quality product which might be worthwhile for some. I had a root-canal & crown yesterday, and my dentist was wearing them. :-) I'm in no way associated with the company or product, just thought some may not have seen them yet, and may be interested.

I don't believe, if the 'ribbons' were for instructional purposes, that for a professional studio photograph, they would have been left on the instrument- it would have been demeaning (sp?). I think the opposite is more likely, and that Puckfandan was correct in that it is 'girly'. I think they were put on for the photo- as an enhancement. 'Girly ribbons'.

Not an "absolute", but when that black or very dark coloring appears in the flaming in the maple backs, IT'S CHINESE! It amazes me that they don't realize this and use different wood- or is it in the finish?

Me thinks they protest too much.

To me, this is a no-brainer! Skiingfiddler is entirely correct on this subject. It's mostly the "old school" experts that have raised all the opposition. Perhaps a fear of their elite group being diluted by "new school" experts. An unfounded fear, as the "new schoolers" would not really be experts, having learned only the basics with which to go out into the real violin world, and build upon. I would guess that 99% of them would not seek to become recognized experts, writing certificates, etc., and probably never had that in mind anyway. Most would likely be availing themselves of such training for personal satisfaction and/or to enhance their instrument making/repairing/dealing business. I don't feel it would be necessary for students to see and handle thousands of instruments in order to learn. The wheel doesn't need to be re-invented. Coupled with a comrehensive library of good quality digital images, a very few actual samples of a maker's work should suffice. I'm not sure a 'formal' school, ie: university, would necessarily be best- maybe an on-going 'workshop' type program with periodic expert presenters/instructors..

What types of woods are the plates made of? The instrument seems to have enough uniqueness, that any attempts to change/improve it should not be considered..

I believe it was thought that by leaving some of the plate intact under the saddle, there would be less likelyhood of saddle cracks developing (although, it seems that may have been a wrong impression).

I routinely rip the plastic covering open and inspect the inserts and table of contents to determine whether I want to buy the newsstand copies. I would never buy without first looking- and the nice folks at B&N don't seem to mind.

Berl- You & Bruce should stop here when you go by- I'm only 10 minutes off I-90, right here on the edge of nowhere.

Mary, let Craig know our thoughts are with him and we are praying for his quick and complete recovery. Please keep us posted on his progress. Ron

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I see lots of these labels that vary widely regarding how they've worn and how they show their age. The 1919 is very clean, but not a lot different from some I've seen. I guess some have just been kept in better circumstances than others. Also, the 1919 could have been behind glass for a good number of years.

<BR><BR>That mounting hole in the back might explain the ventral pin mystery! Maybe those old cremonese violins were "shop displays" mounted on the walls. :-) could happen.

Yes, Lyndon, you are correct. I meant to say George. I don't believe I've ever seen August & Knute in the same auction before this one.

If we exclude the "Italo-American" designated violins, and throw out those modern day instruments by living American makers (Sam Z) :-) , Knute Reindahl ties with Karl Berger for second place at $5,400, well behind two August Gemunders at $9,000 & $10,800. Reindahl instruments regularly do well at auction, usually ending up in 1st, 2nd, or 3rd position in a similar field of entries, with only instruments by August Gemunder and Carl Becker consistantly commanding higher prices. The Reindahl violin in this Tarisio auction spent quite a few years making music in the Rhode Island Philharmonic Orchestra. It was commissioned by Martin Aberg of Providence Rhode Island in 1917 for his son, Victor.

Why does it seem so many makers keep changing? ("Just finished a Strad xxxx, for my next one I think I'll do a Guarneri xxxx") To me it would seem logical for a maker to settle into a model or two that works for them, and stick with those. I'm interested in what some of you makers would say about this- and knowing how many different forms you have and use. And why.

Doesn't the fact that the listing uses the term "attributed to" indicate that the auction house does not agree with the attribution?

From my notes from when I used to keep track of such things- A Carl (with a "C") George violin dated 1910 was sold on eBay in July, 2006 for a nice sum of $6,326.

Michael- Very nice idea to put your 'star' brand inside like that. I think it would be worthwhile to go for a real "burned in" brand. Have you considered having a metal one made? Of course, the drawback would be the changing date... but I think it would still be worth consideration.

Looks like they barked-up the edge a little while getting that brand on the button- even has the slant similar to the slant of the brand.

The French traders & trappers (voyageurs) had a settlement in northern Wisconsin about the same time the pilgrims landed at Plymouth Rock in 1620, thus many Wisconsin place-names are of French origin. One such name is "Lac du Flambeau", named by the French upon seeing the Native American Indians spearfishing at night by luring the fish to the surface with the light from fires they built in the prows of their canoes. In English, the name translates to "lake of the beautiful fire".

This thread needs to be put to death- hence my 'kinda' related post: Several years ago I had cataract surgery- a lens replacement with an artificial one. I Immediately noticed a marked difference in some colors- mainly the reds. The 'new' eye saw more bluish reds or crimson, while the 'old' eye saw purer reds. Very noticeable especially in car colors. By alternately covering one eye and then the other, the difference was, to me, quite pronounced. Few people believed me, especially the eye doctors- or else they didn't want to admit knowledge of it. I subsequently had the second eye done, and now I'm perfect again! (Now the possibility of comparison is lost). Something you re-touchers might think and ask about if/when the time ever comes.