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Everything posted by Ron1

  1. Generally, the consensus seems to be that copying is not good; not creative, etc. So why, then, do so many makers seek to replicate patterns of the 'ancients' to the nth degree? It seems contradictory. The workmanship can be extraordinary, but the creativeness, signature, or hand of the maker is lost, or at least diluted. I can understand using established and accepted patterns in a general way, but making the ff's exactly the same; corners exactly the same; the edge-work.. At least the ancients can be told apart..
  2. Delabo- I think Mr. Merkel was referring to the age of his knee, rather than his computer.
  3. Appears to have been artificially antiqued
  4. I believe I have the distinction of being the first to "out" Craig regarding his multiple posts. I can only participate with thoughts/suggestions- No one has yet mentioned a label for the instrument, but I think considerable thought should go into it. It would be nice if one of Craigs' labels could be used, possibly along with a second, explanitory label or inscription.
  5. Ron1

    F-hole fails?

    I've posted this before, but here are some cello f-holes with extensive "fixes". Can be seen at this angle/lighting, but otherwise quite unoticeable.
  6. Ron1

    f hole mystery

    I think the decorations are definitely scandinavian- esp the 'tulip flower' at the corners; they are reminiscent of the old "kolrosing" method of decorating- rubbing charcoal into scribed/cut lines, although these are thicker, and apparently painted-on line work.
  7. I've observed many apparent amateurs periodically posing questions on this forum, such as how to fill voids in purfling channels, or what size gouge to use for this or that, and I wonder how many questions come to their mind between those posts, that they hesitate to ask. Just imagine the amount of knowledge that would be exchanged between two luthiers sitting and working side by side eight hours a day- just through small-talk, observation, and casual conversation. There is no comparison. The real question is, will this be a part-time hobby, or do you want to make this your vocation? Either option is O.K. Now, back to that bird-house.
  8. Not me- I still have all I can do to make a bird-house...
  9. Don't really know- It's a natural twisted vine-type piece; I fantasized it might be an adjustable soundpost that screws down through an f-hole. :-)
  10. All the pieces- I don't think it was ever really finished.
  11. Can this be classified as a bassbar?
  12. My favorite American maker occasionally added ebony extensions to the ears of his scrolls, as well as other (usually ebony) trim at various other locations on his instruments.
  13. The purfling channel may have been cut too deep...
  14. I strongly disagree. Artistic expression, individuality, and creativity are alive and well in the world of violinmaking- always have been and always will be. There are parameters, but not rules. The "game" that has closed rules is not the making of a violin, but rather, the making of a Stradivari or a Guarneri, etc.
  15. Two different things here- one is sort of a "pet name" for one's violin, etc.- I can't imagine not doing that. The other, in my view, is a more serious name given to an instrument you made, own, etc., based on something- it's history, provenance, appearance, sound, part of a set, and on, and on.. can be smart advertising/promotion. Manfio might chime-in here.
  16. This is exactly what it all boils down to. The problem is, for most folks, networking and aggressively building interpersonal relationships are not their "long suit". They are largely destined to be hobbyists... meaning the satisfaction they receive from making must be their reward. I'm aware of one successful luthier who, with one or two of his instruments in hand, spent many evenings in the bar rooms of large city hotels, where famous musicians would unwind following performances- engaging them in conversation, buying them drinks, etc. He devised clever ways to involve notable people in the use and promotion of his instruments. He was the epitomy of self promotion, and enjoyed a long and very successful career.
  17. Jens is very interested in this subject area, and I'm sure, would be pleased to help.
  18. Another factor typical of the Danish makers I mentioned, is that they (mostly) used an outside mold, and their linings were either continuous, or at least partially over the corner blocks from both sides. The lack of this feature might be explained if the ribs were "thoroughly repaired/restored".
  19. The 4-piece purfling was regularly used by a number of Danish makers and some of those who learned from them: Frederik Wilhelm Hansen, Peder P. Adamsen, Thomas Jacobsen, Niels Jensen Lund, Niels Larsen Winther & Peder C. Poulsen. Poulsen emigrated to Chicago, where he was known as Peter C. Paulsen, and passed the 4-piece purfling practice on to his son and to Knute Reindahl, who employed it occasionally. Jens Stenz in Denmark is expert on these makers and may be helpful in further identification. He may be contacted at jens@stenz-violins.dk
  20. My uneducated take is that a beginner, making his 1st, 2nd, or 3rd instrument, would be far more careful and would be trying to do his/her very best. The outside shows much more ability than was exerted on the inside, so I would guess a somewhat experienced maker was just knocking them out as fast as possible, and keeping the outside acceptable appearing to their market.
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