Ron1

Thanks Michael- I think I'll get the Sacconi book & at least start there! Ron.

Not biographical, rather learning how to narrow down the when and where of an instrument's origins. Not like Henley's, which I think identifies makers, rather than describing their instruments. Rattray's book sounds like it may be o.k., but still maybe doesn't tell HOW to identify Italian work. Isn't there anything that says "corners like this (pic) are Italian; this kind are German..." I know it would take a lot of looking at pictures & instruments, but it sure would help to have someone point out what to look for, rather than each person having to discover it for themselves.

Are there any good comprehensive violin identification books available? Not so much maker-identification, but age, geographic origin, school, etc. Or is it guarded information that folks aren't willing to part with?

I presume those that modernized the best-known instruments were among the best luthiers of their time. Also, they should have, & probably did match the original angles as exactly as possible- or not?

Excellent point Michael- I can see you've mused over these things before...

Jacob- Do you think the apparently critical neckset angle is possibly the reason so many of the very old (Cremonese, Brescian, etc.) makers produced such fine instruments? In those days, the straight-necked (baroque) design would have allowed for a lot easier adjusting to obtain the proper angle. The neck didn't have to be reset, they could just try different fingerboards with varying "ramps" until they obtained the optimum sound. Ron.

Or, just type in: http://mysite.verizon.net/maunesha/

Guess this isn't a tonal improver either- looks something like the rod Alex talked about putting in one of his aluminum violins in a previous thread. I think it was maybe added to prevent further "stretching" caused from modern stringing? (the top is quite flattened). Is that a short bassbar? I figured it measures about 224mm. Another picture attempt: [image]mysite.verizon.net/maunesha/insidebaroque.jpg[/image]

Yes Michael- that's what I was trying to do. Do you concur with Jacob's thoughts?

Thanks, Jacob- So, probably a ficticious maker name- that would account for not being able to find him. How about "Rome" being spelled like that? I thought it should be "Roma" or something? Not nearly that old either. I think I understand the picture/link deal now! Ron.

Sorry- let me do a little investigating. Ron.

This worked for me: http//mysite.verizon.net/maunesha/ (or, can you tell me how to make the "link" in my post? Ron.

The url now works if you type it in- I just don't know how to make the link in the post???

o.k., here's another try at putting the pic up. Ron. [image]http//mysite.verizon.net/maunesha/[/image]

I have another, identical violin to this one pictured, bearing a label: Signor Lacona / Rome 1864. So far, queries on this forum & other research has failed to turn up a maker by this name. Can anyone advise if the instrument appears to be Italian, & of that general time period? In addition to the double purfling, with inner purf much thinner, it has (apparently) ebony "dots" between the purfling lines at each corner. Any observations which may help identify the instrument/maker will be appreciated. Thanks, Ron. [image]http://sitebuilder.verizon.net/trellix/sitebuilder/f_edit_page.html[/image]

I was thinking more in the area of $70,000,000 or so- do you think that would be a long way off?

What would you guess his little collection would sell for in todays market?

Unfortunately I'm not a player, and have only heard it played once. The player said it had a very nice sound- much improved over the instrument she regularly plays.

Michael, do you remember my mentioning the Reindahl violin I have? When he made it in 1907, the top-wood was 200 years old. He obtained his spruce (not sure which species/sub-species) from very old buildings in Norway for his violins. His original sales certificate/guarantee states the age of the top-wood used in the instrument. Apparently he put some stock in using older wood!

Someone getting into airbrushing may want to consider a set-up like I use: I purchased an old co2 bottle, about 5" in dia. & 15" tall, & fitted it with a double regulator (like welders use) & attached the airbrush hose to the regulator. Works so much nicer than with a compressor. No noise, no pulsating, entirely portable, requires very little space. It costs around $5 or $6 to fill the bottle which, for the occasional user like me, or someone using it for spraying & touching up a few violins a year, once a year would probably suffice. Heavier users could consider a larger bottle.

It seems that a good, sharp, burnished "hook" on the scraper would give the best results- a clean cut, but not leaving a shiny surface. To get that, I would think the scraper material would have to be a little softer, more workable, and would require frequent sharpening/burnishing. A "shiny as glass" surface might indicate the wood fibers have been literally scraped and burnished-over rather than cut. Sort of like the taboo regarding sanding, which tears-up the wood fibers rather than producing a clean cut. Question: Do you mainly "pull" or "push" when scraping? Some of the statements in the posts sound like it is pulling, ie. "pulled some shavings", "wiping". Ron.

Thanks wmeng. How does one go about getting copies of Strad articles? Or past issues? Ron

Thanks for the reply jaf67, & for checking. Any thoughts on how a fairly decent maker goes apparently unnoticed while lots of less talented (my opinion) makers are "listed"? Ron

Thanks for checking Regis. Did you, by chance, check Henley's? I understand that is one of the most comprehensive sources. Also, there is a work by Azzolina on 18th & 19th century Italian makers that would probably be an excellent source. Unfortunately, I don't own these. Thanks again, Ron.

I assume from lack of response, this violin maker is either unknown or non-existant. Could someone please at least verify that the name is not included in at least some listings? Thanks, again. Ron