Jump to content
Maestronet Forums


  • Posts

  • Joined

  • Last visited

Everything posted by Ron1

  1. I've probably posted these before, but Knute Reindahl's carved heads are exceptional-
  2. Often these carved heads are of known persons, such as Beethoven (which may be the case with your head), or other known composers, violinists, etc. Occasionally, they are of animal heads, and sometimes of mythical creatures. Less often, the carving is the likeness of an owner. I am aware of one that was commissioned by a (rather homely) young girl, with her own likeness carved on the head, to be given as a gift to a young violinist who she had a crush on. I guess the bottom line is, there are no set rules regarding this.
  3. There's a special tool for that- it's called a "cat's paw".
  4. Ron1

    ID old master

    It seems strange to me that there seems to be no color differences in the wood that is exposed by missing portions of the label(s).
  5. First, we must know how we are defining "greatest". Number of instruments made? Avg. (or high) selling price: a. Total during makers' lifetime? b. Per instrument during makers' lifetime? c. "x" number of years after his/her death? Significant players that have possessed/played makers' instruments- Number? Names? Some combination of the above, and/or some other criteria???
  6. David Bromberg gave a presentation on Chicago and Midwest luthiers at the American Violin, at the Library of Congress a number of years ago. As I recall, he practically pleaded, several times over, for anyone who knew of a Hornsteiner instrument, to please contact him. His presentation really emphasized the virtues and importance of John Hornsteiner, who was clearly the focus of his presentation. However, Bromberg stated that only one of his instruments was known to exist. I believe it is the one illustrated in his article in Strad magazine, mentioned previously in this thread. Perhaps, by now, another of his instruments has been located..
  7. Then it definitely sounds like the top was replaced..
  8. I've run across a couple of similar discrepencies. One possibilities I've considered, is that the instrument languished in the maker's shop, without being sold for a period of time (8 years). Not wanting an interested buyer to know that fact, the luthier either "up-dated" the label, or inserted a new label with a then-current date.
  9. I think a bunch of penguins is called a "waddle".
  10. Yes, and making the case for reviving a non-copyist and more integrated approach to their design and making. In large part, responders completely missed the point of this thoughtful and important topic (while slavishly measuring in micro-milimeters in order to duplicate a Strad pattern). Thank goodness those old masters didn't copy each other to death- it's the very reason that we (not me, the experts) can identify who made the various instruments. I fear that 250 years from now, a David Burgess violin (for instance) may be identified as "21st century American". Or am I completely mistaken? Do modern makers consistantly incorporate personal variations or improvements, or work in a unique style or method that could identify their work?
  11. I suppose the valuation was based, in part, on 1938 values.
  12. Wow! I was sure fooled by the pic! My reason for asking, is that the American maker I research (1857-1936) made quite a few instruments with a 2-piece laminated neck. Otherwise, not something that is often seen.
  13. Martin- The Stirrat appears to have a 2-piece laminated neck. Is that a recognized feature for that maker, or is it uncommon?
  14. Being made up of eight, or so, separate and un-matched glued-up strips, also adds to the "mix".
  15. I thought the OP was asking what machines have been used in the past- as opposed to those that are now used, ie. CNC. Some early powered "copy-carvers" were in use in the late 1800's. There was one developed in England, and I wouldn't be surprised if the Germans also made one. I am aware of at least one luthier using a copy carver, ca. 1900 or earlier, to rough-out scrolls, and at least experimenting with it for roughing-out plates.
  16. I provide a Certificate of Registration and/or a Certificate of Authenticity upon locating/learning of an instrument not previously included in my registry. The Certificate of Authenticity requires my personal examination and photographing of the instrument. They are certainly not as meaningful as when by the maker, but still, in my opinion, much appreciated by the owners, and likely have some degree of favorable impact on future sales of the instruments. Example:
  17. Hi Jeffrey- I concede- I've probably not shipped more than 10 instruments in my lifetime! Another factor to be weighed would be a 'risk factor' that takes into consideration the value of the instrument to be shipped (the boxes might even be sold including "pre-paid damage insurance" up to a certain dollar amount). Because of the possible crush protection limitations you mention, I would think the Amati Box may be a favorable choice when shipping instruments valued below a 'certain' price point. Beyond that, hard suspension shipping cases, airline seats, couriers, etc. Ron
  18. I totally agree with Televet- The appearance of the Amati Box is what caused me to abandon my quest to develop 'the perfect violin shipping box'. It is a simple, light-weight, and effective solution to the instrument shipping problem. It protects the instrument by totally suspending it between two layers of clear membrane. For the life of me, I cannot fathom why, especially dealers and professionals, continue to ship using cumbersome and un-professional packing when this cleaner, lighter, cheaper, faster, re-usable, professional method is available. For the life of me, I also cannot fathom why Amati does not aggressively market this product, as I've suggested. Auction houses could leave these shipping containers with their label affixed, with potential sellers when they are out appraising/soliciting for up-coming sales. Tons of auction offerings must be lost because private owners just don't want to deal with trying to pack and ship. This would make it so simple- no wadded-up newspapers, no bubble-wrap, no noodles, no packing peanuts, no tape. And, the box can be re-used to ship the instrument to the next owner. Also, because the potential seller has the auction house's shipping container, he/she will feel a certain amount of obligation, and will be much less likely to back-out of the deal. Can someone 'splain this to me? my 2 cents
  19. Bruce- You've made me take off my 'Reindahl blinders' and really take a hard look. I can see some slight differences from his work in the new soundholes, and it does make more sense that someone else likely did that later work. It makes sense too, that if he had done the later work, he would have known and used the same finish materials and procedures. I did want to believe Knute had done the later work, but it is more important to me to get it right. It's why I asked the question here. Thanks so much for sharing your expertise.
  20. Part of my queston is why are the patches are so extensive, extending so far below the f-holes? If it had been repaired because of severe damage to the instrument, it seems the center area between the f-holes would also have been damaged/repaired. The cello was made by Knute Reindahl in 1915, and because the repair wood matches so perfectly, I think it is probable that he also did that work. Also, the varnish/finish treatment, even in the patched areas, are almost certainly his work. Did mice chew on cello f-holes too? I thought maybe they were large enough that they wouldn't have to widen them.
  21. I first thought I was seeing some sort of artistic varnish/coloring in the finish on this cello. In looking closer, there are rather large patches around & especially below the f-holes. It appears the patches were made using the same wood as the original, as the grain lines are exceptionally close- sometimes very difficult to distinguish. I don't know if the darker color of the patched areas was perhaps intentional, to take the eye away from "seeing" the patches, to additionally camoflage them, or if the varnish on the patched areas has darkened more than the original surrounding areas with age. What can the 'trained eyes' of the experts here say about this?
  22. O.K., here's the pic of the "double 5-ply/3-ply" purfling.
  • Create New...