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Everything posted by Ron1

  1. These responses are primarily from makers, and represent that viewpoint. I think responses from players might be different, and responses from dealers and collectors might show an entirely opposite viewpoint. It's kinda the makers vs the market.
  2. The screws adequately stabilize the center seam, but a little more filler seems to be needed. And I like that slotted screws were employed, rather than Phillips- a subtle antiqueing trick!
  3. I think "boots on the ground" is real clever. Is it proper for a Head-of-State to refer to another Head-of-State by first name? Wouldn't "Chancellor Merkel" have been more protocolish? I don't recall hearing that before- although "Ahngula" didn't seem to mind. But then, she didn't refer to the President as "Barrack" either. (Everything I think of seems to have a political over-tone; but then, that's what ticks me off mostly.
  4. I live close to Milwaukee- almost as good as close to Germany, when the subject is beer. "Bock" beer, these days, is a fake copy of what used to be a seasonal treat. Around the end of the year, breweries would clean out their vats. The dark thicker sludge taken off the bottom during this operation, was called bock, or sometimes referred to as "Christmas beer". It was only available during that season, and was special. Nowadays 'bock' beer is 'brewed' just to satisfy a mis-informed market. I agree with Stephan- I, too, become ridiculously angered at certain words or phrases- mostly the ones that folks use because the think they are fashionable. When did Angela Merkel become Ahngula Maerkel? (Newscasters are some of the worst).
  5. Apologies! I did understand; it was just another of my clumsy attempts at humor.
  6. The general consensus seems to be that Del Gesu is given a pass. I've noticed the same when it comes to Strad, for asymmetry, etc. These reflect my own sentiments as well, but what I cannot understand, is why they are not applied to modern makers. In the case of modern makers, we hear "amateurish", "unconventional", "folk", etc., but never tolerance or forgiveness, let alone praise. I know the argument here will be SOUND, but as we know, sound is too objective to be the difference; besides, such judgements are typically made immediately upon sight, and without benefit of playability or sound comparison.
  7. I have been attempting to design a shipping container for violins for a long time- I thought I was on the right track, but the Amati Box is a game-changer. I give-up! It is almost the perfect answer in all respects- 1. Very light-weight (inexpensive to ship) 2. Uniform & minimal size for the intended purpose; less "united inches" (further minimalizes shipping costs) 3. Excellent protection for the instrument while minimally invasive 4. Extremely easy to use- no peanuts, no bubble wrap, no tape, no butchering/re-making cardboard boxes 5. Much more 'professional', and could be printed with customer's name, logo, etc. 6. Light-weight & flat shipping of boxes to customers 7. Auction houses could furnish to consignors when appraising instruments, making very easy (& more likely) for consignor to follow-through 8. Manufacturer could offer some basic free insurance to users- would emphasize mfr's faith in product & be an excellent marketing aid This box will "go big" and will be widely used throughout the industry! I'm tossing out all my plans & prototypes
  8. I think that part of the 'fear', or reason for opposition to the idea of a structured course, is a misconception that the students would all become 'experts' and flood the market. The reality is, that the overwhelming majority would most likely be amateur and professional makers and dealers who simply wish to expand their identification knowledge & skills for personal use or to better serve clients bringing in eBay purchases or attic finds. Such a course would probably go no further than id'ing regions of origin, anyway. Although discussion and speculation of maker identity would undoubtedly take place, it would not necessarily be a part of the curriculum. It seems like an obvious way to provide an apparently large number of folks that have an interest, or a need, to know more in this area. A precious, dedicated few, may continue seeking to educate themselves, and eventually become 'expert'. But that would take lots of additional time and learning the old-fashioned way- working 'hands-on' in big shops or auction houses.
  9. Knute Reindahl, in addition to carved decoration, usually to the head, used pyrography to achieve decoration on a small number of instruments.
  10. The first line above could be achieved through a school/course such as has been proposed (presuming the experts would agree to teach). The second line above illustrates the need for a school/course such as is proposed.
  11. Ron1

    Violin for ID

    The c-bout linings may have been replaced- they seem to have a different profile than the rest. Looks as though someone just hogged-out some bulk from the corner blocks.
  12. An example of someone's heavy-handed antiqueing ?..
  13. Ron1

    It's a start!

    Rue- before you know it, you'll be using a Sawzall!
  14. I have had two violins that were almost exactly identical to that one- same double purfling, bird's eye backs, f-holes, and corner "pins". I think the dots are purely decorative, and doubt that they are pins that go into the corner blocks. (Another guess from a non-expert).
  15. Rue- I really think you might want to further consider Stephen's "painting" solution. To me, it would be far less dangerous (possible damage to the antique aspect), and might surprise you how effective it would be- and as he mentioned, reversible. I think it's the way a real conservator would handle it.
  16. Or maybe his entire output, kept together & never sold. :-)
  17. Yes, Craig- and be sure to make #9999 & #10000 a trademark double-post. :-)
  18. Addie is absolutely correct re rosemaling and techniques. I agree too, that there is no question that the case is 19th Century Norwegian. Glenn- the relatively huge size of the old-growth pines in America back then also allowed woodworkers to be quite selective. In many old buildings, the original lumber is often 'clear', having no knots whatsoever- contrasted with the crap that is currently available.
  19. Yohansen- Where, in Norway, do you live, and/or where did your ancestors live? Also, can you provide a better picture of the label in the violin? I know of some old luthiers in the Telemark and Suldal (Rogaland)areas, and may be able to shed more light on the origin of the case. It is also possible to identify certain areas by examining the rosemaling decorating to determine the artist.
  20. The rosemaling looks to be most likely Norwegian, or possibly Swedish or Danish. What is on the violin label that can be seen? Maybe Glenn will be interested, or chime-in.
  21. I would think that the dimensional stability factor would make the choice a no-brainer. What, with makers being so anal about exact dimensions and all. We always used mylar for precise mapping, etc. when I was a draftsman in the military 57 years ago. Edi- I remember changing those gallon jugs of ammonia as well. Did you sharpen your nibs regularly, too?
  22. Magnus- I just have to show this 'corner-block/lining system' technique that shows up occasionally, and apparently has no single particular origin. Not being a maker, I've been shot down before on this, but to me, the use of continuous linings seems preferable to the more conventional "let-in" technique. In addition to being faster & easier, it results in a smoother finished interior- no protruding corner-block edges (less turbulence?), and, I believe an argument can me made that it results in a stronger construction.
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