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Everything posted by kessi

  1. Yes. Can you confirm similarities? <image removed>
  2. This english cello has similar wide spaced f holes. I remembered it because i liked it so much when i saw it at an exhibition. Can anybody comment on other similarities or differences? Could it be that this was the model from which the unknown maker derived his cello? <images removed>
  3. did you see the pictures of my 5 stringer in this earlier thread? The Stainer Model
  4. I' m not sure if I understand what you mean. I never paied attention, but now I realised that the upper/lower edge of the f-wing is beyond the inner side of the round part in Stainer's instruments. But not so on mostly on the upper part of the bass side f-hole!? That's what I see from the pictures I have. My cello is more a personal interpretation than a copy, also the slightly concave endings of the wing: Detail
  5. No, I havent seen any photos of the original, which is in private posession. It is said to have been a small 5 string cello which has later been converted to 4 strings. My instrument was modeled to be like the original, in a baroque setup with 5 strings ( an additional e). I was indeed tempted by a lionhead, but decided against it, also because the original had a scroll. I find that the outline and the arching are in a subtle harmony. I was a little dissappointed by the cut down outline of the 2 cellos pictured in the 2003 exhibition book.
  6. This violin on the link is the famous one in virtually unaltered condition. But from the pictures I cannot see the shape of the arching, Andres links are much easier. There I can also imagine why the subjective impression is so different but the tecnical "height over edge" is not, as Jacob described.
  7. quote: Originally posted by: fiddlecollector I wish people wouldnt describe Stainers as tubby! Some maybe highly arched but the arching is very subtle. Boxiness isnt a word to describe real Stainers.Even Henley sounds like he had never seen a real one going by his description of his violins. Most Strad models arent too far apart from a Strad look but Stainer models and copies are like chalk and cheese! I cant really think of many later makers from any countries whose Stainer models looked even close to Stainer. I think Stainers should be seen on their own merits without this kind of contest of which is best or who was most popular in the past. The few ive heard played in small recitals sounded exquisite to my ears and perfectly suited to the venues. I would very much like to see more examples of Stainer models (chalk and cheese). It's just that it is so difficult for my untrained eye to see the arching in the books i have. For a start some pictures of my (comissioned) cello "after Jacobus Stainer, Absam 1680", finished in 2001. (Note that I like high arching and explicitly asked for it)! Front Back Side view C-bouts
  8. I would like to stress that there is a huge difference between mp3 on my powerbook and CD from my high-end equipement, just did AB comparison. Having heard the real thing I can easily interpret mp3 ( thats psycho-acustics), but I do not like the sound from this sample "per se". At the time of J.S.Bach, clearly Stainer's instrument were the reference. This is clear for example from the inventory of instruments from Köthingen, were Bach worked. But this changed later, and certainly, given the rarity of Stainers Instruments compared to Cremonese from the same time, this will not change again anytime soon. All the more since contemporary luthier's (especially on this forum) seem not very fond of Stainers models.
  9. I will vote for the Jacob Stainer model. Twenty years ago I heard a CD recording of Bach Cocerti where one Solo violon was a Stainer. I was fascinated and still remember it. Recently I found a recording entierly on Stainer Instruments: CD Jacob Stainers Instrumente They have some very special quality of their voice which I find fascinating. I also like the sound of Teccler and early Amati cello's. They share some of the characteristics.
  10. So no more information to be gained from this number? I tried to take pictures: My Number Top Scroll
  11. Interesting. Do you know which maker? I can only detect one stamp on my instrument; I also has its original scroll so it is probably not a repair number.
  12. Thanks for your feedback. I have heard of these Hill Numbers on the fingerboard. Are these such inventory numbers? Are they under the board or on the front? Are they obvious or secret? The marking on my instrument is almost invisible, only 1 millimeter in height. I only detected it because the instrument was serviced and the pegbox cleaned and newly blackend.
  13. I have a probably french cello from around 1800. It has a tiny stamp inside the pegbox, 806 or 908. I was told that this is a inventory number; Such inventory numbers were placed by the big dealers at secret places, to help them identify instruments which have passed through their firm in earlier times. This particular number might be from the Hill shop. Does anybody know at which times this practise was used? Is this still done nowadays? The Hill Firm does no longer exist, as far as I know. Who could have those records now? Would a Dealer disclose this information or is this still considered secret? This cello is important to me and I am thrilled at the prospect of getting some information about its early history. I would also be willing to pay for a photocopy of such a inventory entry. Any help apreciated.
  14. I was told by my luthier that a bass-bar crack might occur, if a old bass-bar is not replaced in time. It will eventually not take the pressure anymore and a crack (beginning from the inside of the table and therefore hard to detect initially) will start to develop. A early warning sign is the table giving in (as seen in the different levels of the table and the f-hole wings), that is: changing over time. In one of my cellos which was on his workbench some 10 years ago, he recently observed just that, and strongly advised me to replace the (58 years old) bass bar (normal bass bar lifetime is about 30 years). This is as i understand my luthier, hope that I got it right. I am keen to hear other statements on this topic, to learn more about bass bar's.
  15. Carlo Tononi 1728 cello The label and stamp do not look genuine, but the cello seems 18th century to me. Please give me your opinions.
  16. Thanks for your opinions. It went for the reserve price of 2500$. Very nice cello for this price, I think. I was not allowed to bid; celli need so much space at home ...
  17. I like the looks of this one: A cello labeled M.G.B. Martineghi 1949 . Something makes me feel it is brand new, especially the close-up of the f-hole. but I don't know what it is. After all, whith these cracks and all it can't be, can it? Can anyone tell me more about the age and model of this cello?
  18. Hm, I am by no means an expert but on my baroque instrument which is around 4 years old, the fingerboard shows clear signs of age from daylight (and use!). This violin looks new to me, not anywhere near 15+ years old. My fingerboard is from mulberry, this one probably from maple? On such light-colored wood this should be obvious to see, I think. But perhaps it was not played and stored in a case for 15 years?
  19. yes, certainly. But this particular violin is "Sold with a guarantee from George A. Chanot, Manchester, dated 26th February 1920", so in this case we know where the "ascribed" cames from. (Afterthought: do we? guarantee for what?) Now, isn't a instrument that a luthier in 1920 thought to be an Amati most probably an interesting old instrument, even if it is not a Amati? I would request a condition report: perhaps there are repairs to be done that put it back in the price-range of "interesting old"?
  20. What a wunderfull cello! I recently detected a similar case and posted a link on this forum (thread: "interesting ebay cello, (newly) labelled Testore" ). But as I was not involved in either listings, I did not find a way to notify ebay nor could I contact the buyer as it was a private auction. How did you notify ebay?
  21. Now someone tries to sell the cello he does not have? very old cello `TESTORE´ ca. 1750 from Italy This time the auction is anonymous. I am very suspicious about this listing. I tried to report it with ebay but got lost after 30 mins of searching the right way to do so. Probably the original seller should report that his pics are beeing re-used?
  22. that's it! If I tighten the bow very strong (almost too much, it is a very light bow), then the sound is better. Can I ask my luthier to remove some hair or what? Thanks a lot for that input.
  23. I am also often wondering about that. In my experience it is never the instrument: All my bows have different noise on the same instrument. My best guess is that it is mostly the hair: I recently restored a old bow which produced a wonderful tone with what little hair remained; now that it is rehaired, newly wound and a missing fleur-de-lysse replaced it produces a lot of noise; I dont like it anymore :-( I am curious if anybody has another explanation.
  24. An interesting looking cello is offered on ebay: very old cello `TESTORE´ ca. 1750 from Italy It closely resembles the cello from this listing 3 months ago: CELLO ERBSTÜCK ca 80 Jahre Vollholz Now it is offered with a hard case and a TESTORE label. Can anyone comment on this instrument and what it might probably need to bring it back to life?
  25. I am no expert at all, but I play a cello by CH.J.B Collin-Mezin from 1883 since 20 years, so I just comment about what goes through my mind by looking at these photos: The varnish and the scroll make a familiar impression to me, looking slightly younger. I dont like the shape of the corners though, but that might be due to a different model. All in all I tend to belive it is from a later period, perhaps shortly after 1900. As far as I know, his son Charles Collin-Mézin gradually took over the workshop. I have seen and played several cellos of this later period: they were all easily identifiable by a different arching. For cellos, there seems to be a difference in sound and value between those early instruments from the father and the 20th century instruments from the son but I am not sure if this is true for violins.
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