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Everything posted by bean_fidhleir

  1. I don't know about Tecchler's cellos, but my impression is that the f-holes in his fiddles are much different to the f-holes we see in this cello. I wonder whether he did f-holes to a different model in his cellos.
  2. quote: Originally posted by: fiddlecollector On the subject on whether or not Jusek existed? According to the US Census. The 1900 census lists 2 John Juseks Both living in Cuyahoga,Ohio born circa 1870 and 1893. The 1910 census lists 3 John Jusek`s : John M Jusek living in Sherburne born c. 1881 John J Jusek Sherburne born c.1908 John Jusek Mercer born circa. 1874 The 1920 census lists 3 : John Jusek Chicago born c.1889 John Jusek Herkimer, New York c.1850 (also states could be also known as John Heryck) John Jusek Cambria, Pennsylvania born c. 1891. So out of three Census` only one was living in New York. What i find interesting is that none of the above are listed in more than one census. I wonder whether the 'Juzek' spelling would make a difference.
  3. quote: Originally posted by: izzy I was sitting out on the back steps polishing a violin, and my dog kept trying to get my attention. I felt the picture was too fun not to share. That is a sweet little dog. I hope you did provide the desired attention?
  4. Speaking of criminal charges, knowingly falsifying a provenance to increase the attractiveness/price is felony f-r-a-u-d. I should think the local bunco squad would be happy to bust the dealer, even if it's too small-time for the feds. No?
  5. Oh, very nice indeed! I hadn't seen that site before, so thanks! My one looks like http://www.billsbanjos.com/1892Washburn.htm as far as the neck/head/inlays go, but the pot on mine is plain with ordinary hooks. Which indicates that it's likely a composite, I suppose. Composite or not, it's a very nice-sounding, easy-picking banjo. But one thing that suggests L&H were more opportunists cashing in on the 1890s "banjo craze" than serious makers like Stewart and Fairbanks is that they did these rather fancy inlays, but in a slovenly way with lots of filler (e.g. that photo of their "ladies'" banjo. Ugh!) But you're right, this is a bit o/t for the thread
  6. Pretty interesting indeed. I only know of them because I own a very old (sn 738) "George Washburn" banjo.
  7. I can only hope that the mouse who chiseled away the treble f-hole raised a lot of kids in comfort on the shavings she amassed
  8. I've long been a committed vegetarian and animal-rights advocate (just to make my general position clear). For me, the figural issues are the two already mentioned by Andres and Marilyn: the animal is being killed for its body, not its skin, and there seems currently to be no reversable glue other than that made from skin. So I can use hide glue, or buy a pair of leather hiking boots or a pair of leather winter gloves every 15-20 years and not feel I'm contributing to the pain and suffering in the world: my choices are not making it even 0.00001% more likely that a non-human will be killed. But I won't buy a leather saddle for my bike because that's frivolous, I choose to wear rope sandals almost year-round in part to minimise the number of boots I buy, and I work in other ways toward a world in which non-humans are not exploited or driven to extinction for human convenience. Just another data point.
  9. I just noticed that one of the names in the list Jaf posted wants correcting: George Washburn was a real human being, namely George W(ashburn) Lyon of the Chicago firm Lyon & Healy. He was apparently the musician/maker half of the business.
  10. Any chance of a closer look at that label, Dan? From what I can see right now, I don't believe in it. Quite apart from quality issues (which seem a bit glaring!) isn't there good evidence of the neck and head being later just from the difference in color where the button slots into the rim at the back? Or am I overvaluing something? Early/mid 1700s Tiroler body?
  11. You should be able to complain to ebay itself, shouldn't you? They charge the victim a $25 fee, but if you paid a heap of money they should help you get most of it back.
  12. I think the point might be that the seller isn't playing it straight. Given that he's not, does it really matter how low he starts the bidding?
  13. quote: Originally posted by: johnny I called the well known shop. they said that they sent a letter to the selling shop, and that their responsability ends there. Maybe it's just the way you expressed this, but if those are the actual words of the well-known shop -- that they'd "sent a letter", then I'd be intensely interested to know what the letter said. The letter they sent might say "yes, it's a genuine Niccolo Amati cello...but this Niccolo Amati was born Hans-Helmut Fassentleerer and never got closer to Italy than a bowl of pasta."
  14. quote: Originally posted by: Omobono makers make copies of things like the Amati tenor viola in the Ashmolean Museum but I cannot see anybody playing them much. I played one such copy of the 'beast' -(19inches?) I am not small but it was just possible to hold it almost vertical and play a few notes in the first position. (The baroque neck did not help either) Maybe they're meant to be held and played as though a cello? Balanced on the thigh rather than the floor, of course.
  15. Your link I wonder whether 'Scott Tchau' is the same person who signs himself 'Scott Cao' now. 'Tchau' is a rather germanic spelling for what most Chinese seem to transliterate as Chow, Cho, Chou etc. I can't begin to imagine how 'Cao' is meant to be pronounced or how it might otherwise be rendered in Latin chars. Regardless, it is a nice-looking fiddle for sure, for sure.
  16. If I'm interpreting the play of light on the arching correctly, it looks like it could be German. Whether it's 50 years old...? Nice looking work, though.
  17. The man certainly is a helluva wood worker, for sure for sure. That op-art back is particularly mind-bending.
  18. It also depends on the kind of music you want to play. I'm probably going to get into trouble with the classisists here, but trad fiddle music is easier to play because it's more about the music than the playing, if you see what I mean. Playing "store-bought" music for listening seems to be largely a demonstration of technique. Whereas home-made music is about the music itself. And, very often, dancing. Everyone has their own way of playing within the idiom of the tradition, and the composer is quite often unknown or, most often, not even a single individual. It's not written down so there is no "composer's intent" to worry about. You just play it, and the more you care about it (the music) the more love you'll put into it and, as long as you don't completely outrun your technical skills, the better it will sound.
  19. I side with Wilhelm: the second one looks a late 19th c. German "bathtub Stainer". The first one looks newer (1930s?), but in the same "off" style. Both look like they've been french-polished to a fare-thee-well.
  20. I wasn't really questioning Jeffrey's assessment of it being a stamp, Lyndon, I was expressing surprise and hoping Jeffrey would explain why I was interpreting it incorrectly. I reckon that if Jeffrey says it's a stamp, then there's probably around a 95% certainty that it's a stamp. Or that's where I'd put my money, anyway, unless I'd had the opportunity to get up close and personal with a linen tester
  21. quote: Originally posted by: Jeffrey Holmes Also, I assume the "DAVID" stamp refers to Ferdinand David (1810 to 1873). If so, it kind of dictates the maximum age of the instrument, doesn't it? Is that really a stamp, Jeffrey? It's too far out of focus to see properly, but I assumed it was poker- or scratchwork just on the grounds of size, being offset to the left, not straight, etc.
  22. quote: PS the label could definetly be a fake, but I can't tell for sure at least its a good fake, but the date 1768 is well after Celoniatus' death, I'd still love to see a closeup. I might be able to tell you something useful about it.
  23. quote: Originally posted by: Taylor's Fine Violins Then I looked at the label, it looked like it was cut out of the book, with dots and circles, but this was an illusion, when i looked with a magnifing lens it was a properly printed, virtually identical letters to the one in the Jalovec book but slightly different, it wasn't a copy label but an original handprinted one but on parchment, not paper, which looked grayish like photographic paper, the date was 1768 but the last two digits had been faded away and someone penned in 68 in modern ink, Supposedly according to Jalovec, Celoniatus only worked till 1742. Lyndon, when you say "parchment", do you mean animal skin? Since you have the top off, could you provide us a closeup of the label? I'm interested in labels, and I can't imagine some fiddle maker using parchment. It was too expensive to use for "common" purposes, in part because it was no longer being used and few people still bothered to learn how to prepare a skin to accept ink. Skin was still being used for important legal documents, and it was sometimes used for book covers, but it would be very surprising to find it used for something like a fiddle label. So it would be extremely interesting to see the label in your new fiddle, if you don't mind showing us.
  24. quote: Originally posted by: MANFIO But Chinese violin experts are trying find the misterious Chinese maker MAN FIU... they are intrigued with the "pesto" and "mascarpone" traces they found inside in one of his violins... mwahahahahaha....primo, maestro, un capolavoro.
  25. Lovely. I think in her place, tho, I might change the color receipe. For some reason, that red makes it look awfully Chinese.
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