uguntde

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Everything posted by uguntde

  1. I disagree. I know collectors who have lots of instruments and sell the odd one. Such people will not sell a Degani for €2000 but potentially cheaper than elsewhere. There are many reasons to sell. One is because someone passed away, another simply to get cash. Just do it like mushroom collection, only buy what I know :). We also don't know what these cellos were supposed to cost. There is nothing wrong to buy a well-built unknown maker's instrument for €1500. These instruments look decent on a first glance. If one doesn't take them as collectibles but rather as consumables at a low cost
  2. I agree, there is no risk for the player of a dichromate treated instrument. A maker who uses this should however know how to use this safely. CMR substances should not be used by non-experts, and this will include most violin makers.
  3. All 3 scrolls look the same from the front. A Degani scroll looks distinctly different, the peg box edges would be more rounded. Also Degani used a different looking varnish. All three look like newly made instruments. You may not be aware that a genuine Degani cello would at least be worth €30000, Tarisio sold one for almost €100000 in 2019. https://tarisio.com/cozio-archive/price-history/?Maker_ID=156
  4. Dichromate is toxic and carcinogenic and should not be used without proper safety equipment. I would say it is save once it is on the wood, as it is mainly known to cause lung and nasal cancers. But damage to the skin is also a potential risk.
  5. Thanks, I did, no response yet.
  6. The Primrose and Josefowitz violas (some think his son made the later ones) seem to be among the most copied Andrea Guarneri violas. The outer shape and size of those two is almost identical suggesting that they were made on the same mold. I wonder whether anyone has more detailed measurements, arching and thickness patterns?
  7. If you want the most reputable maker history you need to learn Italian. French or German come second, maybe German even third, at least in the value of instruments. Although some of my favorite makers were from Germany, like Winterling and Gärtner (Joseph Joachim had one of his).
  8. If I were in that business I would only copy Italian violins, Bisiach, Fagnola and the likes. Mch better profit.
  9. I said 'why would one fake a Roth' which i worth little, rather than a Fagnola which is high in value despte having a rather unfashionable spirit varnish and often not a great sound.
  10. I agree that the price is too high, especially for this one. Nevertheless, I have seen Fagnolas described as genuine that were crap.
  11. This is ugly, whether intentional or not.
  12. uguntde

    Tanning

    I compared uvb and uvc for tanning. Uvc is way superior and faster but be careful with your eyes, it is dangerous, not only for the eyes, also for the skin. It will cause skin shaver on longer exposure. In a light box it can be handled safely though.
  13. I haven’t seen a single viola that was great on the 7th position on the c-String. Playing up the keyboard is reserved to violins and cellos.
  14. So far all I bought turned out to be what I thought it was and gained value. And I do have a good idea where some expensive fakes came from, even the likes of Fagnola, which made it uncontested through auctions.
  15. The EH Roth firm and family made violins over generations. They are probably the only 'manufacturer' selling 'types' of violins at a high quality. Many of them have an excellent sound. This is why they are still in demand. They are usually well made and have an attractive oil varnish, though not the style that is in fashion now, but nice. Their value comes nowhere near their counterparts from Italy, from that time often with a spirit varnish of lesser quality (Bisiach, more so Gadda and may others). In this sense the EH Roth firm violins are good value for players, nobody will ever hear that
  16. Prices in Hong Kong may be higher than in the rest of the world. The one you showed is worth noting and is unlikely to produce a great sound. Such violins can have a mellow sound, unlikely to get anything rich out of such a box. I am also not a great fan of real Hopf violins, there were better makers, even in Germany :). You need to get some experience with instruments and your best chance is to visit shops. If you play well they won‘t mind if you try many. If you are a good player they will let you try anything - after all they want to sell. Ask your teacher, he or she will have see
  17. Î don‘t see this - they all look the same. The last N a little too far out, the horizontal bar in the ROTH H too high. Same in the violin that you want to buy. Who would make a stamp with these inaccuracies? That‘s as much work as to make the whole copy. This varnish I have seen other other EH Roth fiddles. At least I can‘t see a cheap Eastern European modern violin here. I would ask Herr Roth and pay he EUR170 if I liked it tonally - let us know what he says. The price is a different issue, I would not spend this amount of money for a Roth.
  18. If these corner blocks were inserted into an inside mold I wonder how he got them so smooth. You have to cut them down with a chisel after removing the mold. They look preshaped outside the body. With a lot of work it would of course be possible to get them look like this - but why? Am I wrong?
  19. Some of you must have seen this viola, offered as school of Hill. https://www.bromptons.co/auction/13th-22nd-january-2021/lots/163-an-english-viola-school-of-hill-london-circa-1780.html Does it have a dent in the table next to the finger board (to the right if you look at if from the front) or is this an illusion?
  20. this would rquire to wash the wood and see a tiny change in pH of the wash solution. You can't use a pH meter on a surface.
  21. I am still looking for a bow on which I get an up and down-bow staccato the way Ivry Gitlis had it . Too bad I can't get there. I also once had an interesting experience in a restaurant in Budapest. A group of musicians came in to play some music, they played Czardas among other things. The lead violinist played in amazing virtuousity, a viola and accordeon accompanied him. We started to talk and I also played few notes on his instrument and bow - the bow was worthless, a stick far too weak for anything, for me impossible to make a sound let alone play staccato. But he was so adjusted to