uguntde

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Posts posted by uguntde

  1. 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?

  2. On 2/3/2021 at 8:07 PM, Flattmountain said:

    lol yep. And of all languages I could have chosen to get credit for in school, I did Norwegian. I would love to spend a few years there, but Germany probably has a more reputable maker history ;) 

    isn't it funny?? I had a friend sent to Germany speaking mandarin Chinese!

    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).

  3. 10 hours ago, Strad O Various Jr. said:

    Quite simply because someone might be willing to pay $9,600 for it

    If I were in that business I would only copy Italian violins, Bisiach, Fagnola and the likes. Mch better profit.

  4. On 1/28/2021 at 11:54 PM, deans said:

    How did this thread get from Roths to Fagnolas?

    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.

  5. 1 minute ago, Blank face said:

    A Fagnola might be examinated much more carefully than something alleged to be "just a cheaper German trade", where some naive buyer is questioning "who the hell should fake such a maker". That's exactly the well planned trap you will fall into with this kind of considerations. Beside that a 9K sale isn't what I would describe as cheap and insignificant.

    I agree that the price is too high, especially for this one. Nevertheless, I have seen Fagnolas described as genuine that were crap.

  6. 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. 

  7. 20 hours ago, gtd said:

    I love it! Nothing but violas exist!

    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. :huh:

  8. 1 minute ago, Blank face said:

    You seem to be the ideal victim for every professionel faker.;)

    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.

  9. 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 it is not Gadda. In fact, I remember some with an excellent sound. 

    Why would anyone fake a HR Roth? The name is not Italian, the varnish not so attractive, too much red, the workmanship nevertheless challenging, the value too low. Why then not stick a Gadda label in? Or even try Fagnola?

    I just can’t see how anyone would attempt a fake Roth and get a stamp made with the same bugs the original Roth stamp has. Too much work.

  10. On 1/27/2021 at 6:56 PM, GeorgeH said:

    No, it is not lacquer. I have played a number of these instruments, including the one I posted, and I have not found a bad one yet.

    In fact the one I posted in this threat was remarkably resonant, focused, and responsive, low to high.

    I agree.

  11. On 1/25/2021 at 7:33 AM, bbmpiano said:

    Hi everyone,

    I greatly appreciate all your feedback and, being highly shocked and uncomfortable myself after hearing all your thoughts, I was able to get my money back today fortunately.

    The seller is a friend of a friend, I do not believe he has bad intentions but he seems to be left in a state of denial upon hearing the objective value of this fiddle.

    Anyway, I will be investing this money much more cautiously and patiently for my next violin.

    May I ask:

    1) How do you normally select a violin, what is the process?

    2) The violin I picked up yesterday sounded okay, it had nice projection and a round warm sound hence I assumed it had value. I guess that is not the full picture.What are some truly vital attributes to look for in a violin that I neglected?

    3) Are there any recommended sellers on here/ reputable ebay sellers/ online merchants/ physical shops or other sources that you recommend?

    Sorry for the long reply, but I cannot feel thankful enough to all of you, since I am nearing my 20s and I would appreciate the companionship of a good violin for life. 

     

    Daniel

     

    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 seen more instruments in the past. Although some teachers have no clue of the value and authenticity of an instrument.

    I for my part went to violin auctions since I was in school and met collectors and players - but this only works of you have an auction house nearby. And this doesn‘t make you an expert, but you know at least what sound you can expect from a decent violin.

    Buying from an auction is also dangerous - not everything there is genuine and their guarantees are hard to challenge.  Nevertheless, in an auction you do have a real chance to try a large range of instruments although often not very well set up. A dealer will present them properly set up with decent strings, much better to try.

    Dealers in Europe would let you have a violin for a few days if not weeks to try and compare.

    New vs old: New violins can have an excellent sound but can be hard to sell again unless the maker is very well known. Often you can find a good older violin for the same price - let‘s say a 19th century French violin - and the resell value is higher.

     

     

     

     

     

  12. On 1/23/2021 at 10:23 PM, Shelbow said:

    The ops brand looks like its made from two separate brand stamps and isn't lined up properly which is different to the genuine brands that seem to be made using a single brand stamp.

    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. 

  13. On 1/24/2021 at 10:00 PM, Three13 said:

    A friend recently shared pictures of one of these with me - they're not fantastic images, but I figured they might be of some interest.

    1798frenchcb3.jpg

    1798frenchcb2.jpg

    1798frenchCB1.jpg

    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?

     

  14. On 12/19/2020 at 7:04 PM, FiddleDoug said:

    I spent 34 years as a chemist. If you haven't actually measured the pH, you can't make assumptions. Sodium Nitrite is an oxidizer, and it's very possible that you are oxidizing the dye to a different color rather than it acting as a pH indicator. It's also possible that as  the nitrite reacts, it might form Sodium Hydroxide as a byproduct.

    This is my assumption too.

  15. 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 his instrument and bow that he could do an amazing things with it. t is obviously possible to do technically difficult things on cheap sticks.

    Nevertheless, I am convinced Ivry Gitli had a decent bow when he played Elgar's La capricieuse.

  16. On 1/5/2021 at 11:31 PM, Don Noon said:

    I don't know anyone who does that, but I did see it on several unfinished scrolls many nears ago.  It was in the shop of an apparently self-taught hobbyist, and very crude.  Your photo is much nicer.

    And then there's Henry Ford's first fiddle (not made by him) in the Ford Museum.  It's even more crude:

    444425335_Fordfiddle.jpg.3c194bb2925703501f873b713b9e5060.jpg

    It lacks depth, like some German wine :(.

  17. 1 hour ago, jacobsaunders said:

    I agree that it is a Saxon fiddle, early to mid 19th. C, quite a nice one. I would hate to comment on what you could do with it, since I have no idea who you are, but I can see no harm in your making a bridge/post if you feel able too

    What do you see as typical Saxon elements? Is the prufling in any way typical for a Saxon?

  18. On 10/15/2010 at 9:09 PM, Roger Hill said:

    perhaps OT, but give us your impressions of the Bergonzi and Testore compared to the Strad. And, BTW, which ones were they? Thanks,

     

    On 10/14/2010 at 12:04 PM, ~ Ben Conover said:

    When I look at the work of Roger Hargrave I'm amazed.
    There's so much to learn from his writing, and to see from his work.

    Here's some of his work, if you haven't already seen it :
    http://www.roger-hargrave.de/Seiten/englis...Instrumente.htm

    Most amazing about Roger Hargrave is his scientific approach and his ability to describe what he does and how. With this alone he has left a legacy. I have seen one of his instruments which was also very nice, both in workmanship and sound.

  19. On 10/15/2010 at 2:52 PM, JohnCockburn said:

    I'm saying nowt as it would seem creepy to name your friends but might cause offence to name someone else!

    But while you mention it I've seen a gentleman called Victor Unsworth described as "one of the best living English makers" by a UK dealer. I have never heard of him or seen any of his instruments. Anyone know anything about him?

    I have seen two Unsworth violins, which I also had a chance to play. Both good instruments with a great sound. Here you can see one: https://www.isabellesviolins.org/unsworth/, good making, but nothing that others couldn't do. I am not fond of his varnish, but this is a matter of taste.

    For violas and UK I have seen many by William Piper which had an amazing tone.