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Everything posted by uguntde

  1. Does one really need ivory for bow tips? WHat do bow makers use as a substitue? There must be an artificial material that looks nice as well. If not,m there is work to be done fr a good chemist. We would not have to abandon classical music if we had to move to carbon bows altogether.
  2. ... in a competition to make the longest Guarneri f-holes ever.
  3. Maybe Collin-Mezin trying to make a Winterling copy.
  4. I often wonder why people only care about Strads and new violins. I find a lot of 19th century old violins that sound great, often look nice, but they are not seen in the same class. Over new violins they retain their value much better. Among my favorites would be Antoniazzi, Derazey, Gand, Bernardel, in a higher price class Oddone, but there are many others. People have compared the sound of Strad and new - but nobody has ever included a good 19th century violin. I always wondered whether such instruments are much worse in sound than those old or some excellent new violins. I have playe
  5. I think these bows were pioneered by Benoit Rolland, now almost 10 years ago: Whether the pernambuco contributes to the weight and tension balance or whether it is merely a veneer I don't know.
  6. You can't compare this. Many people like French Impressionists in museums. Nobody - except a few like me - would walk into he Ashmolean for the Messiah. Even string quartets have a comparably small audience. In this case the Schidlof family (this must be his grand children by now) set the stakes too high. This risk was obvious and Sotheby's must have known this. I am sure they have a plan B.
  7. Bloomsberg quotes Jason Price that the value is still high. I guess he may be waiting in the queue to auction it somewhat cheaper and line his own pockets.
  8. uguntde

    Violin ID

    I have a violin here and wonder what it is. If the varnish (or what's left of it) was different, I would say Kloz school, but the varnish (or what's left of it) is weird. I would appreciate your suggestions.
  9. I also have the impression the frequency of UV light is important. UVC (the sorter wave length) can kill the varnish (although sun light has lots of UVC). Many use UVC to darken the wood. UVB is however somewhat too soft. Journal Chemistry and Industrial Engineering I can't find. I however find: T.F. Bradley. Drying Oils and Resins Structure upon Oxygen and Heat Convertibility. Industrial & Engineering Chemistry 29(5), 579-584. This is an ACS journal, all early issues digitised. Is this what is meant? The journal abbreviation JSCI stands for Journal of Scientifi
  10. There is no such siccative as artificial UV light. I assume most modern violin makers have a UV box. Traditionally painters have added mastic, and if you read a recent post here by Roger Hargrave, you will find, he does the same. Nobody knows why mastic speeds up linseed oil polymerisation. The chemistry of this is not well understood. There must be radicals that speed up the polymerisation of linseed oil, as it is clearly a photopolymerisation, but this can't be how mastic works. I assume that it enables a copolymerisation that causes faster (although almost certainly) different hardeni
  11. Are you suggesting a linseed oil ground with some alknet for a nice crimson color? Or glue with color? Shouldn't it be a yellow / golden color for the ground? Like some gamboge or other yellow, then linseed oil? What overall color expression do you achieve?
  12. There are these suggestions of vernice bianca - how commonly is this used? This comes probably from Sacconi's book, but I struggle with the idea to use something water based. I remember reading an article saying what seems to come out underneath the varnish of some Guarneri seems to be what looked liked shellac. Is it a good idea to use oil underneath? Does any body use Fulton's propolis soap? This would leave a yellow ground and have a pronounced antibacterial e
  13. For me orange of the Messie looks quite blunt against the Blunt. When I saw it for the first time, I was quite disappointed after having seen a few Strads on auctions before. It looks orange in any light, from any angle. The two were next to each other in subtle light in the Ashmolean's special exhibit in August, and it was no different. I took a flash light, to enhance the somewhat dull illumination provided by the museum. It is perfect in its proportions, a perfect Stradivarian scroll, perfect edgework, but the orange varnish is not what we got used to see on old instruments. N
  14. uguntde

    Violin ID

    Yet another violin, where I wonder what it is. I would assume it is German, doesn't look like Mittenwald to my eyes. Label is of no help (Guadagnini). I know, it has lot's of damage. Very nicely done neck graft, came with a Beare bridge.
  15. Die orange colour is what you see in the light in which it is presented in the Ashmolean. Just like this picture: When I first saw this, I was quite astonished. I walked by it many times since, and always see the same orange. Also, when it hung next to the lady Blunt, one could see that it lacks these red pigments that the Blunt has. I also see those in the Archinto.
  16. Lead oxides once in linseed oil or any other varnish are not of any danger. The red lead oxide is what is is typical old fashioned red car primer. Most people have touched it at some point. Water solubility of the compounds is not very good, this is why it makes nice crystals, and the substances is less likely to be toxic if insoluble. So don't worry about Gand violins ... All of these substances are dangerous to work with, especially the powders must not be inhaled. I would not prefer any Cadmium salt or oxide over those of lead. Violin makers may not be aware of typical lab regu
  17. What type of varnish did G & B use? What is the rbight red color?
  18. I find the best Bernardel-like feature of this ebay violin is the choice of wood for the back. The peg holes look brand-new, freshly cut. A real one here: or a Gustave Bernardel here: The earlier Gand & Bernardels can be bright red, later Gustave prefered more subtle red tones. They are all very similar: Wide prufling (1.5mm), amazingly accurate, the f-holes always have this slant from the outside, causing the reflection
  19. As far as I understand there are two approaches to make a linseed oil varnish. Please correct me if I am wrong. There is the varnish where some resin is cooked in linseed oil at high temperature. This is the Fulton type, and seems to be what everyone uses now, in some form or another. The Fry approach dissolves rosin (which is a resin) first at high pH, i.e. under basic conditions, in its original form using lye, followed by the precipitation of a salt (e.g. with alum). Michelman describes this process in great detail, and takes a somewhat scientific approach, using simple stoichiometric
  20. Amazing how you spotted the worm hole. This was the first thing I had dealt with when I had it abouy a year ago. It was treated with Rentokil and filled in. No activity since. Does this need regular checking? Are these Aegidius Kloz violins often relatively small? And does size in this case affect the value?
  21. Here another violin, where I am asking for some advice regarding its authenticity and value. It is labelled AEgidius Kloz in Mitten -vvald and der Iser 1783 The 783 in ink and hard to decipher. The label is almost identical to the one shown here: (does not have the question marks) The instrument had a number of fine repairs, including a neck graft done in the French style, and has been half-edged. All repairs are of outstanding quality. The instrument is in mind condition, no sound post patch, not ev
  22. Unfortunately it does have the unwanted back crack, nicely repaired, you can see it if you look carefully at the picture in the left bottom third. It is studded inside from the height of the top of the C-bout to the bottom. Repair is obviously good enough that nobody here spotted it so far. How much do you know off the value for this?
  23. Thanks for all the excellent comments on this fiddle. I could not respond earlier as I had to wait 24h. I suppose I will have to post something for a few days to get to 9 posts. The letter is from a Julius Taticzek in Klagenfurt. I was unable to find who he was, probably a relatively unknown expert. I assume that he removed the illigible label (unleserlichen Zettel), but I am not sure. One can see from the color of the wood that there was once a label. He says it is not from Thir but from Aegidius Kloz II, son of Sebastian Kloz, built around 1770-1780. And below, 'possibly also Georg K
  24. Can someone help to identify this violin? It has no label, one can see that it has been removed. Max Möller sold it as a Thir in 1952. It has later been attributed to the Kloz school. The instrument has a series of features that are not Kloz-like. This includers the arching, the height of the ribs, the size of the body (it is a full-size violin). The rounding of the plates towards the ribs was done the Italian way, after assembling the instrument. Here some pictures: https://dl.dropboxusercontent.