Andreas Preuss

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About Andreas Preuss

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    delgesu1735@yahoo.com

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  1. Who estimated 1100? the guy who wants to sell his Juzek collection?
  2. The problem with the Derazey stamp is that it was legally sold to Alexandre Mangenot (hope the spelling is correct). This means that many instruments with the original Derazey stamp came from his workshop.
  3. A workbench made from pine presumably just works as well as made from oak. However softwood as pine has a few disadvantages The weight is different. Unless you don't anchor the pine made bench it in the ground it will move when doing rough work. Either it shakes more or 'walk around' if it is not firmly placed on a wall. Another disadvantage is that if your chisel slips and cut into a pine workbench it will go deeper. Mover time, normal wear will be faster. Edges on soft wood round off quicker over the years.
  4. The more watery the glue the deeper it goes into the endgrain pores. To keep things simple, just adjust the thickness of your glue to this and you are done. Otherwise there are tons of sophisticated procedures which I think are not necesssary. One I heard of is to soak the purfling channel with thin glue, then after the swelling of the wood let it dry and rework the channel.to fit the purfling where the channel became too narrow. (Do you really want to do this? ) for me the nicest purflings have an elegant flow well posed tips at the corners but don't look too clean which gives the purfling a machine made feel.
  5. I was wondering if the man on the photo is a professional maker. Has anyone seen a picture of Joseph V. Reid? He wrote a book in 1955 'You can make a Stradivarius Violin.' https://www.amazon.com/dp/B002H0P9UC/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1#immersive-view_1594247483014
  6. Interesting solution. I'd be only very careful with a vacuum to get remains of the powder mix out. It risks to implode the top. It's safer to have the patience to shake all out.
  7. If o understand correctly you want to use the instrument to paint on it? you could use some brush cleaner for oil paint to clean the inside. Something like naphtha. It won't take the mold dots away but will certainly 'overpaint' the smell of the mold. In comparison to water soluble mild killers it doesn't open the joints (unless they are very bad from the beginning) and doesn't attack the varnish (in your case not a concern anyway) and if some naphtha remains in the inside it will evaporate.
  8. Some violins have on the back below the button a rather large branstamp BOCQUAY. As it seems from the book by Sylvette Milliot this brandstamp was used by Jacques Bocquay himself. But were there any later makers who used the same brandstamp? Does anyone here have more information? (Sometimes brandnames were sold to a successor and this maker legally used the stamp.)
  9. The problem is that it is not about natural science. We are analyzing the structure of a man made object. The judgement of what is regarded as 'best' or 'optimal' rests largely on those who use it. I sometimes ponder what if Stradivari would never have won prominence over Stainer, Robert Zuger would have to base his whole model on the violins of a 'looser' and this would have entailed certainly a very negative perception of it. (Though the model itself with all its implications would be exactly the same) So I think we can safely say that people who worked their whole life with structures find Zugers model fascinating in itself, but the relation to an 'optimum sound production' would have to be proved by himself in making instruments. Period. All artistic giants from da Vinci over Beethoven to Van Gogh were hard workers repeating over and over the idea they had in mind AND they made it all by themselves. So I am simply waiting for the proof.
  10. I have to admit I have never seen one of your instruments. Here in Japan they are jumping on any Italian name of good reputation. And the law system is pretty loose to go against frauds. (Sorry about the bad joke.)
  11. The cello was the Piatti Strad and I heared it once in performance playing the Kodaly solo sonata and there was nothing lacking in the sound. (though I have to say that the performance itself was not the best I had heared so far.)
  12. We should be glad that Jacob participates here and once a while takes his time to write on undiscovered violin makers and schools of the past. Everyone who is thinking about to write a book knows that it is too much effort for the reward you get, especially if this is a one-man endeavour.