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Everything posted by sftokyo2016

  1. 'W Hill and son, London' branding on the bracket feet. I believe some of the earlier Hill chinrests were branded on the side of the chinrest. The mounting attachment on the chinrest is slightly different as well. Benjamin Hebbert has a rare catalogue of Hill chin rests on display https://hebbertsviolins.wordpress.com/2016/08/09/vintage-chin-rests-by-w-e-hill-sons/ Personally, for that kind of money I would consult/commision a local luthier to make a custom chinrest.
  2. You'd be surprised by the number of chinrest fetishes over here in Japan. Yahoo Auction have Hill & son chinrests listed between ¥100,000 to ¥300,000 yen (mint). So if assuming max of ¥300,000 a piece x 38 could yield the happy winning bidder up to 10 fold. Madness, of course. Or is it…
  3. Haha yes baffling indeed, that said regardless of this makers high prices for average Joes like me, I have to admire and respect the woodwork. I found his instagram account and the cups, tea bowls and chinrests are truly impressive. Judging by the number of chinrests this chap is making I can only assume he has orders coming in. https://instagram.com/kohakumatu
  4. Yes, I was thinking along similar lines. If he has access to particular woods from the Izu Islands then he could well belong to an elite class of master makers. I understand the Mikurajima mulberry wood is possibly one of the most prized if not expensive woods in Japan. Still, at those prices it had better make me sound like Kogan or Oistrakh and grant me three wishes.
  5. Hi, Just wondering if anyone has come across this Japanese maker/brand of chinrest and fittings. http://asaiseisakujyo.com/itemlist12.html I stumbled across this maker online while searching for chinrests made from Japanese Mulberry wood. They look really beautiful.… However, the prices seem to be a tad higher than what I am acustomed to. (Eye wateringly) I am sure whoever is making them is a master craftsman. So wanted to know if anyone in the maestronet universe has ever come across or own any of these fittings. Thanks.
  6. Hello everyone, Just wondering if anyone out there can please help me find information about a possible violin maker by the name of Francis Roberts. I recently saw a violin with the handwritten label, Francis Roberts London 1926. So far, my search online has been rather futile. Will take some photos next time I am in the shop. It has a lovely tone and a reasonable price tag. Would be grateful for any clues, hints or tips how to find out who this maker is.. Thank you,
  7. I was just about to post about this as well. Looks like this is going to be a very interesting auction. Going to pick James Buchanan’s brains on this one. Can’t wait for the catalogue to come out. Surely, there must be a living Cremonese master who would be able to recognise his own work in the white...
  8. I actually quite prefer this discrete policy of only knowing the final winning bid of each Lot through the watchlist. James, thank you for taking on board our comments. I actually have a few more suggestions and points to raise so will DM you. Thanks,
  9. Hi there, Yes, you need to register first then add each Lot item on your watchlist. Then watch your email inbox explode with all the bid updates..
  10. Hi James, Thanks!. The Auction was fun to watch. I was (as expected) outbid on the French 3/4 size but no worries. It was a good first time experience. I was very happy to see my predictions go well. The Lot 73 bow held up well. This type of 'possibly JTL' bow can sell for ¥500,000Yen retail in Japan . I did put a bid in on that too but quite early on. Typical JTL french 3/4 size like Lot 65 normally sells for about ¥170,000 - ¥200,000 over here too. I have to say I really like the Amati website. Very easy to navigate and super clear photos.. The 360 viewing app , while not always working for every violin listed, is a fantastic feature. Super fast replies from your staff too. Will be sure to say hello in person if I make one of the viewings in London. Just wondering what is the latest acceptable bid time on a lot when bidding online. My friend tried to bid within the last minute but his bid wasn’t accepted. I think he clicked with just 30 secs to go (against my advice I might add). Is that too short notice. Should one bid 5 mins at the very latest? Anyway, look forward to the next auction. Thanks
  11. Hello all, Just wondering if anyone out there is eyeing the current Amati.com auction listings. I am a complete novice but have seen a few nice bows and violins. Any opinions/thoughts on the following lots. I haven’t been able to attend the viewings so going on my gut instincts. Lot. 73 I really like the look of this bow and the low reserve suggests it will hit a bidding frenzy? My hunch is it’s a nice JTL bow. Slight warping can be straightened so not an issue. I think it will reach about 1,200 euros (my guess) Frog looks nice and flush. good condition. Lovely head in my opinion. Wood looks to be good quality from my eyes. Lot. 71 Lovely looking Hill bow. Clean repair to back of head. So for a player it will be a good value. Good Broken bows are still sought after so I think this will get a good price. I have a repaired Lamy pere that I bought on the cheap and works a treat. Lot 65, 66 two nice childrens violins. I think both will have a good tone. Bargain price for my students if I can win either of these. Problem is they sell for much higher in Japan so I will be up against the big guns. Lot 9. Betts violin looks nice although not sure of the starting price. This is just my humble beginners eye opinion. Any experts please feel free to offer pearls of wisdom. Thanks,
  12. Thank you for your interesting thoughts on the subject. I guess there are far too many variables to just pin down to the properties according to a certain pattern, as I am learning on MN. I would love a chance to play on an authentic stainer violin. My luthier friend, who is letting me trial a ‘stainer labelled’ violin, was confident of it’s potential tone quality and projection before even completing the restoration job. ( it had been sitting in the back of his paris workshop in pieces for 50 years before moving to Tokyo) The new bass bar is kind of curvy shaped. While the neck projection and saddle height measurements have been adjusted to his specifications for high arched violins. I have no idea about the ins and outs of this.. but the end result is a violin with a large projection, really deep G and singing A and E. Not sure how I would describe the D string though.. I don’t know. Maybe it’s just a lucky find. Anyway, this has all set in motion an interest into discovering the tonal qualities of an authentic Stainer. I may never know. All fun and games. Thanks everyone for the feedback. I’m very much new to MN and going through all the posts is overwhelming.
  13. This is exactly what I was looking for..thank you very much. I know next to nothing about authentic Stainer instruments let alone their sound. So this is a great find. Cheers
  14. Thanks. Out of interest. I wonder how much consideration, if any was placed on the scientific aspect of violin making all those centuries ago over the artistic aesthetics. (sure this question has been discussed on MN, so will have a sift through posts) Having said that, I guess scientific concepts back then was very different to the knowledge base of today’s modern scientific approach and use of high tech equipment. With regards to art, I suppose this is continually evolving.
  15. Hi All, As a follow up to my recent acquisition, I was wondering if anyone could recommend recordings of real stainer instruments in both baroque and modern set up, solo and ensemble? I recently came across the clip of Jorg-michael Schwarz briefly discussing the different qualities of his stainer along with some lovely playing. I have noticed that my particular stainer-esque german violin has a bell like tonal quality to the A and E string. It is a very different to my ‘strad G forme’ copy. So wondering if this is a common quality found in the better Stainer copies. My friend’s Marchetti has a very similar quality on the A string so I was a bit confused how two very different patterned instruments could have similar tonal characteristics. Thanks,
  16. Here is a close up shot of the extra piece of wood on the back, which I really like the look of..
  17. Interesting. I didn’t notice the flame direction. But now that you mentioned It does seem rather at odds to what I usually come across. I wonder whether this was a quirk of regional maker(s) aimed at particular acoustic results? Or just using what was available at the time. I quite like it though. I actually like the asymmetrical features on this violin, especially the f-holes. I love the look of your violin as well. How would you describe the tonal qualities of your instrument..if one is able to put it into words?
  18. Thank you for sharing your experiences as well. I am indeed new to this forum. So Yoroshiku onegaishimasu, as they say in Japan.
  19. Hi Martin, Just wondering whether the valuation of the type of violin you posted falls within the 5-10k pounds price range? If so would this the rough ball park for my violin too..Difficult to assess by photos alone...the pricing of similar instruments in Tokyo is quite optimistic in comparison to Europe.
  20. Thanks for sharing a similar looking violin for comparison. Yes, the only piece of new wood is the small repair to the left f hole. The rest are minor crack repairs to the table. I just found out the violin was shown to Rampal (I previously thought it was Eric Blot but my friend corrected me yesterday) during a recent visit to Tokyo, who gave an estimated date of around 1720-50 based on his observations of the wood. It would be nice to find out who actually made it but I guess I’ll settle for an unknown maker from Fussen ..mid to late 18th century.
  21. Thanks for the look in. I guess the glossy over varnish makes it hard to see the overall grain and texture. The f-hole was repaired this year along with new bass bar and fingerboard. The left f hole from the outer nick down to the lower wing had been chewed off. I also noticed that the back while two piece has an additional slice of wood on the lower bottom right bout. My guess is the maker did not want to waste a good piece of tonewood as it doesn’t look like a previous repair job.
  22. Hello everyone, I have acquired a lovely sounding old violin. Apparently the instrument had been stored in pieces over the past 50 years or so before finally receiving some tender loving care a few months ago. (part of the f hole had been eaten by a hungry mouse, some table cracks but not serious, loss of varnish to top left side of table.) Back is in good condition with no sound post cracks etc. Anyway, I believe the instrument could be from around mid-1700s. Based on a Stainer model. Has a label dated 1660 but not pinning my hopes on that. The tone seems to have a bit of everything, rich deep sound on lower strings (viola like it played with a heavy arm) and pure sounding upper strings..So I reckon potentially lots of colours to be had from the instrument (with the right playing). Given the violin hasn’t been played in over 50 years I would imagine it would need some time to ‘wake up’. It's already a joy to play and projection is very good, which confuses me as I though fuller arched models did not have as much power and projection as the flatter arched models. Would be very grateful for any clues as to the region and even possible maker.. (wishful thinking) I like to think the violin lived a fruity life over the centuries and is now ready for more action. Thanks,
  23. Hi , I would like some help identifying this hand written inscription. It was located inside, under the upper right side of the violin top. Th ink has spread making it hard to read, although I can just make out the year 1997 or 1947.. Would be grateful for any ideas who this might be? Thanks Sorry wasn’t sure how to upload images..so pasted it as code. <a href="http://s1338.photobucket.com/user/kurisutokyo/media/IMG_8144_zpsu1m63uzx.jpg.html" target="_blank"><img src="http://i1338.photobucket.com/albums/o699/kurisutokyo/IMG_8144_zpsu1m63uzx.jpg" border="0" alt=" photo IMG_8144_zpsu1m63uzx.jpg"/></a>
  24. Thank you very much for the replies so far folks. All very helpful. I will probably take the cautious approach of small incremental tweaks while keeping a log of the changes. I guess it would be prudent to ask the luthier to copy the original bridge in case it needs to be cut down in the new position. Thanks,
  25. Hello everyone, I’m new to Maestronet so just wanted to say a quick hi and wish you all a Happy New Year 2016. I’m currently sifting through all the archived posts for advice on a change in set up for my violin. However, I would be grateful for any up to date feedback/opinions etc. I have a modern violin (16 years old) that I bought from the day it was made. I love the violin but have started to think about whether a change in the string length might make life slightly easier for playing. Here are my violin measurements based on a strad G pattern: Lob 360mm neck stop 132mm body stop 198mm vibrating string length 332mm (measured from edge of nut to front edge of bridge facing the fingerboard along the A string) From reading posts on the MN forum it seems the standard bridge position should allow for a 328mm-330mm string length. My second (spare) violin has a much smaller string length of 326mm and feels very easy to move around. My question is should I consider moving the bridge further north (adjusting sound post accordingly)? Will this adversely effect the tonal characteristics of my violin for the worse? I don’t have large hands but can adjust my intonation more or less on any violin. However, I am hoping an adjustment will help my 10ths, fingered octaves and other stretches for the better, as the stretches feel more natural on my smaller instrument. My local luthier (in Tokyo) offered various solutions to shortening the string length. The most extreme solution was to extend the nut to shift the finger board down by a few mm and then move the bridge up by a few mm. However, the neck elevation would have to be adjusted so I am worried this would be too evasive. The least evasive seems to be to just incrementally move the bridge up a tad and see if this makes a difference to playability. Alternatively, thinning the neck might also help. So far I have refrained from any work that requires shaving any wood off my violin. I have to add that a few years ago I changed my fittings to the Bogaro and Clemente pernambuco tailpiece and pegs. The previous tailpiece was 112mm whereas the current one is shorter by a few mms. The tail gut was lengthened ever so slightly to accommodate the difference. Would this be something to look into as well. Thanks in advance for any help and words of wisdom.
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