Barnes Ziegler

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About Barnes Ziegler

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  1. I'll come and visit your stand. Than we can discuss it there ;-)
  2. Cool! Thanks! Is it possibile to print the parts separately? I mean it would cool to be able to print for example the top in a way that you can look at it without the set-up. Or dismantle the print for demonstration purposes.
  3. Oh ok. I was getting my hopes up of having the possibility to print out the Betts and hang it in my workshop. That would be pretty amazing. I found this video about making a 3D model out of a CT-Scan https://www.youtube.com/watch?v=kO6VF9syxZA Maybe I should try to do this...
  4. Thanks a lot! In theory there are still 10GB left on the drive. Maybe the files are to big to be uploaded at once? 2 questions: Which program I should get to open the files? (I've got a Mac) Can I print them with a 3D printer as they are, or do I need to convert/modify the files?
  5. Hey! So I uploaded the projects you posted on this folder on my googledrive. With this Link you should be able to upload and download the projects and the scans of the violins into the folder. https://drive.google.com/drive/folders/1yjFaGaCo_yVb3WI5-SgbrDW_MayTwXD9?usp=sharing
  6. A question: dose the uv-light help in the drying of spirit varnishes? I thought they just dry by evaporation of the solvent.
  7. Organic_chemistry_of_museum_objects-Drying_oils.pdf IJCS-16-SI2_04_Weththimuni-2.pdf
  8. This would be one https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/paintedwood1.pdf the others I can post later on...
  9. The drying process of oil varnish is a ploymerisation of the unsaturated fats in the oil. The UV-lamps create radicals which cause the double-bonds to break and to bond with another fat molecule. The breaking of the double bond creates other radicals which will break other double-bonds and so forth. So it’s a chain reaction which never really stops. The uv light just creates more radicals in less time. So even when you take it out of the box it will continue to react. At the beginning the oil puts on weight and volume but after some time it will loose it again. So you should wait with the next layer until it has shrunk. On my computer at home I have some pdfs about the aging process of oil. If you want I could post them here later.
  10. I personally would recommend to make a strad-model. You can get a lot of infos from Stradposters and so on, but the biggest advantage, especially if you want to build a baroque instrument, is that you can get pictures of the original stradivari templates wich are published in the catalog of the Museo del Violino in Cremona. You still need to interpret them of course but you can get the general idea of how he wanted the instrument to be. Also I would recommend the articles by Roger Hargrave on baroque-set up. He suggests that the geometry of the set-up wasn't that different to the modern one. Also Pollens writes about that topic in his book about Stradivari. And there are some measurements for the bass bars too. Good Luck with the build!
  11. I was just in te libary studying for my next varnish-cooking-session and found a page that could be of interest here. It's in "chemistry for restoration. Painting and restoration materials" rosin is it self soluble in alcol, but copals and amber (which if I remember correctly is fossile rosin) are not. "They can be partially solubilised upon prolonged heating at 200-220 degrees Celsius or through drt destillation at 400 degree Celsius followed by hot solubilisation in oils." Hope this can help...
  12. I personally am more the idealistic type and think that it should not be cut down. In my opinion as a restorer we have an ethical obligation to choose treatment options thinking about what is best for the object, and try to preserve as much original material as possible. The economic value shouldn't be a reason for such a invasive treatment. But obviously this is a pretty idealistic thought. Even if you cut it down this would not mean that the instrument has a sound that is sufficient for a professional musician and in original shape the instrument would be much more valuable for collectors or museums. @jacobsaunders Have you tried to sell it to museums or collectors? Maybe Museums like the Kunst-historishes-Museum-Wien or the Musik-Instrumenten-Museum-Berlin would be interested in such an acquisition. For example here in Berlin the collection has a focus on baroque instruments. The advantage would be that you wouldn't need such a extensive restoration because you wouldn't have to bring it to playing condition but just a conservation treatment. That would be cost effective too.
  13. I had the same impression. I found a scroll by David Hopf with the eye cut in a similar manner but the scroll it self is less well worked. The most similar scrol is the foto I posted above which is supposed to be part of a thumhart violin. But sure enough that doesn't mean that it's a thumhart. The fluting now goes all the way but it seems to me that originally it didn't. From the lowest point on it seems to have been recut and coloured in a horrible manner. Later I'll try to make a foto.
  14. I think I got the one who cut the scroll... Thumhard(t), Johan Georg, Amberg mid to end 18th century But the violin here is 36.6 cm so 2 cm longer than mine and in another text about the family Hamma says that they typically made instruments not shorter than 36 cm. The widths except the C-Bouts are similar: 15.8 / 11.1 / 19.9 It could be that they experimented with a smaller model shortening the original. Someone has some fotos of violins by Trumhard(t) to compare?