andrea gavagnin

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About andrea gavagnin

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  1. Thank you! I don't have the violin with me now, but I'll check in some days.
  2. Well, I don't know this, but there are some earlier instruments made of mahogany, such as the Linarol violin in Vienna (1580s if it's authentic) and some french gambas of the 17th century.
  3. Yes, I bought the violin and I have it with me. I don't know why was the topic moved here... Anyway I can see the rib joints, even if my phone can't take a quality picture. The linings are definitely mahogany. Brescian violins were not built on the back and did not have an additional turn on the scroll. The double purfling then is not more Brescian than continental, as far as I know.
  4. Also, as you see in one picture, the linings (which are made of mahogany) are not inserted into the corner blocks (all the blocks are made of spruce). On the inside the ribs show more tooth marks. The ribs on the bottom curve also bear some systematic vertical marks closely spaced (to help bending?!). The bass bar is glued, but it has modern dimensions, so I guess it came later, and this could also be the case for all the blocks, even if the bottom one was clearly there before the last interventions on the violin (when the pin hole was resized).
  5. As Violadamore says, the ribs are mitre joined indeed. And the shape is really different from the Saxon violins I have seen, including the one that was identified as such in this forum, here in the picture (I only see in common the double purfling).
  6. Hi everybody I have just found on eBay a quite interesting fiddle (to me), that had been said to be "brescian school late 17th century" but though I am not an expert I have seen nothing alike. It bears a Maggini label "Gio. Paolo Maggini, Bresciae 1671" or 1621 (that would make more sense). It also has an additional turn on the scroll, like what I know of some fake Magginis, but this one is different. The additional turn is in the end, the rest being quite normal. I guess it could be a later modification, maybe made together with the forged label. Apart from the double purfling I don't se
  7. Well, don't we have the freedom to play the music with whatever instrument we like? And to be curious about the original instruments and setups? Then, which set up is better is not the main point of this topic, I think, which is about trying to trace the evolution of the instrument. I am really interested in that because I would like to get some clues about sound esthetic of the different periods. Mark Caudle, what do you mean with internal damage you miss in the Andrea Amatis? Regarding the top thickness, I think they already are quite thicker along the center, and the lack of a s
  8. Just imagine that happening to the Strads & co...
  9. Strange thing, I guess during its 270 the violin has already got some cold. However, at least it played for 270 years. It is much more stupid in my opinion when is happens to a new one... Who knows, maybe those are the reasons why old instruments ended up in the fire place...
  10. It seems a beautiful blank. What do you mean by "torrefied"?
  11. It seems almost like the belly shape was cut very quickly, it is quite asymmetrical, so... should the ribs have been built on the back? And how should the neck be set? It would be nice to hear it in playing conditions, and to try making a copy of it. It's a pity that we miss precise measures...who knows, it could come as an alternative to the Andrea Amati and Gasparo da Salò models for music of that early period.
  12. I mean this violin, that I assume not to be widely known.
  13. Hi everybody Some time ago I discovered in a topic in this forum the Ventura Linarol violin that should be in the Sammlung Alter Musikinstrumente in Vienna. I have found only two pictures of it, but it seems very interesting to me (Renaissance music student) and also a beautiful instrument. A friend of mine could see and try it, but it was not in playing conditions. From the photo, if the sound box is regular size, then the string lenght must be almost in right proportion for A=466 Hz... Has it been studied, analysed or at least measured? I guess not enough... Does a
  14. Thank you. The renaissance (or early baroque set up) is more recent than the pictures. I'll show a recent photo. Obviously it is not a Renaissance violin, although I am not an expert I can see that it has quite a different shape. I set it up that way for practical purposes (strings, bridge, tail piece). You say that the building method for the ribs doesn't need corner blocks, but maybe it could have? Mine does. I can't see however if the linings end into the blocks, possibly not. One last question: the neck block is there (wide grain softwood, like the other blocks)
  15. Hi everybody, I am new in this forum. I am an Italian musician (and I am a Mr, not a Ms) and fond of organology and instrument making. Here I will show you some pictures of a violin I have had for some years from an old woman whose Istrian father had picked the violin in the Austrian Empire territory to play in the band during WWI. When I got the fiddle it was very dirty, and there were also a bow which had lost the curvature, some old bridges, two tuning reed and two mutes, all in an old case (pressed cardboard?). Here i have the link to some photos took then after g