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Egidio Santos

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Everything posted by Egidio Santos

  1. That's a solid piece of history, thanks a lot! Can i find this kind of info in books? Any references?
  2. Yeah i'm sure i will be working on this instrument, if not to sell it later but to improve my skills. Besides, i'm a hobbist, no time or price pressure here, i will slowly work on it for several months until i consider it good enough for playing again. I don't think i overpaid for the instrument (and a really nice bow) so i'm already happy about it xD Also, i never said it was made in Turin, i explicitly said "shipped from Turin"
  3. That is a really bad touch up, and it seems last layer was done recently, although the patch wood by now has almost blended with the original which means the crack has been there for a while... At the end i still satisfied with what i got, although it will be a lot of work to get it to a nice good looking state. Im thinking about reworking the post crack and remove the red shellac that was applied above the original oil varnish, but it will be a challenge
  4. The top is actually in a really good condition, the bassbar crack is pretty stable and can be easily hidden. And that doesnt really look like a post crack, its very superficial and it comes from that bump under the tailpiece, on the inside there is no sign of post crack.
  5. Venice was a long shot but Turin as i heard shared some similarities with French makers but im not familiar with them. Besides the instrument physically coming from there, all the accessories are clearly french...
  6. Makes sense, my guess of Turin was for 2 reasons, one is that the previous owner family lived there, and second that to my not so trained eye it shares many similarities with the Giovanni Celoniato 1726 made in Turin. About the back crack, besides the value kill, if its seamlessly repaired, it shouldnt affect the sound that much right?
  7. What do you see in this one that qualify it as a Saxon box™? I can't see any of the characteristics of the other Saxons i've seen, and the high arch reminds of Stainer copies but everything else is different...
  8. Yes, but it smelt bad and i threw away... The shipping label says Turin tho, perhaps i can use that to wrap something.
  9. Hello! Hope you guys have som fun by looking at old instruments that are not saxon dutzends I just received this violin, shipped from Torino, Italy. I'm planning to fix it up and add to my tiny collection, but would be nice to know more about it before i start doing anything. It seems to be french or italian, probably 19th century? Came with a really old piece of rosin, stamped G. Ghys, made in france around 1908 (http://iremus.huma-num.fr/marques-instruments-musique/547) which hints that this instrument has been around at least since then... The arch is high and some deep w
  10. Found a small pic of the back from the 1679 Strad poster.. I'll try to redraw the archings from there...
  11. We need to come up with a tool to measure karmic value... Probably the goat hanger can be used for that purpose
  12. I know it's a long shot but... Does anybody have (and is willing to share) a Klotz violin pattern (top/back/scroll/arching)? I've managed to get something out of photos but it's hard to tell how accurate since i don't have access to those instruments.. Anything?
  13. Maybe not dry enough? If i'm not mistaken spirits of turpentine take longer to dry than Ethanol. But in general that's exactly what happens with layers of spirit varnish, you only have a couple seconds to apply each layer before the previous one melts. In general i'm happy with the results, i was able to get very thin finish and still get the soft look and feel of oil varnish. Let's see how it behaves after some time.
  14. Interesting, how deep are the cracks? I think they would be very supperficial, only on the final spirit layers? Do you have some pictures?
  15. The heat doesn't make that much difference, only helps to extract more pigment and reduce the ticture to a more concentrated color that's easier to apply. I think the concentration/thickness ratio is the important part here, that took a while to get it right, but still really not easy compared to pigments and very sensitive while not covered. Honestly i can get similar and more stable results with other materials but i like to use it as a 'personal trait'. I always have a bag of shavings around from making bows... I lived in that region of Brazil for a long time
  16. I just heated pernambuco leftovers in denatured ethanol for a couple days (warming it up sometimes), then filtered, mixed with a bit of shellac keeping it very thin. I apply on top of 2-3 transparent coats and the result is a deep orange that can be quite transparent. If you apply it on directly on the wood, or in a very thin ground, the color might change depending on what you are using... It can get pretty ugly.
  17. Thanks! I already add a few drops of essential oils on my Spirit varnish to slow down the drying so maybe it helps
  18. For matching the colors on restorations, yes. Never used in a new varnish, but it would work the same. I have some self made colors that is pretty much Vernice Bianca without the egg... I've used brazilwood tincture (sometimes mixed with umber) for a few projects and i like the results...
  19. For a few reasons i've become quite fond of Spirit Varnish and it's applications, but there's one thing that still bothers me: It's easy to crack/scratch compared to oil varnish. So i though i would give a try on using some very thin oil varnish in between layers of spirit varnish. Any thoughts or experiences to share? My Idea: Vernice Bianca - 2 layers Spirit - 1 Layer Watercolor/Tincture ------------------------------- Oil on top of Spirit - 3x ----------------------- French Polish
  20. Oh yeah he was talking about Austria, i meant American books... But still, are we buying composers now?
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