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Everything posted by Three13

  1. The assumption underlying this statement is that tool marks are inherently bad. If you're critical of an Amati scroll - something most people would consider a masterpiece - I can't imagine any maker, regardless of how "fully secure" they may be, wanting to play your game.
  2. Based upon comments like these and others where you suggest that tool marks are a sign of "incompetence", it's pretty easy to understand why any of the very skilled makers here wouldn't want to show off their handiwork only to be critiqued by someone who admits (and then demonstrates) that they don't understand the subject. Everyone is welcome to their own aesthetic - if you love smooth surfaces that have been abraded in order to remove process-oriented tool marks, there are plenty of wonderful instruments out there for you. If someone else appreciates the subtle gouge marks of an Amati scroll, or even the hurried, almost violent looking marks on a late del Gesu or Scarampella, good for them. There's a bolt for every nut.
  3. I never suggested that tool marks are the only way to give an instrument personality.
  4. I can't answer that for David, but I much prefer objects that evoke a sense of connection with their maker. Perfection - in the modern/machine-age sense of the word, at least - doesn't leave much room for personality.
  5. I think this is one of the Matthew Hardie conversions - I'm told that they can sound wonderful. Is this the one that was at T2 around a year ago?
  6. The endgrain looks as if it's slab sawn, so I'd imagine you wouldn't be able to get the requisite 50 or so rings to make an identification.
  7. A very cool thing - it seems like most that I've seen are hinged on the side. I'd love to have seen the fiddle when it showed up in that!
  8. It looks like there are grain lines that are consistent with the rest that run through it.
  9. Three13

    Paul Knorr

    I have a tooled leather guitar strap that Buddy Holly made that was certified by his brother - I think his family did pretty well selling off his stuff a few years ago…
  10. It seems like there are runaway auction results like this from time to time - does anyone try and keep track of what becomes of them? Most people know the story of the “attributed to Nemessanyi” that ended up being a mid-30s del Gesu - are there any other great stories like that (or about runaway auction lots that just flopped)?
  11. It had a visible cross-grain crack on the back just below the soundpost - I think they sent an amended condition report out to that effect. I'm guessing we won't learn what the pros thought it was, although the late dendro narrows the field a bit for something that swanky.
  12. I took this at 10:00 AM during the last spate of wildfires here in California as a little reminder of the apocalyptic vibe:
  13. I'd love to see more (and higher res) images of that violin - outside of the Benedek book, I haven't seen many images of his fiddles.
  14. Does that letter really constitute what people consider "very good papers"? I'd have thought that mid-20th century "school-of" letters (without photos to go along with them) would be pretty meaningless to most dealers, although I could be wrong.
  15. The 1830 date isn’t a reference to when Gand Studied under Lupot, but represents the date that the instrument would have been made (assuming the label were real).
  16. Seems like the tone of voice used when pronouncing something “nice” is probably more telling than the word…
  17. It’s one solution to the infestation of “the usual”.
  18. Was this from sun or LA smog?
  19. Fascinating read - I managed to find a not-so-great image of the Kresnik from the museum that was mentioned in the article, as well as one that showed up on EBay.
  20. Looks like a stereotypical Mirecourt fiddle to me - I can't speak to its quality, but I'm sure many here will have opinions.
  21. It seems like it follows the grain of the wood - is it possible that it's just compression/wear of the soft summer grain on the maple?
  22. The Reuning book on Bergonzi is fantastic and can be had reasonably, compared to some of the other heavy hitting books out there. It's a shame that there isn't more information about Carlo, MA and Zosimo (who I suspect might have been a bit more productive that people currently imagine).
  23. Great music, and a fine looking (and sounding) fiddle. Thanks for posting - It's good to see something from a maker here seeing use out in the world...
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