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GranaryTree

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  1. Ok I’ll be the first to admit that the prices may have been a little overboard, but for the record I did try to ask around for guidance on value to no avail. I think the best way to handle these probably is at auction, so I’ll be putting them on eBay soon. But if anyone is interested, I’ll offer them here significantly reduced first. #1 Asking $275 #2 Asking $175 #3 Asking $215 Still very open to offers. Thank you!
  2. Thanks so much for the responses everyone. I always appreciate the amount of knowledge and thoughtfulness on MN greatly.
  3. Well I got the top off. Mr. Spooner did a pretty decent regraduation and added a bass bar. The linings go through the original upper blocks but the lower blocks were replaced without the trouble for some reason. It’s all pretty odd. Any more guesses on the bow? Or am I pretty near the mark?(womp womp)
  4. There’s no cleats but it is superficially blocked. Perhaps the cleats were to repair an open seam along the back. From the looks of the F holes and edges the wood was carved when quite green.
  5. I just found the name “F S Spooner, Seattle” scrawled across the bass bar. I suspect he’s the one who did this shellac job, after sanding it on the sidewalk apparently. I actually thought this looked like an amateur US build—it looks even less fortunate than a typical Markie to me, and similar to others I’ve seen. I have a soft spot for pre-WWII folk fiddles from the northwest (although I’m quite alone in this), but if you say Schoenbach I’ll trust you. My hunch on the bow is that it’s the counterpart to those mosaic inlaid trade fiddles you see with the hunks of MOP set in the back, but the stick is kinda nice so I thought I’d ask. Thank you for the help!
  6. Hello fine Maestronet folks, I picked this up from a gentleman today and have no idea what I’m looking at. It came with this interesting bow and another one stamped Tubbs (generically, I believe). Any information or rough valuation on either of these would be helpful. Thanks and hope all are well. (Mmmmmm... Beautiful.) And the bow—
  7. I’m basing that on other “US Zone” stamps found on tea sets, toys, and other imports from that era. I have no idea what the necks’ history is besides that. Perhaps they were brokered or imported through the US Zone for US sale. All I have is a date unfortunately. Some of my other necks are simply labeled “Germany” or “Schoenbach-Eger”—I don’t know if this builder was importing parts before WWII and beyond, but that seems likely to me. I’m shooting from the hip here on all counts here.
  8. Thanks for the tips Jackson! I’m familiar with tamarack, I’ll give that a go! Good point on the UV exposure, I’ll have to run an experiment or two. I got very nice gold-brown results on cotton in an enamel pot, so maybe it’s just that the red hues will have to be sacrificed. I’m also known to smoke a pipe, let’s see that beauty! I was wondering about Chaga, I have some powdered and it certainly seems to want to dye everything it touches. Very strong, handsome color indeed. I’ll have to do some experiments, thanks all!
  9. While I’m here, another question I’ve been wondering about: In my area there’s a pretty common mushroom known as Dyer’s Polypore that is capable of producing strong and handsome red-brown colors on yarn when prepared in an iron pot. In my varnish book I’m seeing all types of witches-brew type solvents for various pigments and plants. Is the best way to find out if this could be an option for varnishes to simply experiment, or does anyone have experience with this particular fun fungi? Or perhaps tips for experimenting with its viability as a varnish? I’m interested in using natural materials from my region (the Pacific Northwest), which luckily includes Sitka and engleman and big leaf maple. It’d feel special if I could find a handsome varnish to add to the bioregional mix as well. I’d love to add violins to the things I can forage out of the forests here!
  10. HS Wake repeatedly mentions epoxy in his Bow Rehair and Repair book. I think he gives a brief explanation about when he uses 5-minute type vs slow drying but his book was written long enough ago that I’m not fully confident it’s still the preferred adhesive for permanent bonds (on bow splices for instance) or if it’s even the same product these days. Any thoughts on epoxies specifically or the best permanent-(ish?) adhesives in general? Thank you!
  11. Also I’m not trying to be coy with the lack of asking price, I just don’t know how much the various cracks and blemishes effect their value against their age, or if they’re even worth much at all, and I wouldn’t want to embarrass myself. Again, if you have an estimate on a fair value feel free to PM me.
  12. Since it’s so hard to catalog all the quirks and blemishes on these I just did a quick and dirty video that goes through each individual neck in some detail. It’s pretty shaky and I even flip the screen upside down for #13-14 but I hope an interested party can stomach them enough to find them helpful. Some very interesting pieces here, in my opinion well worth using in builds and repairs. Get in touch! Thanks.
  13. Very enlightening advice above by the way. Thanks all. Didn’t mean to imply I didn’t get the answer I was looking for, I’m hearing there’s some nuance to the decision in each case and being conservative and thinking of permanence is the best course. What Mr. Burgess describes is what I’m thinking of, if there’s any suggestions on the best option there.
  14. Ok har har, I know what to do next time my violin blows a head gasket. I’m surprised, folks don’t use any kind of non-permanent finishing polish just for the satisfaction of that “wet” look? A little tung or French polish seems like a good option for bare wood, if it’s really an issue, but I was thinking something less extreme. I guess a good cleaning is probably superior to adding something greasy but in my imagination there’s some magic potion that could just make things look spruced up for a time and add some nominal protection without compromising the varnish in the long term. I think I’m just imagining something that doesn’t exist here. Bigfoot’s Magical Finishing Oil is my next patent.
  15. When an instrument has wear through the varnish, and is exposed to temperature and humidity enough to look dehydrated, what oil do you like to use? In other words, what’s a good go-to finishing / maintenance oil that’s unobtrusive to varnishes and won’t spoil in the long run?
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