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clover

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  1. Well now you are giving all of the "DIY morons" more ideas I have a vague memory of you mentioning that you were thinking about starting a thread on bricks? Sounds like it could be a good one.. And also, many thanks for taking a look and sharing your knowledge.
  2. Ah, did figure it would be hard to pin, but thanks for taking a look at the pictures. I have a vague memory of my grandmother telling me that the scroll wasn't original when I was a kid, presumably because she brought the cello to someone who told her that? I know basically nothing about varnish or identifying instruments, but for whatever it's worth--it would make a lot of sense to me that the cello had originally been a different/darker color. There is something quite unique, if not a little bit odd, about the color and the way that it reflects light (to my untrained eye). A couple questions that linger if anyone has a thought--does the construction of the cello give any clues to it's age? I figure if it's difficult to pin down where it might come from, any idea of it's age might also be quite broad, but just checking. Also, is stripping of varnish common for reasons like trying to obscure the origins of an instrument (similar to 'tarting up' a german instrument?) or is it just as common that someone thought it was ugly or messed it up? I also think I remember hearing (when I was too young to care what it meant or who Sartory was) that the frog on the Sartory wasn't original. Though I haven't had my hopes up too high that is indeed genuine, and I don't know how much a replacement frog would alter the quality or value of a bow like that either. My sister has been the cellist of the family, I'm comparatively new to it, but I recently have begun taking care of my fathers old stuff. I'm planning to haul the lot of it in to be looked at soon.
  3. That isn't the information that I found, it's quite interesting and more detailed than anything I have found--thank you very much! I took a peek under the frog and it is numbered as 189v.
  4. So seems like maybe the usual.. makes sense, given that it usually is. Thought it'd be worth to see given a few comments I had gotten about the cello. I've attached pictures of the scroll fluting, although I'd just as soon believe that it isn't original. Also have included the best I could get of the corner blocks--also featuring, among other repairs, a giant sound post patch on the belly. And for no particular reason I have included a close up detail of one of the corners that has always struck me.. as.. interesting.
  5. Here is a clipping from a local newspaper that I found referencing Beilke in 1963. Maybe this is only funny to me because it is a local phenomenon, or maybe this is common for small unconsidered cities, but Minneapolis has apparently always been clamoring to be taken seriously (and it doesn't work). A headline that reads "City-made bow used by Isaac Stern" is a lot like... "one time a famous violinist touched a bow that was made in This City." It doesn't really make your city seem any more relevant, but rather less..
  6. Not that I can tell.. but after a little bit of digging it appears that Martin Otto Beilke was a bowmaker in Minnesota (USA) from early 1940s until early 1970s, which makes sense... since I live in Minnesota.
  7. Stamp says "M. O. Beilke"
  8. And for philip, the bows:
  9. I'm interested in any thoughts/opinions about this cello. This cello belonged to my dad, who died in 1990, which was shortly before I was born. It has had a hell of a lot of work done to it, and I've been told that it is interesting and old, but other than that I don't know much of anything about it. It has a label that reads something like "Anselmus Bellonus fecit venetus..." that I assume isn't hugely helpful. The pictures where it looks red are just the lighting (sun), the other pictures are much more true to life. I think my dad bought it.. somewhere in Europe.. around.. the early 1970s? Anyway! I'm interested in any thoughts that you fine folks here have about it. I gather that it's probably pretty tough to ID, but I'm also curious about anything that a more experienced eye might see as interesting. Also if you think it is a rubbish cello that belongs in the dustbin, no worries, he's dead so you can feel free to tell me
  10. As someone who has worn (ahem, had) bifocals for many years.. I've always just gone without. The break between prescriptions always was always in the way, and neither was for the right distance. Can't believe I've never thought to get a single distance prescription for music, that sounds like one heck of a good solution.
  11. But it's got a lovely tone..
  12. Is the joke on the client with the trashed instrument, or the poor chum who did the work?
  13. This seems true in most learning endeavors--the people who learn best are the ones who are full of curiosity, willing to look critically at themselves, and who unabashedly seek feedback in order to improve. Those who feel like they've already "got it" are not open to feedback--it shatters the illusion of their competency, thus they don't improve. When someone is enthusiastic and open to feedback, they are also far more likely to receive meaningful help, because they are far more enjoyable to teach. That 16 year old who hardly knows they are born yet might be the one who is better precisely because they also have not yet learned to protect their ego at all costs. Many people don't want negative feedback, and they are really stunting their own growth.
  14. Some violinists like to think that they are only interested in sound, but try asking them to spend so many hours with a homely fiddle. Style in construction is also important when one considers the effect of the way that our perceptions about an instrument effect our judgments on it's tone. Placebo effect and psychoacoustics and all of that. Think of everyone coming here with 'the usual' from grand-dad's attic who can hear the violins sweet french sound, all because of the bogus label someone slapped inside.
  15. I would agree with this. No doubt, the internet has made a wealth of resources available for access by many. That's a valuable asset as a supplement, but so often it is seen as a replacement. It's certainly no shortcut, but rather it is simply more information that's available for one to use wisely (or not). Besides the fact that it requires immense dedication, it is essential in learning such a craft to have a lot of quality feedback on your work, instead of doing the same thing over and over oneself under the illusion that you are advancing. The most growth and learning comes from a good critical eye and receiving welcome feedback.
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