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Showing results for tags 'Guarnerius'.
Found 7 results
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1st time post, let's see how this goes... I started contemplating making purfling again for my next violin and always search the web for some concise measurements with pics to see my preferences. I have been leaning towards a wider white center and a thinner black surrounding, but I thought perhaps I would make some samples to choose artistically what may be my next choice. I'm sure there are many posts already written on this subject, but I wanted to jot down some simple numbers as references. Upon doing so, I realized a couple measurements that matched Strad's "preferred " numbers ? Or at least what they tell us is somewhat standard and I can understand his choice on an artistic level. Anyways, I hope this small list can help others in their choice and provide a quick reference guide. The measurements with a ♡ will be ones I may try to see visually what will match my style (plus I had some extra time watching varnish dry)lol. Purfling Using a 1.4 mm channel width* Width(thickness) of purfling measured in mm Black - single strip ×2 = total black thickness surrounding single white strip .25× 2 =.5 total black thickness 1.4 -.5=.9 white thickness thicker white visually ♡ .3x2=.6 Black 1.4-6=.8 White thicker white visually ♡ .35x2=.7 Black 1.4-.7=.7 White equal thickness visually ♡ .4×2=.8 1.4-.8=.6 thicker black visually Using a 1.3 mm channel* .25× 2 =.5 Black 1.3-.5=.8 White Thicker white visually ♡ .3x2=.6 Black 1.3-.6 =.7 White equal thickness visually? ♡ .35x2=.7 1.3-.7 = .6 Equal thickness visually?♡ .4×2=.8 Black 1.3-.8=.5 White Thicker black visually Using a 1.2mm channel* .25× 2 =.5 Black 1.2-.5=.7 White thicker white visually♡ .3x2=.6 Black 1.2-.6= .6 White Equal visually ♡ .35x2=.7 Black 1.2-.7 =.5 White thicker black visually .4×2=.8 Black 1.2 - .8 =.5 White thicker black visually *Tom Croen suggests using .10 smaller bit for each channel size if using router Some makers use pasta mill etc to reduce purfling to fit a smaller channel Use same idea in increased purfling sizes to match artistic look being sought. Thanks for reading, B
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Hello. Newbie here. I know you have received many of these requests over the years, so here's another. I would like some input on whether this is a mass-produced copy or an original (I should be so lucky) and what the possible range of value is. Here's what I know about this violin. It was a gift over 20 years ago. I don't play, however, it was said it had a good sound (subjective, I know). It did have some work done about 14 years ago as it was pretty dried out. I know it was put into a humidifier, if that is the correct term, and was done at a luthier shop. I am not fully sure of all that was done. I do see there is still a small crack off one of the F holes. There is NO label saying made in Germany. Picture supplied. So, I am attaching pictures. If there is an angle I have missed or you would like to see close up etc, please let me know. Any information provided will be greatly appreciated as I am looking to sell and don't kw if it's $50 or Thousands. Thank you
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I recently purchased a violin from a small antiques dealer in Co. Londonderry NI, based on sound and how it looked. When I got it home I started searching and heard more about its (alleged) maker Bartolomeo Giuseppe Guarneri. The inscription says Joseph ''Guarnerius Fecit Cremonae anno 1726 IHS'' and there is a little cross above the IHS. My music teachers think it is real and i would love it more if it is. Thanks.
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http://www.ebay.com/itm/RARE-18thC-1739-Antique-Italian-Guaneri-44-Violin-Joseph-Guarnerius-NR-/141356739222 "....Inside this Violin is the original paper label which reads, “Joseph Guarnerius fects, Cremone anno 1739.” On the right hand side of this label is a Cross over the letters IHS. I found that this Violin is authentic because of the Cross and HIS on the right hand side of the label. Copies of these violins do not have this marking. I guarantee, 100%, plus shipping, that this is an authentic 1739 Guarnerius Violin. "
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Hello everyone, I was wondering if someone could confirm or deny the authenticity of this violin that used to be my dads elderly neighbors fathers violin. My father received this violin as a present from his elderly neighbor back in 1969 or so. That neighbors father apparently played it a long time ago. He had received the violin in the 1840s (?). I was looking for another cord for my guitar amp in the basement and stumbled upon it. Being an avid cello player for 8 years now (I'm in 9th grade) i immediately realized what i could have in my hands when i read the label inside of the violin. I can post pictures if need be. i was wondering if it could possibly be a genuine Guarneri violin. "Joseph Guarnerius fecit Cremonae anno 1735 IHS +" is what the label on the inside of the violin says. Please and thank you for any help.
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Hi there, This is my most recent violin I aquired. It is a Joseph Guarnerius copy. The label has the normal Joseph Guarnerius label inside, nothing special. On the back of the scroll, it says "Artist Violin Guarnerius". From a bit of googling, it seems these violins were made in Lowendall's workshop, along with the Imperial violins. So I'll assume this is a German violin. The fingerboard, at the bottom is oddly shaped, and Ive seen this on Imperial violins before on ebay. About the violin, it is in very good condition. Only a minor crack at the right side of the saddle, and also a minor crack at the top. It was very dirty when I got it, lots of built up dirt and rosin over the years that was never cleaned I suppose. Will add a picture of that aswell. When I opened the violin to repair the cracks, I saw the violin top was smoothly scraped. No gouge marks, or unfinished areas. The bass bar is also glued in, not carved in like almost all the other German violins that Ive repaired this far, and the bar is also at the right angle. The violin has 4 real corner blocks. The sound of this violin is absolutely amazing. Much better than I expected when buying it. It is warm, loud (but not harsh), and the G string is very viola-like. Its an absolute joy to play, which is why I decided to use this as my main violin. Before this I used a German Francesco Ruggieri trade violin. 1. Can someone perhaps shed some light on the resale value of this violin, aswell as the value for insurance purposes? 2. One thing that is a bit different from my previous violin, the neck seems to be a bit thick, top to bottom. Would it be right to thin it down a bit? Will it affect the value, if done properly? PS. The violin seem to have had geared pegs in the past, looking at the little holes on the pegbox. The Peg holes are also very large, so you might notice the pegs dont fit properly. I ordered the peg hole bushings, so I'll fix that as soon as it arrives. PPS. The bow that came with the violin, is quite different from what Ive seen. It doesnt seem to be made of wood, but rather some sort of metal or something. It is stamped "Heddon" and what seems to say "USA" underneath to the right side. Anyone have any experience with these bows? Are they worth re-hairing, and fixing? What are the value of these?] Also, if anyone is interested, it is stringed up with Pirastro's Evah Pirazzi Gold, with the Silver G string. This was my first time buying these strings (usually go with dominant with Gold Label e Pirastro), and I love these Pirastro strings. Here are some photos. Thank You.
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Hi, This is a topic that might have been discussed before, if so, sorry for that. My question is: Why do most modern violinists prefer to use old violins, such as Stradivari, Guarneri, Guadagnini, Vuillaume, etc for solo performances? It seems every time I do a google search on soloists, almost all of them uses old instruments. To make a short list of some of the players: Anne Akiko Meyers - Owns 2 Stradivarius violins and has a Guarneri on lifetime loan. Joshua Bell - Played a Stradivarius, sold it to buy another strad. Vanessa Mae - Guadagnini (When she's not playing her electric violin) David Garett - Stradivarius, and Guadagnini I believe Andre Rieu - Stradivarius Corina Belcea - Stradivarius Itzhak Perlman - Stradivarius Maxim Vengarov - Stradivarius Julia Fischer - Used to play a Stradivarius, now plays a Guadagnini Sarah Chang - Guarneri Hilary Hahn - Vuillaume This is just to name a few. The list can go on, and if you'd like to add more, just comment below and I will add them to the list. But anyway, I know many people say that these violins have a unique sound and are much better than modern instruments, but I read a while back about that blind test that was done, and that players couldnt tell the difference between old and new violins. Some even preferred the new violins. Here is the link: http://blogs.discovermagazine.com/notrocketscience/2012/01/02/violinists-cant-tell-the-difference-between-stradivarius-violins-and-new-ones/#.UcmBq3m_yM8 So why do modern soloists still choose the old violins, when they can get a modern violin (Which is apparently the same in sound if well made) for cheaper, and easier? Is it just a "Label" thing? Where the brand of the violin they play give more reputation? Personally, Ive been able to tell the sound apart from a Stradivarius violin compared to a modern violin on some of those online "tests", but that doesnt really mean anything. Also heard Joshua Bell live, and the sound of his violin compared to the orchestra's was a HUGE difference. You could tell the Strad away from a mile. But then again, it was a university orchestra, with violinists who dont have some of the best modern violins. Also, which soloists that you know of, actually use Modern violins? And by who were those made? So to summarize the questions: Why do soloists prefer old instruments, if it was proven in a blind test that there are no difference to well made modern violins, and which soloists uses modern violins? And by who were those made? Thanx for reading.
