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Showing results for tags 'Venice'.
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Just looking for some help authenticating a label and trying to find some further information on Ignazio Ongaro. After many hours of looking, I have found very little! Son of Zuanne, possibly grandson of Matteo Goffriller. More known for double bass instruments. Apart from that... just the standard info on Zuanne and deconet etc, very little on poor Ignazio! I picked up the violin in a shop after testing about 10 instruments and being drawn to the sound of this one - it was also much cheaper than other ones I tried. I am not an accomplished violinist, and have since stopped playing not long after i bought the instrument... around 20 years ago... But I know when something sounds good! The very unhelpful fella who sold me the violin looked like he'd rather be somewhere else and told me it was from Venezuela. Upon closer inspection, I realised it said simply... ignazio ongaro venizia 1780. Needless to say, I said nothing and walked out with what I hoped was a bargain. Thoughts, views and any info would be most welcome. Willing to share a photo if it would help.
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Hello everybody! I'm an avid amateur cellist interested in browsing online listings and learning more about their respective makers. Today I came across a beautiful cello listed at a surprisingly low price (<2000€) with the following inscription: "Leone Sanavia Liut.. Fece nell' anno 1930 Liettoli (Venezia)" I never heard of this maker before, so I googled him and it seems he was primarily a maker of guitars. There's almost nothing about his instruments though, I found records of one viola sold in 1998 and two cellos on the market right now not counting the one I discovered. To my moderately trained eye, it looks well made and preserved and I'm really enamoured by the scroll. I'm a little bit confused by the weird tailpiece set-up (one single fine tuner for the a string), overly long pegs and cheap strings - looks like fittings for some mass produced cheap instruments, which it can't be by the looks of it?! I'm tempted to go and see it in person, but it is quite the drive and I'd love to know a little bit more before making that decision! Maybe it really isn't anything but average, but something tells me that it could be sold by someone who doesn't know what they've got on their hands. Anyways, I'd love to learn something new and looking forward to some more expert opinions! Thank you and have a great weekend
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Hello, I would like to ask a very simple help- what is the model of this violin and if f holes look similar to any particular violin making school? Length of back 35,7 cm. Dendro results: 1783,85! Thanks http://venetianviolinsmaker.com/en/shop/fine-tyrolean-violin-from-late-1700/ -
Since Maestronet often enough has the ability to make one want to tear ones hair out, it is perhaps worth remembering one of its greatest benefits. I had long since wanted to go to Venice on holiday, where I hadn’t been for years and which after all isn’t far away. I mailed Mr. Pio, who I didn’t know personally, apart from here on Maestronet and except for an extensive email correspondence re.archival research, and asked him if he could recommend a Venetian hotel for me and my boy. It turned out that he himself owns an apartment which he rents out to tourists and invited us to stay there. Mr. Pio picked us up at the railway station, in his own chauffeur driven boat and took us to the apartment near the Ponte Accademia on the Grand Canal. The (enormous) apartment was if anything, far too luxurious for us (with the possible exception of an Italian Gas Stove, which I didn’t trust, and therefore didn’t use). Walking around investigating Venice, with an autistic boy without getting lost, or more pertinently, without loosing him, might be an acquired taste. It crossed my mind though, that walking around there with an Austrian Brick-layer, Plasterer, or Electrician would by contrast, be almost intolerable, since they would have been outraged and insisted on wearing a hard hat. In the Palazzo Rezzonico, just one canal away from the apartment, we found a wonderful collection of 17th & 18th C. Venetian paintings, on three (large) stories, and, if one just walked past the portraits, one could see a great array of pictures of Venetian life of the time. The walls looked just the same as they do now, and nothing seems to have fallen down in the meantime. The Palazzo Rezzonico seems fairly typical for Venice, a little grotty looking from the outside, but fabulously posh inside, with about ten times as many museum attendants as one would ever see in Austria, although we only got shouted at once. Mr. Pio showed us the Archive and (by foot) the buildings where all of the major 18th C. workshops were, all within spitting distance of each other close to the Ponte di Rialto. On Saturday we were treated to a long boat ride around all of Venice in his boat (I had since found out that the “Chauffeur” was one of his sons), which made me realise that Venice is actually quite small, should one be guided by someone who knows his way around. As I mentioned yesterday, the most important rule when visiting Venice, is to take no luggage at all, since one has to walk everywhere. The checklist is: Toothbrush, Money, any Prescribed Medication and one change of Clothes. I sinned in this respect, since I wanted to take a very beautiful Bellosio viola to see her birthplace, which was worth the sacrifice. Many thanks to Stefano Pio for a wonderful holiday! I will spend the next week nursing all the mosquito bites
