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Showing results for tags 'Violin'.
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This violin is being restored I only have pictures of what he has sent me. We believe it is from 1801 to 1850. He found this label inside anyone can give me thoughts or information on it I would like to include it with the violin. Any information will be appreciated very much. I have tried for a month to ID with no luck. There was newspaper clippings inside case I included the pictures
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There was recently a blog post on another violin site - perhaps some of you here saw it - that spoke briefly of the Cuban violinist Brindis de Salis. Not a whole lot of information on him online, but what is out there, especially the first-hand accounts of his playing, leaves no doubt he was an exceptionally talented violinist with strong personal style. Does anyone know much about him or have anything to share? Cheers
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Hello, I've been reading Maestronet for years and finally have a question. A new student of mine purchased a few years ago a violin labeled Carlos Despini, fecit Taurini anno 1879 (from my memory). The varnish is more red than most instruments. They purchased from a former teacher for about 20k USD. They asked me what I thought of it and I said it was alright, decent instrument, and then they told me the price...they claim they negotiated with the former teacher for many years on the purchase price. A luthier from France, told me it's likely a French instrument (we both agree the price was acceptable for the local market). anyway, I was recently speaking with them about purchasing a new viola, since the student has all but abandoned the violin (and has in fact won some international competitions on viola), but they were very opposed to selling the violin. They told me the previous teacher "spent" about 34k USD about seventeen years ago on the violin and had "done them a favor." It all sounded like nonsense. When I saw the paperwork I saw: 1) A Certificate of Authenticity by Machold, with stamp 2) A pamphlet with pictures and information on the violin 3) A receipt for 34k USD (in the local currency, which I won't reveal) that states it was paid in cash, no stamp I told them a letter of authenticity by M was essentially glorified toilet paper, but I would like to know: #1 Was Carlos Despini a legitimate maker of Turin, or just a name used by French makers/factories? (Yes, I know not to believe the labels, but I'm just curious if he was real at all or not because I've yet to find any records online for this name beyond pathetic auction sales). #2 "paid in cash"...on an unstamped receipt for a considerably large some of money (circa 2000-2001). Could have been inflated by M for insurance purposes, and/or with posterity in mind (i.e. The original purchaser expected to sell it for a sigunificant profit and use this "receipt" to claim a false value)? ...or used for tax purposes? thank you!
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I have finished cleaning and setting up and adjusting an old probably German/Bohemian violin (the one I asked help identifying in this other post), and now I'm debating moving to a more hairy task with it: Varnish restoration! The violin has some scuffs and dings, but two that concern me are the ones on the lower bout bass side where a piece of it is actually chipped off, and on the back where some very aggressive shoulder-rest use seems to have worn through the varnish (please see pictures). The value of the violin is inconsequential, this is a work of love and for the sake of the experience, so I'm not worried if I mess it up, although I do have professional experience with restoration/conservation of vintage and ancient jewelry and swords (not exactly related, are they? ), so I am familiar with the delicate touch required, and the rule that less is more. What I'm wondering and hope you folks can help with is: First of all, are those spots issues that should be addressed, or would they normally be left alone unless a very pedantic customer insisted on them being restored? I have heard that bare wood is a bad thing and should be touched-up, but one shouldn't be neurotic to the point of touching up every little ding, but those spots are quite big in my opinion. What would be the most common way of restoring a chipped spot like that? Just varnish it over, or make a patch and glue it in place and the whole nine yards from there? Is there some relatively easy way to test varnish, to figure out if it's oil or spirits (shouldn't be anything else in this case I think)? Was there any relatively standard varnish preferred in the Schönbach area around 1900 (assuming it's from there) or are they all over the place? If there's no way to know what varnish it is, what would be the safest bet to go with for repairs? Oil? Spirits? Shellac? Something else? Are they relatively compatible or are they like paints where you don't put certain types over others? Thank you for your input!
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The typical Markie?
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I am thinking about buying a Karl Knilling Violin handmade in Germany serial number 42069. The violin is in very good condition and I was wondering if anyone has thoughts on its price of $150? All I have is the information listed but I do know that it comes with two wooden bows and a case. Do you guys think $150 is worth it and is the violin a quality or decent one?
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Hi, I recently bought a violin from Amazon and it was very cheap even for beginners so I soon returned it. I wanted to continue learning how to play the violin and I soon stumbled upon a violin called Hermet Schartel (Romanian Handcrafted). I could not find much information on the internet (Ironic) so I would like to ask the average price range the violin and if it is a good violin. Also if you have tips or tricks please tell.
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I have been wondering, one often hears that someone's violin is a Strad copy, or a Del Gesu copy, or Amati, or Maggini... While Maggini is usually easy to tell because of the double purfling, how does one tell apart the others? Are there clear telltale characteristics one can look at to determine which of the great masters of the past inspired the shape of a violin? Is it something that can be easily summarized and explained, or does it require years of experience in the violin business to learn to see fine nuances characteristic to the work of those progenitor makers?
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Hey folks! My first post here! I got a violin from a friend in Germany that I'm trying to find out about its origins, who the maker might be, all that stuff, but I have very little to go by, since it's unlabeled. Inside, I found a big 'S' branded on the upper block, and what seems to be the letters 'C S' branded on the top plate and the bass bar. The corner blocks are flush with the ribs and the linings go over them instead of into them. On the back, south of the bass F-hole, I found some pencil scribbles that read "C.S.- = 2 1936". It has been suggested that might not be the date it was made, but the date it was repaired. The scroll style seems a lot like I've seen on violins from Schönbach... It had some cracks that were repaired sometime in the past, but overall is in good condition. I got it all cleaned up and set up, but still the mystery of where and who made it continues! Has anyone ever seen one like this before?
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through the years i have had and made violins with a "wolf tone" on the b note on a violin A string.... drives me nuts.... what can be done to fix it??
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I'm planning to make my first string instrument soon and as a violist (I've been playing for seven years now) I of course really want to build my own viola. After searching for a long time online I quickly find out however that there are so many more resources for violin and cello building for beginners as well as wood and hardware required to finish. So my question is; is it a better idea for me to build a violin as there are many plans, instructions and cheap hardware for it, or should I make a viola which I can play myself and be proud of? (with maybe a steeper learning curve and more things to work out for myself)
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Hello,I have a violin with the neck graft done by Hill's. I wonder how the Hill's finish the neck? It has passed 40 years and the neck is still intact with a glassy look. I have heard that the Hill bow maker finish their bow with boiled linseed oil. Is that the thing they used in finishing the neck? Any ideas? Some image of the neck https://s13.postimg.org/4ad3bz1br/Whats_App_Image_2016_08_23_at_14_59_05.jpg https://s15.postimg.org/8bpybugob/Whats_App_Image_2016_08_23_at_14_59_05_1.jpg
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Portland, Maine master luthier Jonathan Cooper will be teaching a one-week lutherie class at the Acadia Trad Festival in Bar Harbor, Maine from June 25-30, 2017. Scholarships are available! At his shop in Portland Maine, Jon has made over 400 instruments in the last 40 years. His fiddles are played by many of the world’s best performers in trad music. In this one week workshop intensive, students will work together on a fiddle that will be completed in the white – no varnish. The workshop is appropriate for intermediate and advanced makers but can be a good beginning foundation as well for those interested. Students are welcome to bring an instrument they are working on and get guidance from Jon in working on their own instrument. The class will cover an introduction to design and construction in all important aspects. There will be hands on demonstrations as well as access to an extensive personal library and direct examples of work from famous makers. Daily talks on varying subjects including history, maintenance, set up and sound production will be open to the camp at large as well. Participants are encouraged to bring their own tools, however a limited number of tools will be available for students who do not have all the necessary equipment. This class has a $40 lab fee payable when you arrive. Please share: http://acadiatradschool.com/festival/ -
My mother sent a copy of the certificate from Lyon & Healy that had accompanied her violin at sale, as well as a copy of Moennig's evaluation that it is/was in their opinion a Sgarabotto. The Lyon & Health 1917 catalog that contained the instrument numbered 4954, as well as the certificate, state: Giuseppe Guadagnini, Milan, i 750-1 760 Number 4954. Giuseppe Guadagnini was the second son of Giovanni Battista. He followed in his father's footsteps with respect to model and general character of workmanship, his violins being very often mistaken for those of his parent. This instrument is in a perfect state of preservation and has an exceedingly large, robust, brilliant tone. It is an excellent violin for a soloist, teacher or orchestra player. Price: $2yOOO This violin was sold to one Robert Vauk of South Dakota on January 8, 1918. The only thing I can think of is that the certificate may have been separated from its original violin. The description reads: "The back is formed by one piece of handsome curly maple, which is matched by the maple of the sides. The top is of spruce of the choicest selection, of straight even grain. The varnish is of a reddish brown color. This instrument is in an excellent state of preservation and is No. 4954 in our records." Moennig in 1974 writes "Violin labelled J.B. Guadagnini, Milan 17??, in our opinion, is the work of Cavaliere Gaetano Sgarabotto during the first quarter of the century. The back is of one piece slab-cut maple, with narrow irregular flames. The sides and scroll are similar to that of the back. The top is of two piece pine mostly of medium broad grain. The varnish is an orange-brown color." As Martin had pointed out earlier, the violin looks like kind of a rough and ready somebody's idea of a Guadagnini. It's kind of gouge-y looking with fixed cracks in the top, messy purfling, and looks as if it took quite a hit at some point. Despite all it is a real nice sounding violin and pretty to look at. My question is - do you think the Lyon & Healy certificate belongs to this violin? Any any other comments appreciated, as well. I'm just trying to flesh out what I know about this instrument.
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RESULTS OF 2017 VIOLIN MAKERS COMPETITION EVENT HELD AT WILDACRES RETREAT, VILLAGE OF LITTLE SWITZERLAND, NORTH CAROLINA APRIL 20-23 CONGRATULATIONS TO OUR WINNING VIOLI N MAKERS Workmanship Awards 1st Place - Alvaro Corrochano - NYC 2nd Place - Cameron Robertson - Atlanta, GA 3rd Place - Jennifer Halenar - Nashville, TN Cert. of Merit - Ed Byler - Bonners' Ferry, Idaho Honorable Mention Joe Thrift, Elkin, NC Greg Tracy, Raleigh, NC Ed Byler, Bonners Ferry, ID Tone Awards 1st Place - Jack Rasmussen - Arlington, TX 2nd Place - Ed Byler -- Bonners Ferry, ID 3rd Place - Ivan Ivanov - Arlington, TX Cert. of Merit - Ray Leicht - Tuscaloosa, AL Honorable Mention, Jennifer Halenar -- Nashville TN Ray Leicht -- Tuscaloose, AL Adam Gotry/Greg Tracy/Dustin Fagg Team SOUTHERN MAKER AWARD -- Highest scoring maker from the Southeast Region, combined tone and workmanship Jennifer Halenar - Nashville, TNH NOVICE MA-KER AWARD -- Highest scoring violin made by a maker or eligible team with less than 10 violins completed team of Adam Goltry, Greg Tracy, and Dustin Fagg COMPETITION JUDGES were Kelvin Scott - Knoxville, TN Chris Germain - Philadelphia, PA John Montgomery - Raleigh, NC Pablo Alfaro - Atlanta, GA Juan Ramirez - Atlanta, GA
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Looking for this violin which was listed in the Lyon & Healy 1924 catalog. I realize it's a fake, but am still interested in perhaps purchasing it (obviously not for $500 - hah! won't go to 5 figures, though) Let me know ifyou know who might have it! Thanks. "SEBASTIAN KLOTZ, MITTENWALD, 1772. Number 6930. A well developed model. Back, one piece birds-eye maple; top, spruce of the choicest selection for tone. The varnish is of a brownish color. The instrument is in a fine state of preservation and possesses a large tone of beautiful quality. Price: $500"
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Hi I got this violin and no label . there are some iron stump and weird looking neck heel . is it English violin? or something else. please let me know if it worth keeping or letting it go. Thanks in advance U u
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Just bought this violin from a family that kept it form many decades. There's no label and I'd love to know if anybody could help me find out if it's a workshop or authors violin. Thanks!
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I was browsing a site called the-saleroom.com in the hopes of finding a nice instrument listed in a live auctions. I searched for a Scottish violin hoping to find a few armature made or cheap antique Scottish violins. I found one at an auction in Glasgow which seemed like just what I wanted: 'SCOTTISH VIOLIN early 20th century' was the description so I waited for the auction and made a bid. The violin went for much less than I thought so was happy with my purchase but a little suspicious. The violin on the picture looked in good condition with yellowish varnish, a light wooden tail piece and old 50s looking box. After waiting the violin arrived. The box was as expected old, but on inspection the violin looked very lightly made with standard redy varnish, the fingerboard was painted black! and the varnish was flaking off the top of the violin with a slight rub of my nail. The purfling also rubbed off.. Finally I tried to set up the violin and it sounded very gritty like a badly set up banjo or guitar more than a violin sound, totally unplayable. Inside it said 'Edmund may Glasgow' in what looked like a label printed on a computer in ms word, with a cute music clip art.. slightly higher than where the old label should have been. I did a search and found another violin also from Edmund may of glasgow http://www.amati.com/auctions/violins/for-sale-at-auction/vintage-violin-refurbished-by-edmund-may-of-glasgow.html which sold for a higher price than what I payed. I checked the tail piece and saw (w Germany) on the fine tuners. The violin its self looks very much like a cheap Chinese factory violin maybe £40 max brand new. Defiantly not a hand made Scottish violin. I phoned the auction house and they said I had time to inspect the violin before the auction. I wasn't able to do this because I wasn't able to travel to Scotland so they said I should have asked for an inspection to be made. Is it me or would the auction house have changed their story of it being a Scottish violin if I had asked for an inspection? Its kind of like saying a car is a vintage Porsche but on inspection it was only a cheap Citron and selling it at a high price. So is this person buying old Chinese violins and putting them in old boxes claiming they are vintage violins, then selling them at auctions? The one in the amati page looks quite nice again but I am guessing another cheap fake. Has anyone had any experience of this and if so did you manage to get a refund? At least Ebay is working with paypal to stop fraud but it seems UK auctions are actively encouraging it..
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Hello to everybody, I'm writing from Padova, the wonderful city that hosts my workbenches. This is my first post @ MaestroNet. I would like to present myself and my work. First of all I would like to share some pictures of my latest violin, from my website: http://www.francescopiasentini.com/violino2015-modello-domenico-montagnana/ OW varnish (Amber and Cremona), Alizarin (Kremer) and a little bit of other pigments. Then I would like to invite you to read an article and a poster presented at WoodmusiCK conference (Cremona 2014) on my work with MicroCT: http://www.francescopiasentini.com/wp-content/uploads/2015/09/Piasentini_WoodMusiCK_Conference2014.pdf http://www.francescopiasentini.com/wp-content/uploads/2015/09/Piasentini_WoodMusiCK2014_300dpi.pdf My adventure in violin making started in 2001, when I made my degree thesis on the mechanical characterization of spruce wood for musical instruments. We made a paper using this work: http://www.francescopiasentini.com/wp-content/uploads/2015/09/PiasentiniFrancesco_CASJ_nov_20022.pdf Now, after some years in restoration, I'm focused in making beatiful and great sounding violins, violas and cellos. I Hope that I can contribute in some way to this marvellous forum. Take care Francesco
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Hello MN members, Hope I sized the pics properly. I have never posted but followed MN for years hoping to learn something. I have collected violins for years before following this site but knew nothing about them. I am uncertain on this violin, and have had it a long time. Should I have it repaired? Let's see if I have learned from the masters here how to identify violin traits. The saddle is cut into the top plate. Looks to be an early 1700's Strad copy, cheeked pegbox with the scroll cut nicely but not relieved a lot, the duck's tail more pronounced toward the neck heel. C-bout pointy linings cut into Willow? Pine? I dont know how to tell Lower wings of f-holes are slightly fluted. Purfling is well done IMHO, yet no bee stings close to the c-bout tips. It has the name of a previous owner in Boston circa 1920's inside on the back so I am guessing American, early 20th century, maybe Boston. Did I fail miserably?
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Heard this yesterday. Sat in the front row looking up up up (note to self: consider other seating next time). First time I have listened to it. Very nice. Will have to spend time listening to a recording...preferably with a score... Any suggestions? Neck cramps aside - I was able to get a unique perspective as seen from underneath...great view of all the action. To relieve the neck pressure from looking up I straightened my head and took time to check out everyone's shoes and socks...
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The Southern Violin Association announces its first “MAKERS COMPETITION” which will take place April 20-24, 2017. This is open to violins only. The venue for this event will be at a conference facility in Black Mountain, North Carolina, about 15 miles east of the city of Asheville. · Violins must be less than 5 years old · Must not have received any previous awards · There will be a NOVICE award for a maker that has not yet completed more than 10 instruments · There will be a special award for a high-scoring violin by a maker from one of the states identified in our logo. · This competition is open to the public, but to participate, you will need to be, or become, a member of the association. · More than one violin may be entered, acceptance of a second instrument will depend on the total number of entrants. Rules and Application may be obtained from David Chandler, President, Southern Violin Association via email at davidwchandler@outlook.com or by writing to David Chandler, 201 Riverlinks Drive, Burnsville, NC 28714 USA.
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Very old violin is 100 years,the family.We have two labels.1Nicolaus Amatus Cremona 167. Another.Johanes Jais Bolzano172.One of the possible?
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What might the winning bidder have seen that Tarisio apparently missed? The winning bid was way above T2's estimate... Just curious! https://t2-auctions.com/auctions/lot/?csid=2198519808&cpid=3421732864&filter_key=d5c60865a6a1d98f714a38c199e0aa11 Thanks
