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Found 19 results

  1. Hello everyone, I am a new member of this forum, so forgive me if I seem a little unknowledgeable. I came across this Auction series called Amati Affordable a few months ago where the Amati Auction house was bidding instruments, certainly very unique and old ones, from the starting price of 10 pounds. Seeing that for a long time, my dream has been to own a baroque-era violin (just for collection's sake, I have an awesome violin already), yet disheartened by just how expensive these instruments tended to get, I thought this to be a great opportunity. I just want to know if anyone here knows anything about whether that auction house can be trusted, or whether any of the instruments in the current Amati Affordable auction are indeed baroque, or just convincing German copies. Thanks.
  2. New dendrochronology evidence possibly pointing to a connection between Strad and Amati. The rest is mostly a summary of what we have discussed - almost ad nauseum - re Strad's secret varnish or method of wood prep. This article implies it might just be animal glue... Anyway, I think an interesting summary, with of course, the typical slight inaccuracies expected from non-players/non-makers. This article does give a few details as to where and how samples were taken and examined. Plus lots of good references. What do you think??? https://cen.acs.org/analytical-chemistry/art-&-artifacts/Stradivari-meets-science/101/i15
  3. I received a notice today (10 Dec) that yesterday, an Amati was stolen in Los Feliz (part of LA) California. This notice came from Tarisio's. Apparently it was a client? They included pictures, attached. I assume this notice went out to all the area Violin stores, but in the past, have been surprised that when prominent violins were missing, some of the stores had not been sent a notice. And if anyone here sees something like this on fleabay or Craig's lust...let me know, I want to put a low ball bid in </kidding off>
  4. Hi everyone, Does anyone know what programs and setup Amati uses for the 3D rotation of the instruments (or what can be used to get a similar result)? It seems that this tool is very useful now given less people are able to try and inspect the instruments in person because of the pandemic. Thanks!
  5. Violon de Andrea Amati, vers 1560, un des premiers violons connus ( celui ci s’appelle "Il Portoghese" car je l’ai découvert au Portugal il y a environ 25 ans) Il a été fait pour Charles IX, roi de France, fils de Catherine de Médicis, roi de la Saint Barthélemy, il est à l’origine de la tradition du muguet pour le premier Mai. Même si c’était une tradition celtique, en en offrant aux dames de la Cour en 1561, il en a fixé l’usage.
  6. After my visit to the Reed-Yeboah Contemporary Violin & Bow Makers Exhibition 2019 I walked over to the MET Museum to look at their bowed string instruments. I was very impressed by the museum and can highly recommend a visit. Most of the instruments are displayed beautifully and can be viewed from the front and back. Below are pictures of some of the instruments that I hope you will enjoy. Higher resolution images (and some additional ones) are available here: https://rauchtonewood.com/blogs/news I was very interested in the varnish on these instruments and the comparison to the modern instruments I had looked at earlier the same day. I had never seen a J. Stainer and seeing his viola side by side with some of the Amatis and Strads was great. I got a lot of inspiration on one day. A. Stradivari "Batta-Piatigorksy" cello A. Stradivari "The Antonius" violin
  7. Hello everyone, I have always wondered how on earth Andrea Amati was able to invent the violin in nearly perfect form from the start. Reason for which while closely examining the 1570 "Charles IX" a couple days ago I suddenly realized that the filled-in peg holes in the oddest of positions make it rather plausible that the instrument originally had 3 pegs instead of four. That would put in line with the violin depicted in 1534 by Gaudenzio Ferrari in his affresco in the cathedral of Saronno, which likewise has only three pegs and yet is considered the first iconographic image of a modern violin. What currently is the consensus on this? Are their other early violins which originally had only three pegs? Thanks.
  8. Hey folks, It occurred to me that I have no idea how to make a violin without locating pins. It's how I was taught, and it works wonderfully as far as I'm concerned. That said, some historical makers associated with the Amati tradition I really admire didn't use them, like Francesco Rugeri and Jakob Stainer. I have a hard time imagining how to make a baroque violin, where the neck is affixed before the plates, without pins. Any of you makers/restorers/historians have some insight into how Rugeri and Stainer may have gone about it? Thank you J
  9. I assume that this is an old copy, but would like to hear your thoughts. The link is https://www.ebay.com/itm/Antonius-et-Heironimus-Amati-1677/292339389394?_trkparms=aid%3D888007%26algo%3DDISC.MBE%26ao%3D1%26asc%3D49476%26meid%3D5361ee4014fc4facb2b1c391817b3694%26pid%3D100009%26rk%3D1%26rkt%3D1%26sd%3D122820205222&_trksid=p2047675.c100009.m1982. Thanks, Composed
  10. Hi all, I was poking around the local university's library yesterday when I found another example of Nicolò Amati's connection to Stradivari's work, in this case, concerning his decorated instruments. The Hill's do touch on this point (what an incredibly comprehensive work!), stating: "We have seen two violins, the work of Nicolò Amati, which were gracefully embellished with inlaid ornament: in one of them the ornamentation consisted of double purfling, and a fleur-de-lys inlaid in black at the corners of the back and belly, interspersed with small precious stones, while a design of similar character was let into the sides at the blocks." This passage is almost certainly referring to the 'King Louis XIV' violin at the Smithsonian: http://americanhistory.si.edu/collections/search/object/nmah_763853 . They then make brief mention of Amati family instruments with painted decorations. My copy of "Stradivari" by Stewart Pollens only mentions in passing that ornamented instruments were a thing in Cremona and Brescia prior to Stradivari. The "Sradivarius" exhibit catalog put out by the Ashmolean Museum mentions that Nicolò Amati's work influenced "the high arching and hollow edgework" found in the 1683 'Cipriani Potter' Stradivarius, and leaves it at that. So I was a little surprised to find this photo of a violin attributed to Nicolò Amati, dated 17th century in the caption, located in the National Museum in Prague (I forgot to note the book title ). I guess this could be the 2nd decorated Nicolò Amati referred to by the Hill's in the passage above. What really surprised me was how strongly Stradivari's and Nicolò Amati's decorated instruments resemble each other. The concept is all laid out right here: Inlaid ornamentation - probably using black mastic - on the scroll and rib corners. Double purfling with (Ivory?) dots or diamonds set in between the two rows. So, who can we attribute this concept / vision of instrument ornamentation to? Stradivari's work was undoubtedly influenced by Nicolò, but the source didn't have a date for this instrument, and apparently Nicolò was still putting out new work after Stradivari had made his decorated instruments. Is this evidence of an active collaboration between both of them? Why isn't this instrument brought up as an example in every book passage pertaining to the Amati family's / Stradivari's decorated instruments? Or in passages alluding to circumstantial evidence of a possible Stradivari apprenticeship under Nicolò Amati (along with the 1666 'Serdet', similar forms, etc.)? Anyone care to venture a date for this instrument? I couldn't find it in Tarisio's 'Cozio Archive'. Is it even an Amati? (it wouldn't be the first falsely attributed instrument in older literature). Anyone willing to comment on shared / dissimilar stylistic traits, construction methods, evidence for or against collaboration or a possible apprenticeship between Stradivari and Amati are welcome to add as much as they want to this topic! Thanks! Joel
  11. UK based Amati Auctioneers are looking for a full time Specialist to join their team. Do you want to be paid a small fortune? Do you want to travel first class and stay in the world's finest hotels? Then don't apply for this job BUT if you want to join a small, fun and friendly team we would love to hear from you. You would need to have enough experience valuing instruments to work independently on valuation days in the UK and beyond and even after seeing dozens of Stradivari, circa 19th Century, made in Germany instruments would need to welcome clients with a big, cheerful smile, gently explain their instrument is a copy and talk to them about our Amati Affordable auctions. Having an understanding of how auctions work would be useful but not necessarily essential. Please email your CV and covering letter to sarah@amati.com, or message me with any questions you have.
  12. No longer relevant. This thread keeps getting mentioned out of context in other threads. Out of respect, I was going to take it down, but MN must not allow deleting old threads that one starts. So I am going to delete my comments. Thanks, everyone for your help and insight!
  13. From the album: Amati & Strad Violins at the NY Met Museum

    © Owned and Enforced by Martin Swan Esquire. Any reference to these images in any way will be met with a law suit. (Don't even look at them)

  14. English: https://www.google.com/culturalinstitute/collection/museo-del-violino?hl=en Italian: https://www.google.com/culturalinstitute/collection/museo-del-violino?hl=it
  15. What's the total amount of stringed instruments attributed to Andrea Amati that survive today? According to the Metropolitan Museum website "eight small and large violins, three violas, and five violoncellos are all that survive. Eight of these bear the coat of arms of Charles IX of France, and so were probably completed before the French king's death in 1574. (The authenticity of these instruments has recently been challenged, possibly making authenticated instruments by Andrea Amati even more scarce.)" According to a wikipedia article a set of instruments could have been made for the marriage of king Philip II of Spain with Elisabeth of Valois on 1559. Is that possibly true? Both Charles IX and Elisabeth of Valois were sons of Catherine de Medici and according to an article written by Roger Hargrave (refering to the Charles IX instruments only) "Catherine de Medici was a Florentine. She was the daughter of Lorenzo de Medici, Duke of Urbino. (The Medici family, being one of the most powerful political forces in Florence and Tuscany, not only married into many royal families of Europe, but financed them.) It is known that when Catherine married King Henry II of France, she brought with her musicians and dancers from Italy. Over the years she promoted poetry, music and movement at the French court and much of this was performed or inspired by Italian artists, notably her director of court festivals, Baltazarmi di Belgioso. Such people may have been responsible for ordering the instruments from Andrea."
  16. What's missing? Is it simply just age? Is it using the exact right timber? Perhaps it has something to do with arriving at the exact correct dimensions, for the material being used? does "it" have something to do with the varnish? If its age, then, we must all simply wait... right? How long? That some people do not think there's anything missing, usually, it's only with regard to their own work... and in those cases, yes, I have to wonder. Perhaps they're right, and there's nothing missing, and many of us are fooling ourselves somewhat, with regard to what we and the others around us make today - and how those things act compared to those specific instruments of old? Perhaps the very best players have been duped, along with the rest of us, and demand the "best" as a sort of "merit badge" and owning or playing a thing of great value? Not being intentionally dense here, but this question has been in the back of my mind for many years. And I've never been able to answer it to my own satisfaction. Perhaps it's simply my fate, to always wonder at the missing quality(s) that I think, perhaps, really does or do exist, and has, in the main, not been re-discovered and used or copied in "modern times"? What do others think about such matters? Do others bother to think or wonder much about this topic? If so, I am wondering about what thing or things that others might think is missing? Anything?
  17. I've been shopping for a year or so looking for a Baroque viola, and I finally stumbled onto one that I like. The thing is an enormous tenor (17.75"!), but the short neck makes it easily playable. It came to me from the shop of Gabriela Guadalajara by a luthier named Christopher Bollman working out of Brooklyn.
  18. Who made this Viola, could be Italian? maybe Amati? http://subefotos.com/ver/?655225819f0f98cf13e3d950e8c08f7bo.jpg Thank you very much for the help
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