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Showing results for tags 'antiquing'.
Found 4 results
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Hi All, I’m privileged to be the owner of a Tres Amigos violin (2013, Strad Model) made by Ryan Soltis, Antoine Nedelec, and Jeff Phillips for Julie Reed-Yeboah’s contemporary violin exhibition in New York. Every year (theoretically, ) the trio of first-class makers go through rotations of who does what. In the case of my current violin, the scroll/varnish is by Ryan, the back and ribs are by Antoine, and the top is by Jeff. After they completed three Strad models, of which mine is the second, they moved on to Del Gesu models. When the time for the second DG model came around, which would be the twin to mine in terms of who made what, I had expressed a lot of interest in the fiddle as a companion to my current Strad. Fast forward to 2020 and here we are with the fiddle completed! When I asked the trio if they would be okay with me posting the pictures, the condition was that I give Antoine a mohawk in one of them. VOILA.
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Would anyone care to recommend specific green and purple pigments for antiquing? Lots of variants out there on the Kremer site...
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I was doing a routine inspection of my violin today and got to wondering about something... hoping someome more knowledgeable can clear up my curiosity... My violin has these black marks all around the top edge of the ribs where the top plate is glued on. But not anywhere else. Is this discolored glue residue? Varnish? Lead? Just was looking closer at things and was wondering what those marks were from in my violin's past. Here is a photo Thanks for clearing up my curiosity!
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There are so many threads about antiquing that it is likely someone already has answered this question. But finding that answer would be like finding a sable brush hair on the back of a cat. Some of what we see on older instruments and newer antiqued ones is the accumulation of varnish, polish, body oil, and/or schmutz. My question is whether these accumulations can be replicated on a new instrument without full-blown antiquing. Example: Rasp marks -- or what appear to be rasp marks -- are visible on the edges of the da Salo tenor viola at the NMM. It doesn't hurt that da Salo's edges are relatively flat so the marks are not obscured by the edge curves we see on Cremonese instruments. Much of the varnish color has been worn off the edge which also helps the darker rasp marks stand out. I am considering using more of golden brown varnish on a da Salo viola, but still would like to gently enhance the visibility of the tool marks -- ideally without the highlighting that probably come with antiquing. [NOTE: This is not an antiquing v. fresh varnish thread, so let's not go there. Again.] Any strategies out there?
