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Found 17 results

  1. Hi there! I asked for an advise regardind strings for baroque instrument on the other thread, so why not show, what for. Old, several times repaired German violin in Baroque setting. Please make your guess regarding both time (range) of manufacture and the maker (workshop). What to add to the pictures: scroll fluting goes right to the throat, back seam is cleated. But this is part of one repair, I think. Funny scroll - right eye is higher than left if you look en face. Purfling partly replaced and thus wonky in some places. Labels:repair label from 1884, remnants of another label and 2 branded letters. And again, sorry for the quality of photos...
  2. Hi there! I remember some time ago said Mr Saunders that the shelf-life of unused gut strings may be very long. But how do they wear (in use)? Do they lose their playing properties, and go "off", as would synthetics, or do they just occasionally snap? How often does one change plain gut on a baroque violin, etc? How are Chordas in that respect?
  3. I have long thought that pegs today are much more sticky outy than they used to be. Images of early instruments show the pegs closer to the peg box and I'm thinking the collar butted up against the outer wall of the box and provided extra friction to prevent slipping. Glenn
  4. A Strange old violin with great arching and finishing plus lovely varnish. The back length is 35 cm. The neck appears to be tipped forward with a wedge at the heel to increase height at bridge. the scroll is small. The pine on the front seems to be folded over rather than cracked through. It does seem to have some quality and definitely feels like it would play. It does have ink written makers name Amati by ???
  5. I paid only a few dollars for this when I was looking to try out a "baroque violin." Eventually got a good period instrument and this one now decorates a shelf at mom's. No corner blocks and at one time had painted purfling. So I don't expect this to be anything marginally decent. But I've always liked the looks of it. Just for the chance of an exception, I thought I'd ask Can anyone shed some light on the where, when, and why of this violin? Thank you !
  6. I've wanted one of these since Eric Meyer posted them. The Batman mute! And one other Baroque mute. Prototype in Cherry. Rosewood to next. Pattern to follow.
  7. A colleague asked me for pictures of old cello bridges. Especially they're looking for bridges made by Mantegazza. I've already sent them this link http://www.violinbridges.co.uk Since I couldn't help them further I'm asking forum members for help. Thanks in advance
  8. This is a reboot of a previous thread I started in the Scroll. (link: http://www.maestronet.com/forum/index.php?/topic/334412-early-violaviol-da-gamba-purchased/) I purchased this instrument recently, and I'm interested in restoring it, as it seems a worthy instrument. It has seen moderate to heavy intervention in the past, so previous owners of the instrument have felt the same. Linked below are photographs I've taken. If anyone wants to see something in specific, I'll do what I can! Here's a link to my complete Photobucket album, with 24 pictures. http://s1348.photobucket.com/user/andrewmcinnes/library/Viol%20da%20Gamba Dimensions are as follows: Body is 520mm or 20 1/2" Overall is 850 mm or 33 1/2" Rib height is 55mm or 2 1/4"
  9. Hello all, I bought this instrument from eBay and received it the other day. http://www.ebay.com/itm/Rare-early-Viola-John-Collins-2-pic-back-/162005324704 For starters, I apologise for not posting images, but I need to make ten posts beforehand. Nine to go. Once I am permitted to post images, I have a large number of high-quality photographs of the instrument, which I will then post. I intend to restore this instrument, as I believe it is worthy. However, I would very much appreciate any and all observations about it, especially about provenience and appropriate restoration. Thank you in advance!
  10. Hey friends, As I've mentioned before, my fiancée wants to do graduate work in early violin. At it stands, her two instruments are both modern - at her request I did put a set of pirastro chorda on her second fiddle, but of course that's even less than a half measure. I understand that some great classical instruments have been 'rehabilitated' in that they have been refit with straight necks, etc. I am interested in trying a conversion on an inexpensive factory instrument of some kind and would very much appreciate any suggestions you maestros and maestras might have. As it stands, these are the things I think I would need to do, but am sure I'm missing things. -make a new neck and modify the fingerboard to suit -modify the bass bar -adjust graduation, since I'll have the top off anyway -new bridge and soundpost, tailpiece & gut -gut strings Thanks for your time! Best always, Jackson
  11. Today my clients of a chamber orchestra asked me for baroque bows of middle range and reasonable price from an european dealer or maker. Will appreciate if you share your experience testing and dealing with such a bows. Thank you all in advance. Stepan Demirdjian
  12. hello, i have a violin or viola made by mathais eberl. it has his name and also says lauten and eeigenmacher in salzburg anno 1673. the bow says bausett or baunett i think. they are in a large leather tube shaped case. any thoughts or opinions? thanks so much for the help.
  13. That painting is a portrait of Jean-Philippe Rameau from 1728. He is holding a violin and seems to be painted with good detail so I was wondering if something could be tell of the violin...italian? french? Markie? Taking into account he (Rameau) was already a proud music composer it's not strange that he could be holding a "nice" violin when asked to pose for the painter, is it?
  14. 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.
  15. I am planning to make a curved bow for my daughter to use with her cello. While I am more than willing to make it all up from scratch, I would love any details that might prevent me from making too many false starts. I have not seen any curved bows in person and the pictures I have seen have a hand over the critical parts. I am planning this along the lines of a normal cello bow, with these modifications: Riven osage for the camlen, it is hard, flexible and durable. The frog's tongue will be several degrees from parallel to the stick with the spread wedged in the ferrule to have a rounded back in so as not to dig into the hairs as the hairs are bent over strings. I also plan for the frog to have an upper and lower section that can toggle open giving extra slack to the hairs when not in use. In any case I will have supplies to try and try again as I attempt to work this out. As I try to keep the weight down, I would not be too surprised if I ruin a few sticks and frogs. Until I get a functional one made, I will not be throwing any inlay onto the inevitable fire. Bob
  16. Hi all, This is my latest one. Baroque violin based on a Stradivari model. With a veneered fingerboard and tailpiece. More pictures of this violin here: http://www.thomasbrenneur.com/en/gallery/8-baroque-instrumentsbows/192-baroque-violin-stradivari-model Enjoy !
  17. How were decorative rosettes for viols and violins made? Over the past week or so I have scoured the internet for information on this subject, but found nothing. I know the ornamental parchment roses on early guitars and lutes are made separately and installed later. On violin and viol family instruments (I'm thinking about bass instruments in particular) were they carved directly into the plate or were they a separate piece that was inlaid into a simple hole cut into the top? I have found several lovely examples on viols on www.orpheon.org. I very much appreciate any insight anyone could give, as I said, I haven't found any information about these things online.
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