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Found 17 results

  1. I'd love to try making my own violin purfling , but I'm having trouble sourcing pearwood for the black strips. I have plenty of poplar on hand, though. Would it be feasible to use poplar for both the white center strip as well as the outer black strips? Can poplar be dyed black well using the same method as the one that is used on pearwood? Would there be any major drawbacks to using only poplar? Thanks in advance for any advice!
  2. Hello my father was a luthier since 1970 - he passed two years ago and we recently decided to sell his collection of supplies, tone wood, ribs, a couple of violin and cello scrolls, forms, etc I will attach a few pics to start and if you have questions or an interest please fire away!! He also had a terrco marlin wood duplicator that came in handy for him in his mid 80's to get the job done quicker! The tone wood collection is mostly for violins maple and spruce - dated as far back at the early 70's and up until 1999 - there is a few pieces for a cello as well many violin forms one cello many ribs, wood blocks, purfling and much more thanks! Audrey
  3. Hi there! I recently purchased a well-played violin with a rich, crisp sound because I fell in love with it. Approximate age is 1850-1890s, but it is unlabelled. After my own research, I believe it to be from the Salzkammergut region, however, it does have inlaid purfling. I did notice that there seems to be some evidence of painted purfling as well, but it appears to be painted over top parts of the inlaid purfling, so I'm at a loss of why that would be. The F-holes are quite large at the bottom and very serpentine in shape. They appear to be hand carved since they don't seem very uniform with each other. They are also very close to the edge of the instrument. There is no label or evidence of there ever being one (no old glue or anything) but it does have the initials "CE" carved into the scroll. The scroll is grafted and pegbox repaired. Overall appearance wise, it seems very well played by a skilled player with a lot of ware around the body where a person would often be in 5th position and beyond. To me, it sounds incredible and it is a joy to play. I'm not very skilled but it has made me play several hours per day the last few weeks just because of how enjoyable it is. I'm not looking to sell it. I am just looking for the provenance of it. I don't care if it's worth a lot or nothing at all because the joy I get from it is worth more than money can buy. Any thoughts as to its origin? Thank you so much for any information you might have. - Antonia
  4. I bought this at a local auction yesterday, and after examining it at home I realized that it was not what I had thought it was. What is unusual about it (to me) is that the edges are broad and the purfling was inlaid at top of the edge. The fluting along the edges is quite shallow. Also, the corners are pointier than I am used to seeing in Markneukirchen wares. There are blocks in all corners, and the linings don’t appear to be inserted into the blocks. The scroll fluting does not go the "bitter end” of the throat, but stops a few mm before. The scroll is petite and attractive. The bottom rib is two peices. LOB is 360mm. The only label is a repair label from c. 1917. I did not pay much for it, but I want to decide whether to spend anything more to get it repaired and set-up. So, is this another fiddle by an autodidact? Or another variation of “the usual?”
  5. Hello! I have had this violin for a little while and I would like to know more about it. On the inside it says “Tone ____ and Repaired by A.W Van Dorsten, No. 542 Maker Dec. 1916” I also am really interested in the design on the back, and would like to know more about who could have put the design on it, and if it was common to have that design. Thank you!
  6. Hi here! i was thinking on doing some shell purfking in a violín, maybe using zipflex abalone. Anyone had experience with shell purfling? Many thanks, Juan
  7. 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 !
  8. Long ago I purchased 100 black white black purfling strips, where the black was fiber. I think it was from International or Dictum. Does anyone know where I can get them in bulk, as opposed to 6 bucks for 3? Thanks. jbv
  9. Hello all. I'm a novice maker without a guide and am learning about making the purfling channel by many trials, even more errors and baptism by fire! I'm not very good at making the channel by hand ... definitely an art and am in awe of those who skillfully make them! I've been investigating using a Dremel since I have a small one and have seen Michael Darnton's jig, but since I don't have the "pencil" Dremel accessory, I made a jig based on the one I've seen at Stewmac, but adapted for violin C bouts. I ordered two carbide router bits (1.2mm) from a violin making supply outlet and waited patiently for them to arrive 10 days later. Started practicing and found out all about the dangers of slight movements and how unforgiving it is. With practice I got better. Just as I was feeling more confident with my skills, I broke one of the two bits I ordered. So now I'm trying to figure out what I did wrong and would appreciate your thoughts. Cutting in maple and I may have wedged the bit slightly as I moved with the grain from the practice C bout corner to lower bout. To my horror I broke the bit. Freud would say I knew I would break it, hence I bought two! I'm using a carbide bit and I've seen a few threads saying carbide bits were too fragile. I don't know about the speed I should use either - running at full tilt at 35,000 rpm. Maybe I fed the bit too fast. Could anyone recommend what material I should be looking at for the bits, speed to set the dremel, where they've purchased theirs and any tips they might want to share? Greatly appreciated! Pete
  10. What would be recommended for fixing purfling that has not come completely detached but is clearly loose in the purfling channel on an old violin?
  11. So a friend of mine bought this violin at a small auction and got it for $70. He then decided he didn't really want it and gave it to me a few months later. Lucky Me! Well I restored it by removing the black patch of rosin build up and taking it to a luthier to have a few seams re-glued. After the restorations, the violin plays great and has a set of dominant strings on it which respond very well. (And yes, I know the images display D'addario prelude strings. I purchased the dominants a few months after these pictures were taken). I then had a conversation with my local luthier trying to determine the origin of this violin (The inside label says "Antonius Stradiuarius Cremonensis Faciebat Anno 1734" which gives me absolutely no info about this at all other than its a copy of a strad, just like millions of other violins on this planet). He told me that his first impression was that it was Chinese because of the varnish but because of the purflng, it seems French. However, the arching around the outside doesn't swoop down then back up like a typical French violin. We went on and talked about different features this violin has that pointed in completely different directions on the globe regarding its origin. I guess I'm just curious because this violin is not like any one I've seen before. Any opinions about anything would be greatly appreciated. Extra info: It has all 4 corner blocks (this is nothing like a mass-produced instrument from the 20's) There have been no cracks/repairs besides re-gluing seams The varnish looks exactly the same in real life as it does in the pictures (So there's nothing to worry about with poor color reproduction) If you want any higher res or cropped images to focus on certain details (Or even images of something I didn't take pictures of) feel free to ask, I can take pictures any time. I always feel determined to get the best picture of what I'm told to take a picture of so no need to worry about anything being out of focus, blurry, or having poor lighting.
  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. Ok, so I'm cutting the slots for the purfling on my second violin and I wasn't happy with the amount of glue seep-age I got on my first. Seemed to make the varnish not want to stick to the edges. What technique do you use to glue purfling into its slot?
  14. There's a big difference in price when buying pre-made violin purfling for one instrument from a known supply company and buying 100 pieces from China for anywhere from $12 up. I'd like to have a batch on hand without paying an arm and a leg and I'm tempted to buy the inexpensive stuff. Are the inexpensive bulk lots a bad deal or not? And if they are, can anyone direct me to a good deal?
  15. OK......so I was reading a nice article on by John Dilworth on Andrea Amati. He was writing about how lovely the scroll was and how it was superfluous . It got me to thinking about a violin/viola design that only includes that which contributes to the sound, ergonomics, preservation, and stability of an instrument. I was thinking of this in a number of ways: 1. Simpler instruments for students. 2. Better Ergonomics 3. Easier Building 4. Improved Sound 5. Lighter Weight What would you leave on, what would you leave off. Think of it as a streamlined Art Deco violin, or minimalist, or anything you want. just include only what you think is really important. While we are at it how about bows. I am a big fan of Gilles Nehr and his Tete Beche bows, he even has a new, really beautiful titanium tip in the works. I would have given anything for Glasser to leave the sharp point off student bows when I was teaching roomfuls of 4th graders every day. I realize we all love the damn things just the way they are, but I love to deconstruct and simplify things sometimes. Also almost any deviation from the norm does effect sound, just change chin rests ! So that can be a real problem
  16. I'm planning on viewing and possibly purchasing the violin pictured and am curious on whether anyone can tell me anything about it. The seller told me over the phone that there's a number written inside, but no label, and he can't see the number clearly. He found it in his deceased parents' closet when he was cleaning out the house and doesn't know anything about it. I thought the purfling work was unique and might be a clue in identifying it. Of course, the sound will make all the difference on whether I buy it (he wants $150), but it's always nice to know more about an instrument. The photos are from his online listing. Can anyone help me? Thanks!
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