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Found 3 results

  1. Lot 202 on the Tarisio June sale is the Ruger that was exposed at the "treasure trove" in Cremona, and was on "extended loan" to the town since 2008. https://tarisio.com/auctions/auction/lot/?csid=2198978560&cpid=3395305472&filter_key= It is sad to think that this beauty will leave its cradle, and remain concealed from now on. By the way, the back of this violin has always intrigued me, being in four parts of uneven but utterly handsome curl. I would say temptatively : "pearwood". (on other pics the back appears of a much more reddish hue) This denomination covers a broad range of tree species, from the true pears(Pyrus spp.), up to the service trees (Sorbus spp.) etc. I also heard that the cremonese makers used the mediterranean hawthorn (Crataegus azarolus). In this specific case, could it be Azarolus ? another clue might be the uneven grain, hesitating between tangential and radial plane, as could be expected from a ridged, gnarled trunk.. Any thoughts about that ?
  2. 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
  3. English: https://www.google.com/culturalinstitute/collection/museo-del-violino?hl=en Italian: https://www.google.com/culturalinstitute/collection/museo-del-violino?hl=it