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Looks like a copy based on the 'Baron Knoop'.

First: Compliments for the violin as a whole. The character is just dead on what a copy needs. You look at it and you know instantly what maker was copied. (Flash!)

Looking into the details you have also a very good feel for how the original was executed, making convincing looking tool marks where one would expect it. I only can applaud your beautiful work.

BUT (maybe you expect this comment as well)

judging from the photos I am not so happy with the appearance of the varnish. The red color is fairly well matched (even though the more typical color for Pietro Guarneri is yellow) but lacks the dark hue (if you really made the Baron Knoop as your model). And  in total it looks too shiny for my personal taste. Speaking so to let you let you you know what you can improve.

You displayed as well pictures of the surface of the back showing flames which chipped away. Though this looks pretty cool, my general view on Pietros work is that he was not that rough. (But maybe you have seen something like this, then just ignore my comment.)

But altogether you made a really nice copy!

 

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On 5/14/2018 at 4:38 AM, Andreas Preuss said:

Looks like a copy based on the 'Baron Knoop'.

First: Compliments for the violin as a whole. The character is just dead on what a copy needs. You look at it and you know instantly what maker was copied. (Flash!)

Looking into the details you have also a very good feel for how the original was executed, making convincing looking tool marks where one would expect it. I only can applaud your beautiful work.

BUT (maybe you expect this comment as well)

judging from the photos I am not so happy with the appearance of the varnish. The red color is fairly well matched (even though the more typical color for Pietro Guarneri is yellow) but lacks the dark hue (if you really made the Baron Knoop as your model). And  in total it looks too shiny for my personal taste. Speaking so to let you let you you know what you can improve.

You displayed as well pictures of the surface of the back showing flames which chipped away. Though this looks pretty cool, my general view on Pietros work is that he was not that rough. (But maybe you have seen something like this, then just ignore my comment.)

But altogether you made a really nice copy!

 

Hello to Japan, thanks for your comment. Good to know view through the eyes of somebody other! What you wrote about warnish ( too shiny), I agree this kind of surface does not match with true true copies.

But, on the other side, customer´s taste can be very diverse - if player will like dim surface, its very easy to do it. You also write P.Guarneri is typical yellow. It could be very hard and tricky try to get "right"  character of colour by photos. Unfortunatelly I have no any original P. Guarneri in my action radius so I used pictures. And if you check documents and pictures about P.Guarneri from Cremona Books, it looks more orange I think. If you have any ideas  for share,  how to improve it for next time, I am listening very clousely. 

And last thing about roughness - also have to agree with you, the P.Guarneri seems to me more delicate than I did. 

Actually, this was first test what I can do with one gouge only, and I enjoyed it very much! ( I always can say, this style can P.Guarneri made after big and long party with Del Gesú :-). ) 

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I see. If you are working from pictures this gives you some excuses for the varnish. 

I usually do some thorough research before I start to copy a new maker.  How did his life look like and what sort of pictures is available.

i think there is a splendid yellow sample in the Albert cooper book stamped Carlo Tononi!

I find your idea working with only one gouge just brilliant! Limiting our tools is a very intelligent way to get closer to the originals. Would you mind to show me a picture of the gouge you used?

did you use it for the entire instrument, top back and scroll?

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20 hours ago, Andreas Preuss said:

I see. If you are working from pictures this gives you some excuses for the varnish. 

I usually do some thorough research before I start to copy a new maker.  How did his life look like and what sort of pictures is available.

i think there is a splendid yellow sample in the Albert cooper book stamped Carlo Tononi!

I find your idea working with only one gouge just brilliant! Limiting our tools is a very intelligent way to get closer to the originals. Would you mind to show me a picture of the gouge you used?

did you use it for the entire instrument, top back and scroll?

I also try to get as much information as I am able to find about the maker what I copy, but I did not find some much about P.Guarneri, just general things.

To get info what kind of sources you use? Books ofcourse, some kind of archives in Italy? I will be really happy to get any more info about this maker.

Good to know I can check "Tononi´s" instrument, I will. For top and back I used these gouges ( attached photo ), for scroll I also used flat chisels for pegbox and some more scroll chisels. But think its cool to try make scroll with same tools, I go for it next time :-)...

 

DSCN0799.JPG

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Velice pěkná práce! ;) Pošlete i další fotografie toho, na čem právě pracujete.

Very nice work! Show us more photos of Your works.

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