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Opinions on finishing of this violin bridge?


hnryhouuu

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23 hours ago, JacksonMaberry said:

The manufacturer stamp is for the ego of the player.

The shop/maker stamp is for the ego of the luthier.

I'm personally careful making general or black & white judgements of those who stamp their bridges. I do stamp them.  Yes, I'm proud of my work as I put quite a bit of effort into the bridges I cut... even well before carving them (I have blanks made for me from wood I select).  Sure there is some ego involved...  in the same way that a a maker is prompted to label their instruments.  It's also good marketing, leads to connections, leads to discussions with other luthiers (which may well be supportive or might even be critical). If I see a colleague's bridge on a fiddle when it comes in, I will occasionally call them to discuss work they accomplished on it, or in an effort to help give the player what they were pleased with in the past.

As the bridge is not a permanent installation on any instrument, stamping it is not as intrusive or invasive as signing or otherwise interiors when restorations are performed. Not a fan of that, though marking and dating alterations or the replacement of a part  is occasionally anaccepted  practice in some non-instrument conservation fields.

22 hours ago, David Burgess said:

For at least 20 years now, my bridges have been finished with no stamps. Can't see why I would advertise for an accessory manufacturer.
Or it might be an ego issue. :(

I'd say it's probably been longer than that, unless you stamped them for a short period 20 years ago. It's not a stretch to assume the maker on the label installed the bridge on their own instrument, and I recognize your work. Just saw a 1990 'cello with your  bridge on it.  I assume it's the one you first cut for it and it's doing fine.

15 hours ago, GeorgeH said:

I bought a George Gemünder Sr. violin a few years ago that had a bridge carved and branded by a very well-known luthier at least 30 years earlier. The bridge is in perfect shape, and I was able to contact him about the violin. It had been in his maintenance care for most of that time, and he knew it well. He told me that he had reset the neck, and it was in very good condition and had been well cared for.

So I am happy he brands his bridges, and is proud of his work.

I believe that was me you contacted?  I very much enjoyed that, and was happy to know the fiddle has an appreciative home.  Thank you.

 

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4 hours ago, Jeffrey Holmes said:

I'd say it's probably been longer than that, unless you stamped them for a short period 20 years ago. It's not a stretch to assume the maker on the label installed the bridge on their own instrument, and I recognize your work. Just saw a 1990 'cello with your  bridge on it.  I assume it's the one you first cut for it and it's doing fine.

How embarrassing that some in the trade may know my work history better than I do! :(

But that's nothing new. Back in the Weisshaar shop, Bruce Carlson went over every high-value instrument that came into the shop with a fine-toothed comb, taking notes. My priority was getting these instruments fixed, and back out the door, since that was what both the dealers and players most highly prioritized.

The ultimate consequence is that Bruce is a high-value instrument identification expert, while I am not. No fair! :lol:

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