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Sheila Graves' Violin Dealer Blog
Wound Tonica Violin E String
Wed, Aug 17 2011 05:32
| Tonica Violin Wound E String
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Your Question:
Great article about E strings, what about the Tonica wound E ?
My Answer:
Thank you for your inquiry. In my opinion the wound Tonica violin E string seems similar to the #130 wound Dominant E string. As far as wound E strings go the Tonica E is a high quality E string.
The wound E strings tend to wear out quicker than the plain steel E strings, because they are generally wound with aluminum, which is a soft metal, and don't have quite the brilliance or ring that a plain steel E string has.
If you need to tone down the E then a wound E can be a good choice. If you have problems with a whistling E, then the Pirastro No. 1 E or the Kaplan Solutions E would be a nice choice.
Every violin is different and there is no "best" E string. I'd say that if you like the sound of the wound Tonica E on your violin, then it's a great E string for you.
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| Tonica Violin E |
My Answer:
Thank you for your inquiry. In my opinion the wound Tonica violin E string seems similar to the #130 wound Dominant E string. As far as wound E strings go the Tonica E is a high quality E string.
The wound E strings tend to wear out quicker than the plain steel E strings, because they are generally wound with aluminum, which is a soft metal, and don't have quite the brilliance or ring that a plain steel E string has.
If you need to tone down the E then a wound E can be a good choice. If you have problems with a whistling E, then the Pirastro No. 1 E or the Kaplan Solutions E would be a nice choice.
Every violin is different and there is no "best" E string. I'd say that if you like the sound of the wound Tonica E on your violin, then it's a great E string for you.
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Old Cello: Antonius et Hieronimus Amati Label
Sun, Jul 24 2011 11:25
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Your Question:
I have an old Cello with label "Antonius et Hieronimus Fr. Amati Cremona Andre M. F. 1697". This cello is at least 200 years. The label is not original and it seems to have been replaced multiple times. This cello has dark reddish brown varnish with narrow maple figure and medium ample flame in a twice piece back with matching sides.
Measurements:
Body length: 747mm
Width upper bout: 338mm
Width middle bout: 229mm
Width lower bout: 427mm
Rib height: 112mm, 112.5mm
I would like to know the maker of this cello and its fair market value.
My answer:
Unfortunately, there are not enough details in the photos for me to give an accurate assessment. The varnish looks a bit odd to me. Has it had a shiny clear coat applied over the original varnish? The appraisal mentions that there is a neck graft, which does indeed, help date the instrument, and around 200 years old seems plausible.
Regarding fair market value, condition, maker (authenticity) and provenance are everything when it comes to the value of an instrument. In many appraisal situations the local market is taken into account. That's not always true for stringed instruments because they can go to one of the big auction houses, which opens up a worldwide market. Judging by the photos I would say that fair market value could be $8,000 - $10,000. This is just an educated guess and in your market you might be able to sell it for more or less. If the varnish has been altered this can also affect the value and drive the price down. Please keep in mind an object is only worth what someone is willing to pay for it. In addition, I am assuming there have been numerous repairs (because of the age of the cello) done to this instrument, which are not evident in the photos. Certain repairs (especially in the soundpost area, both top and back) can affect the value significantly. In many cases the work of known makers is recognizable but this depends on the experience of the appraiser. From the photos provided I am unable to venture a guess.
I would encourage you to take it to a violin dealer that you trust so that they can examine the instrument and give you an opinion.
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| Front of Cello |
Measurements:
Body length: 747mm
Width upper bout: 338mm
Width middle bout: 229mm
Width lower bout: 427mm
Rib height: 112mm, 112.5mm
I would like to know the maker of this cello and its fair market value.
My answer:
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| Scroll |
Regarding fair market value, condition, maker (authenticity) and provenance are everything when it comes to the value of an instrument. In many appraisal situations the local market is taken into account. That's not always true for stringed instruments because they can go to one of the big auction houses, which opens up a worldwide market. Judging by the photos I would say that fair market value could be $8,000 - $10,000. This is just an educated guess and in your market you might be able to sell it for more or less. If the varnish has been altered this can also affect the value and drive the price down. Please keep in mind an object is only worth what someone is willing to pay for it. In addition, I am assuming there have been numerous repairs (because of the age of the cello) done to this instrument, which are not evident in the photos. Certain repairs (especially in the soundpost area, both top and back) can affect the value significantly. In many cases the work of known makers is recognizable but this depends on the experience of the appraiser. From the photos provided I am unable to venture a guess.
I would encourage you to take it to a violin dealer that you trust so that they can examine the instrument and give you an opinion.
Lorenzo/Tomaso Carcassi Violin?
Sun, Jul 3 2011 07:17
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Your Question:
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| Carcassi Scroll |
Subject: bought this violin on e bay for 3000k is it really carcassi
I bought this instrument on e bay from a german dealer. It is labelled Carcassi, though I of course assume firstly it is not that at all. The label looks almost brand new. When I got it it had a great old italian sound (I know italian since I own a Giusseppe Gagliano.) I play in the Chicago Symphony and needed a cheap ravinia instrument. because the violin sounds so good I am willing to keep it. The link to pictures of the violin are here:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item@0222552468&ssPageNameSTRK:MEWNX:IT
Even if it is an old italian instrument it looks as if the violin has had a thick new coat of lacquer put on over a brown thick varnish. It looks terrible and scandalous that whoever did this to the violin but surprisingly the violin has a great sound and I would think just from the sound it would be an authentic Carcassi. I even like the sound over my Gagliano. Anyways, it would be nice to hear your opinion.
Regards,
CSO
first violinist
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item@0222552468&ssPageNameSTRK:MEWNX:IT
Even if it is an old italian instrument it looks as if the violin has had a thick new coat of lacquer put on over a brown thick varnish. It looks terrible and scandalous that whoever did this to the violin but surprisingly the violin has a great sound and I would think just from the sound it would be an authentic Carcassi. I even like the sound over my Gagliano. Anyways, it would be nice to hear your opinion.
Regards,
CSO
first violinist
My Answer:
Thank you for your inquiry. The eBay link has been disabled so, I am unable to view the instrument. I should mention that there is a dealer from Germany who sells lots of instruments on eBay, which are known to be fakes. I have no idea if this is that dealer or not. From personal experience I have found purchasing instruments or bows on eBay can be very risky. There are several violin experts in Chicago. I would suggest taking it in for an opinion. Here are a couple of recommendations, although you may have a violin dealer that you have a relationship with.
1. Jim Warren at Kenneth Warren and Son 312- 427-7475 or
2. John Becker at Bein & Fushi 312-663-0150
Both shops are within walking distance of Orchestra Hall, Chicago.
If the violin is truly a Lorenzo or Tomaso Carcassi it is worth quite a bit of money. Based on the opinion of an expert it would be worth it to have an appraisal and a certificate done. Generally appraisals and certificates are based on the value of the instrument and will cost quite a bit but would be worth doing because they will document the value and authenticity of the instrument. If the violin has had an outer coat of lacquer the value can be greatly effected. A good luthier should be able to let you know if this can safely be removed, whilst preserving the original varnish.
Please keep in mind that sound is subjective and an appraiser typically bases the value of an instrument on authenticity, provenance and condition. I hope that you find out this is a real Carcassi! If so, then you have made quite a purchase. In my opinion, if it is a genuine Carcassi, you might want to look for a lesser instrument for outdoor use at Ravinia. Please let me know what you find out. Best wishes!
Stradivari Label
Sun, Mar 27 2011 07:29
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| Antonio Stradivari |
Your Question:
Hi Sheila.
Just read your very interesting information on the Stradivarius. Have you ever seen a REAL lable from a Stradivarius, the ones that are on the net to me are all fake could not find a match after enlarging them. Thanks Paul.
My Answer:
Great question Paul. Yes, I have
seen several real Stradivari labels.
The photo on the right is a 1698 Stradivari. I gave a lecture on this
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| 1698 Stradivari |
instrument for a conference of the Suzuki Association of the Americas.
In addition I've had the opportunity to examine and play several
Stradivari violins.
Many of the labels on the net can be fake, however, they were made to
imitate originals. Stradivari used several different labels over the course
of his violin making career, which spanned seven decades. Stradivari
lived to the ripe age of 93 - passing in 1737. 93 years was nearly unheard
of in his era - due to plagues, famines and lack of medical care, most
were lucky to live to be 50!
Most authentic Stradivari instruments are labeled but some are not.
The label is the last thing an appraiser looks at because it is easy to insert
a fake label and it should not be relied upon to guarantee authenticity.
If you have a violin with a Stradivari label your best bet is to take it to a
violin dealer for an opinion.
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| Authentic Stradivari Label |
The Thrills of being a Violin Dealer
Fri, Mar 4 2011 05:33
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I have one of the best jobs there is. Being CEO of Simply Violin and being Sales Manager at House of Note (Minneapolis). We are blessed here in the Twin Cities as being one of the best cultural centers in the US.
I get the opportunity to meet and work with so many students and their teachers and to be honest it's not always easy - teachers can be very picky and quirky but I love the challenge.
I have the pleasure of working with two astounding young ladies, Sarah and Sadie Hamrin of Bemidji, Minnesota. Here are a few videos of these remarkable girls that I'd like to share.
I must admit that their instruments sound great - but really it's Sarah and Sadie that sound fantastic! It was a thrill for me to help them find their instruments and I am looking forward to helping them as they grow out of these and move on to larger instruments.
I hope you enjoy these videos:
Sarah and Sadie play fiddle duets. Sarah, at age 11, plays Tambourin by Hervelois and Sadie, at age 10, performs Symphonie Espagnole by Lalo with the Duluth Superior Symphony.
Sarah Hamrin
Sadie Hamrin
Viola 101 - Famous Violists that everyone should know!
William Primrose
b. 8.23.1904 d. 5.1.1982
b. 8.23.1904 d. 5.1.1982
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| William Primrose |
William Primrose studied with Eugene Ysaye and played in the London String Quartet and NBC Symphony Orchestra. He commissioned the Bartok Viola Concerto, which was unfinished at Bartok's death. Benjamin Britten composed Lachrymae for him. During his life he brought the viola repertoire into the public spotlight.
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| Lionel Tertis |
Lionel Tertis
b. 12.29.1876 d. 2.22.1975
For several years Lionel Tertis played a 17 1/8" Montagnana viola until he worked with British violin maker Arthur Richardson to create a more manageable 16 3/4" viola. The "Tertis" pattern viola was inspired by the wide pattern used by early Brescian makers. The result was a rather pear shaped viola with a wide lower bout which produces the tonal advantages of a large instrument.
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| Tertis Pattern Viola |
b. 8.25.1915 d. 9.27.1997
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| Walter Trampler |
Walter Trampler performed extensively in the United States and Europe. He taught at Juilliard, New England Conservatory, Yale School of Music and Boston University.
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| Milton Katims |
Milton Katims
b. 6.24.1909 d. 2.27.2006
Here we see Katims conduct the Seattle Symphony and perform the finale of the Mozart Symphonia Concertante with violinist Heinrich Szeryng.
Lillian Fuchs
b. 11.18.1901 d. 10.5.1995
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| Lillian Fuchs |
Lillian Fuchs taught at the Manhattan School of Music, Juilliard, Aspen Music Festival and founded the Blue Hill Music School. She was a noteworthy composer. Her compositions include Twelve Caprices, Fifteen Characteristic Studies, Sixteen Fantasy Etudes and Sonata Pastorale - all for viola.
She owned violas made by Matteo Gofriller and Gaspar DaSalo and played a lovely bow made by John Dodd. Lillian used a gut A string as she considered it sacrilege to use a steel A string on an old Italian instrument.
Karen Tuttle
b. 3.28.1920 d. 12.16.2010
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| Karen Tuttle |
In the early 1950's She was a member of the NBC Symphony Orchestra, which was highly unusual for a woman back then.
Karen was a frequent participant at the Marlboro and Casals Festivals. She had an extensive discography.
In 1994 she received the Artist Teacher Award presented by the American String Teacher's Association.
Pinchas Zukerman
b. 7.16.1948
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| Pinchas Zukerman |
Pinchas Zukerman studied at Juilliard under Ivan Galamian. He made his New York debut in 1963.
Zukerman's discography includes over 100 recordings. He has been nominated for a Grammy 21 times.
In addition to teaching he is also an accomplished conductor. He has conducted the English Chamber and St. Paul Chamber Orchestras.
Michael Tree
b. 1934
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| Michael Tree |
Tree has been a soloist with the Philadelphia, Los Angeles, New Jersey and Baltimore Orchestras.
Paul Neubauer
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| Paul Neubauer |
b. 1963
Paul Neubauer joined the New York Philharmonic in 1984 at the age of 21.
He has recorded with labels including Sony Classical, RCA, New World, Red Seal, Delos and Decca. Neubaurer has performed as a sololist with orchestras all over the world.
Nobuko Imai
b. 3.18.1943
Nobuko Imai was born in Tokyo and studied at Juilliard and Yale University. She has soloed with nearly every major orchestra including: the Berlin Philharmonic, Vienna Symphony, BBC Symphony, London Symphony, Royal Concertgebouw Orchestra, Boston Symphony and the Chicago Symphony Orchestra. She is a former member of the Vermeer Quartet.
In addition to being a soloist she is a very active chamber musician.
Geraldine Walther
b. 1951
Geraldine Walther is the former violist of the Takács Quartet. She studied at the Curtis Institute with Michael Tree and at the Manhattan School of Music with Lillian Fuchs. Walther won first prize at the 1979 William Primrose International Competition. (Any names sound familiar?)
She was principal violist with the San Francisco Symphony for 29 years and previously was the assistant principal violist with the Pittsburgh, Miami and Baltimore Symphonies. Currently she is teaching at the University of Colorado at Boulder.
Paul Neubauer joined the New York Philharmonic in 1984 at the age of 21.
He has recorded with labels including Sony Classical, RCA, New World, Red Seal, Delos and Decca. Neubaurer has performed as a sololist with orchestras all over the world.
Nobuko Imai
b. 3.18.1943
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| Nobuko Imai |
In addition to being a soloist she is a very active chamber musician.
Geraldine Walther
b. 1951
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| Geraldine Walther |
She was principal violist with the San Francisco Symphony for 29 years and previously was the assistant principal violist with the Pittsburgh, Miami and Baltimore Symphonies. Currently she is teaching at the University of Colorado at Boulder.
