ou plutôt finesse....
Luigi
Baroque
-
luigi
- Messages : 1123
- Inscription : sam. 13 févr. 2010 14:28
- Pratique du violon : 10
- Sexe : Homme
- Been thanked : 1 time
Re: Baroque
Je trouve qu'il ressemble beaucoup à celui-ci ( Jean Louvet 1946)
http://tarisio.com/pages/maker/maker_ph ... et&citykw=
Luigi
http://tarisio.com/pages/maker/maker_ph ... et&citykw=
Luigi
-
luigi
- Messages : 1123
- Inscription : sam. 13 févr. 2010 14:28
- Pratique du violon : 10
- Sexe : Homme
- Been thanked : 1 time
Re: Baroque
des photos de l'intérieur...j'ai l'impression de voir une tête de clou ?
http://www.kizoa.fr/diaporama/d1861410k ... 2/baroque2
Luigi
http://www.kizoa.fr/diaporama/d1861410k ... 2/baroque2
Luigi
-
jépadçon
- Généreux donateur
- Messages : 2277
- Inscription : mar. 15 avr. 2008 16:24
- Has thanked : 185 times
- Been thanked : 218 times
Re: Baroque
Par les non-réponses, tu peux peut-être comprendre le non-intérêt de ce violon.
Il est à toi? tu veux l´acheter? que nous vaut cet entêtement?
-
luigi
- Messages : 1123
- Inscription : sam. 13 févr. 2010 14:28
- Pratique du violon : 10
- Sexe : Homme
- Been thanked : 1 time
Re: Baroque
Pour info :
" SALOMON, JEAN BAPTISTE DESHAYES
Worked at Paris, 1730-1771. Dean of the Violin Maker’s Guild, 1760. Workshop sign: “A Sainte Cecile”. Variable in design and workmanship. Early instruments generally somewhat Amatese in outline with the Boquay medium arching. Execution of scrolls, sound-holes and other details incomparably superior to those of his later instruments, though in no instance reaching a particular high standard of refinement. Later instruments of broader and flatter arching, sometimes reminiscent of Chappuy, others more or less original, but mostly of carelessly conceived design and workmanship often mediocre. Some instruments fashioned with medium arching while the backs are prone to flatness. Others have the arching carried almost to the edges. Sound-holes of several styles almost invariably placed too far apart for any captivation of the eye. Usually acquitted himself better when engaged on the scroll, and often nicely figured material. Purfling never really cleanly and neatly done. Some instruments plentifully wooded, others just the reverse. Not particularly careful in his choice of materials, perhaps excepting a few specimens. Belly wood sometimes of medium grain at top and bottom, grading to and from fine vein at the centre; also specimens of hard material which gives the tone an unsympathetic quality. Wood for backs frequently of indistinct or nonuniform flame, although some examples are furnished with more handsomely figured material. Some instances known where the flame at the upper part of the back has an upward gradient, but at the centre and lower part faulty growth causes this flame to be straight across. One instrument has been preserved at Paris which has transverse instead of the usual horizontal joining, the upper portion having the figure of the material going north to south, while the lower is from west to east. Remarkable as a curiosity, equally remarkable for foolishness. Texture of varnish also varies, the best being the rather soft reddish brown on early productions. Others have a light golden brown, less supple, or a yellow (obviously spirit) quite cold looking and resinous. Tonal quality naturally varies with the inequalities enumerated. One notable exception in America (dated 1765), said to be of wondrous tone, and realised 500 dollars. Violas usually body length of 15 inches, well set forth, and often an advance upon the violins. Generally broad and fairly flat modelling of small figure material for backs and golden brown varnish. Stepped to his greatest heights in a few of his ’cellos, instruments most anatomically accurate, rather large size, well varnished and have a tone not better producible from any antecedent French instrument. Others of smaller proportions correspondingly less meritorious in material, workmanship and tone. Several viol-d’amours with especially well carved heads of different fancies....."
Luigi
" SALOMON, JEAN BAPTISTE DESHAYES
Worked at Paris, 1730-1771. Dean of the Violin Maker’s Guild, 1760. Workshop sign: “A Sainte Cecile”. Variable in design and workmanship. Early instruments generally somewhat Amatese in outline with the Boquay medium arching. Execution of scrolls, sound-holes and other details incomparably superior to those of his later instruments, though in no instance reaching a particular high standard of refinement. Later instruments of broader and flatter arching, sometimes reminiscent of Chappuy, others more or less original, but mostly of carelessly conceived design and workmanship often mediocre. Some instruments fashioned with medium arching while the backs are prone to flatness. Others have the arching carried almost to the edges. Sound-holes of several styles almost invariably placed too far apart for any captivation of the eye. Usually acquitted himself better when engaged on the scroll, and often nicely figured material. Purfling never really cleanly and neatly done. Some instruments plentifully wooded, others just the reverse. Not particularly careful in his choice of materials, perhaps excepting a few specimens. Belly wood sometimes of medium grain at top and bottom, grading to and from fine vein at the centre; also specimens of hard material which gives the tone an unsympathetic quality. Wood for backs frequently of indistinct or nonuniform flame, although some examples are furnished with more handsomely figured material. Some instances known where the flame at the upper part of the back has an upward gradient, but at the centre and lower part faulty growth causes this flame to be straight across. One instrument has been preserved at Paris which has transverse instead of the usual horizontal joining, the upper portion having the figure of the material going north to south, while the lower is from west to east. Remarkable as a curiosity, equally remarkable for foolishness. Texture of varnish also varies, the best being the rather soft reddish brown on early productions. Others have a light golden brown, less supple, or a yellow (obviously spirit) quite cold looking and resinous. Tonal quality naturally varies with the inequalities enumerated. One notable exception in America (dated 1765), said to be of wondrous tone, and realised 500 dollars. Violas usually body length of 15 inches, well set forth, and often an advance upon the violins. Generally broad and fairly flat modelling of small figure material for backs and golden brown varnish. Stepped to his greatest heights in a few of his ’cellos, instruments most anatomically accurate, rather large size, well varnished and have a tone not better producible from any antecedent French instrument. Others of smaller proportions correspondingly less meritorious in material, workmanship and tone. Several viol-d’amours with especially well carved heads of different fancies....."
Luigi