Here is a small violin restoration that I did for one of my clients a few months back. His father played this violin for him when he was just a young boy. He held on to this old violin for many years in unplayable condition to remind him of his father.
He never thought that it was possible to have it restored due to the poor condition that it was in when he first brought it into the shop to have me look it over.
I was able to share the good news that I would be able to restore the instrument back to playable condition without too much difficulty. Now I’m not saying that this was an easy violin repair by any means, but definitely a restoration that could be done!
After a few long months of some tedious gluing, cleating cracks, new upper and lower blocks, new pegs, new fingerboard, etc. This violin was ready for some final set up work to make it sing once again after all of these years.
I am happy to say that my client now gets to enjoy his father’s old violin and he plays the instrument on the regular!
Collin-Mezin was the son of Charles J.B. Collin dit Mezin pere. His father was originally from Mirecourt but established himself in Paris and trained his son Collin-Mezin took over the family workshop after his father’s death in 1923.
Charles J.B. Collin was one of the leading French makers of the 19th century, Joseph Joachim played on one of his violins. He also won medals at three Paris competitions.
He generally made Amati, Guarneri and Stradivari models. He was also a bow maker. Collin-Mezin was fortunate enough to train under his father; most of his instruments were made for his father and followed his model.
Eventually he took on a more personal style of his own. This is a fine example of Collin-Mezin fils work. He lived from 1870-1934.
Buchstetter worked out of Stadtamhof, Regensberg Germany circa. 1730-1780. He was the son of Christoff Buchstetter, a well-regarded maker. Buchstetter mostly delivered Stradivari models and was a fine craftsman.
His varnish was often opaque and thin, a very common use for the place and time. Buchstetter generally speaking always used a fine selection of materials. His Stradivari f-holes were well carved with subtle fluting at the lower wings.
The scrolls were known to be very distinctive with a long neck and deep/open throat.
This particular Buchstetter is a copy. It is a small viola measuring 15 3/8”. It has a violoncello style scroll with a named carved into the back near the button.
This has been the month of the cello! I had the opportunity to add a few more to the Fegley Collection this week. Quality cellos for sale under $5,000 are getting hard to find these days. With all of the inexpensive imports coming in I am happy that I can still purchase most of my inventory privately through players or retired players.
I added two German cellos to my inventory this week.
These cellos are in fine condition and are now available for trial! I also have an older American made cello by Joseph Kaye, a maker originally from Reading and made his way out to Pittsburgh where most of his instruments were a high quality and played in the local Symphony.
If you are looking for quality cellos for sale that won’t break the bank Fegley’s is the place to come…
G.B. Guadagnini is regarded as the greatest violin maker of the second half of the 18th Century; his original style produced some of the best instruments in history. A great reason to copy the famous violin maker! Little is known about the training of Guadagnini.
There are insufficient amounts of information to connect the dots with but we will leave his training for a later discussion… Guadagnini wasn’t like most makers who practice their craft in the same location for their careers. G.B. Guadagnini started making instruments in Piacenza, before moving to Milan in 1749 following the great cellist Carlo Ferrari.
He learned much from Ferrari while adjusting his cellos molds. Guadagnini next followed Ferrari to Parma where he continued his craft for 12 more years. Finally, Guadagnini moved to Turin in 1771 where he met the famous violin collector Count Cozio.
Cozio later became his patron, and was responsible for the commission of some of Guadagnini’s finest works. The Count acquired the remaining articles from the Stradivari workshop from the maker’s grandson Paolo around 1774. Which rewarded Guadagnini with the opportunity to acquaint himself with the great master’s work first hand.
After this opportunity Guadagnini adopted Stradivari’s models more frequently and his labels reflect that period. I love copying Guadagnini’s work, his wood selection is unparalleled and his varnish is a brilliant red.
The Nurnberger family workshop created a great number of high-quality bows throughout the late 19th and 20th centuries. Many of the firms bows are featured in the Tourte model making this style bow a signature of the workshop.
There were various makers of the family who used the family’s brand including Franz Albert Jr., his son Carl Albert, grandson Karl Albert and the great-grandson Christian Albert. While these makers used the firms’ stamp they can be distinguished from one another with great expertise.
They are often described as a bow made by the Nurnberger family/workshop.
Adolf C. Schuster was a bow maker who worked in Markneukirchen around the 1920’s. He lived from 1890-1947. He was a maker of fine bows with silver or gold mounts. He often is known for imitating famous makers of his time such as; Tubbs, Voirin and Tourte.
This bow is stamped “Adolf C. Schuster” the bow is also stamped on the frog.
This E.M. Penzel viola bow is in fine condition. Hand crafted by master Emil Max Penzel in southwestern Germany. Penzel studied with the famous maker H.R. Pfretzschner in Markneukirchen, Saxony for ten years before opening his own workshop in the Vogtland village of Erlbach. Penzel bows are known for a responsive, powerful sound.
This is a fine example of E.M. Penzels bows. Emil Penzel lived from (1887-1953).
A fine modern violin by Petko Zlatev Stoinov, this violin was made in 2002. Stoinov started his work as a luthier in 1993 in the town of Kazaniak, Bulgaria. He is a member of The Violin Society of America and makes fine musical stringed instruments.
He started as a woodworker in a yacht studio before he fell in love with violin making collaborating with Paolo Vitorio, later working with other Italian and American Luthiers.
This Petko Stoinov is a fine example of the makers work. Although it was made in 2002 it is in mint condition and was well cared for by the original owner. Made with a high-grade wood materials provided by the mountain ranges of Bulgaria, leaving his instruments with excellent acoustic qualities.
The back is fine two-piece maple with the flames slanting slightly downwards towards the edges of the instrument. The ribs and scroll match the back piece of maple making this Stoinov violin pleasing to the eye to match its excellent tonal qualities.
This Petko Stoinov violin is now available for trial at our shop.
Another year flies by and now we find that it is already 2016. I admit that while I love the holiday seasons I always look forward to getting back to “normal life”. Starting new adventures and getting back to work (where I belong). This is going to be another exciting year at Fegleys and we will be adding a Piano Tuning and Rebuilding page to the website.
It is only natural to start with the best of the best in the piano world, a Steinway & Sons “baby” grand piano. This particular Steinway piano is a 1951 Steinway & Sons Model S. It measures 5’ 1” long and has resided with just one owner, sitting in the corner of her living room for over 50 years before she passed away in 2006… This Steinway “baby” grand piano was played on daily and was well maintained and cared for before it fell into the hands of a certified piano tuner. That certified piano tuner happens to be my older brother Jason D. McDevitt, who also graduated from the North Bennet Street School.
This Steinway Model S was in amazing condition before he took ownership, but he took it one step further and decided to give the “baby” grand piano a complete rebuild. He rebuilt the plate, refinished the soundboard, and installed all new strings along with new damper felt, making this piano a joy to play! But that wasn’t enough; he took it one step further and polished the outside case of the piano.
Taking a dull/cloudy finish and returning it to the original highly polished finish that Steinway & Sons pianos are known for.
This Steinway “baby” grand piano would not only look great in a church, concert hall or another living room where space is a premium but would fill the room with a rich, powerful sound of a much larger piano. The asking price for this rebuilt one-owner 1951 Steinway & Sons Model S “baby” grand piano is $18,999 and is available to play by appointment.