Stentor Orchestral Stringed Instruments

Total Page:16

File Type:pdf, Size:1020Kb

Stentor Orchestral Stringed Instruments Stentor Orchestral Stringed Instruments Est. 1895 t Stentor we strongly believe that each child should have an opportunity to play a musical instrument and that music should be a part of everyone's A development throughout their life. We consider that all students should have access to musical instruments that are easily playable and responsive in sound. The instruments must be available at a reasonable cost so that all those who wish to learn to play are able to do so. We have worked over many years with teachers and educationalists to achieve these goals. Michael C. Doughty Managing Director The Stentor Student II Violin Outfit has won the Music Industries Association (MIA) award for the Best Bowed Instrument more than 20 times. The MIA is the UK trade association of the musical products industry and its awards are voted for by the membership. 1 Our history Our brand tentor has been known to orchestral stringed instrument he Stentor name is known for quality, consistency and players and teachers for more than 100 years. According reliability. Stentor violins, violas, cellos and basses lead to Greek mythology, Stentor was a herald with the students from their very first lesson up to professional S voice and volume of "one hundred other men together". T level. At Stentor, we recognise that the most important Edward C. Doughty, a Professor of Music and teacher of the violin, instrument for any musician is the one they start on and we are registered the name ‘Stentor’ in 1895 for gut violin strings and rosin. committed to provide the quality and affordability to ensure that players have the most enjoyable and rewarding experience. Teachers Since the 1960s, more than one million young musicians have begun and music services everywhere recommend Stentor instruments as their musical careers with a Stentor instrument. Many of these same they recognize the quality and value we offer. violinists and string players are now to be found in major orchestras and the teaching profession throughout the world. Stentor sells more orchestral stringed instruments than any other company internationally and offers unequalled value. Our quality tentor violins, violas, cellos and double basses are carved Our workshops from solid tonewoods, from the initial instrument shape to the finer details. Instruments are individually thicknessed for quality of sound. We carefully control the specification tentor violins, violas, cellos and basses are made in S and measurements of Stentor instruments at our own factory Stentor's own factory workshops in China, in much workshops to produce instruments that have the essential the same way that instruments were made in Europe characteristics of good tone and consistent quality control. On all for hundreds of years. Stentor was the first company S Stentor instruments, the bridge and soundpost are carefully fitted to in the world to establish a wholly owned violin factory workshop ensure the best playability. Many other instruments made without in China. Jiangsu province has a tradition of hand skills and these controls are unplayable, leading to disappointment and at the Stentor workshops we have been able to harness these discouragement. skills, making instruments in a traditional manner, under our own management, in pleasant * Some models not available in every market. working conditions. www.stentor-music.com 2 Stentor Student I Violin and Viola Outfits tentor Student I and II Violin and Viola Outfits are the main teaching instruments throughout the world’s schools. The Stentor Student I is the ideal entry-level S instrument for students up to middle grades. This is an instrument that offers reliable, consistent performance and good tone, enhancing the learning process for the student. It is hand carved from solid tonewoods with good quality rosewood pegs and fingerboard and inlaid purfling. The outfits include reliable wood bows and well-designed lightweight cases with integral shoulder rest and music pockets. Stentor Student I Violin Outfit (Model 1400) Stentor Student I Viola Outfit (Model 1038) • Hand carved from solid tonewoods • Hand carved from solid tonewoods • Solid, carved, spruce front • Solid, carved, spruce front • Solid, carved, maple back and ribs • Solid, carved, maple back and ribs • Solid, carved, maple neck • Solid, carved, maple neck • Mid brown varnish • Mid brown varnish • Blackened rosewood fingerboard • Blackened rosewood fingerboard • High quality dark rosewood pegs • High quality dark rosewood pegs • Alloy tailpiece with integral adjusters (1/32 and 1/64 sizes • Alloy tailpiece with integral adjusters have wood tailpiece with on-string adjusters) • High quality European branded strings • Good student wood bow with natural horsehair and ebony frog • Good student wood bow with natural horsehair and ebony frog • Lightweight case, blue integral cover with • Lightweight case with integral cover and carrying straps, full lid safety reflectors; fitted interior with music pocket and external shoulder rest pocket accessory pocket and two bow holders; carrying straps, full lid music pocket, Sizes: 12"(305mm), 13"(330mm), 14"(355mm), 15"(380mm), external shoulder rest pocket 151/2"(395mm), 16"(405mm) Sizes: 4/4, 7/8, 3/4, 1/2, 1/4, 1/8, 1/10, 1/16, 1/32, 1/64 "We have been selling the Stentor Student range of instruments for many years. It would be hard to find a violin with such consistency and quality of sound. In the light of Stentor’s continuing improvements, no other violin outfit offers such good value for money." Kevin George, Blackpool Violin Shop, England www.stentor-music.com 3 Stentor Student II Violin and Viola Outfits ost education advisors and music services recommend the Stentor Student II as the optimum teaching M instrument. The violin itself is of high quality, hand made from solid tonewoods in Stentor's unique workshop environment. All instruments have inlaid purfling. Pegs, nut and saddle are ebony and the violin is fitted with flexible core strings and alloy tailpiece with integral adjusters. Stentor Student II Violin Outfit (Model 1500) Stentor Student II Viola Outfit (Model 1505) • Hand carved from solid tonewoods • Hand carved from solid tonewoods, as per violin • Solid, carved, spruce front • Ebony fingerboard • Solid, carved, maple back and ribs • Ebony pegs • Solid, carved, maple neck • Alloy tailpiece with integral adjusters • Gold brown varnish • Teka pattern hardwood chin rest • Ebony fingerboard • High quality European branded strings • High quality ebony pegs • Good student wood bow with natural horsehair and full mounted • Alloy tailpiece with integral adjusters ebony frog • Teka pattern hardwood chin rest • Lightweight case with integral cover and carrying straps, full lid music pocket and external shoulder rest pocket • Rope core strings • Good student wood bow with natural horsehair Sizes: 12"(305mm), 13"(330mm), 14"(355mm), 15"(380mm), and full mounted ebony frog 151/2"(395mm), 16"(405mm), 161/2"(419mm) • Lightweight case, burgundy red integral cover with safety reflectors: fitted interior with Violas accessory pocket, two bow holders and case blanket; carrying straps, full lid music pocket, Violas are mostly known by their back measurement rather than by external shoulder rest pocket. fractional sizes. Many years ago Stentor introduced small size violas, after consultation with teachers over changing teaching methods. Sizes: 4/4, 3/4, 1/2, 1/4, 1/8, 1/10, 1/16 The Stentor Student II range is available in seven sizes down to 12"(305mm). These instruments have increased rib depth and correct dimensions of bass bar and thicknessing to produce a good 'viola' sound; this cannot be achieved by using a violin simply fitted with viola strings. www.stentor-music.com 4 Stentor Graduate Violin Outfit he Stentor Graduate is an excellent outfit with a strong, good quality bow T and a stylish oblong case. The violin is hand carved from solid tonewoods and features an attractive shaded satin finish. Stentor Graduate Violin Outfit (Model 1542) • Solid, carved, spruce front • Synthetic gut strings • Solid, carved, maple back and ribs • Strong wood bow with ebony frog • Solid, carved, maple neck and parisienne eye • Shaded satin light brown finish • Lightweight oblong case with integral cover and fitted interior • Ebony fingerboard and pegs with accessory pocket and two • Inlaid purfling bow holders, hygrometer, carrying • Teka pattern hardwood chin rest straps and case blanket Sizes: 4/4, 3/4, 1/2, 1/4, 1/8 Stentor Student Standard Violin Outfit he budgets of some education authorities only hardwood pegs and fingerboard. The outfit comes with allow purchase of basic entry-level instruments. an attractive lightweight case with brown integral cover T To answer this need, Stentor provides the and a good student wood bow. The violin is made from Stentor Student Standard. Unlike many other economy carved solid tonewoods and represents amazing value; level instruments, the violin is made to correct it should not be confused with low quality pressed measurements and specifications, with blackened timber instruments that have a short useable life. Stentor Student Standard Violin Outfit (Model 1018) • Solid tonewoods • Mid brown varnish • Blackened hardwood fingerboard • Blackened hardwood pegs • Alloy tailpiece with integral adjusters • Inlaid purfling • Wood bow with natural horsehair and ebony frog • Lightweight case with brown integral cover and carrying straps Sizes: 4/4, 3/4, 1/2, 1/4, 1/8, 1/10, 1/16 www.stentor-music.com 5 Stentor Conservatoire Violin and Viola Outfits
Recommended publications
  • A Violin by Jacobus Stainer 1679
    146 A VIOLIN BY JACOBUS STAINER 1679 Roger Hargrave examines the construction and workmanship of this violin, which still retains its original undisturbed baroque neck. Roger Hargrave se penche sur la construction et la the necessary experience. facon d'un violon Jacobus Stainer, 1679, qui conserve Earlier Füssen in the Allgäu might have been a con - son manche baroque original encore intact. sideration, however, the ravages of the thirty years Roger Hargrave untersucht den Bau and die war had left Füssen bereft of skilled instrument mak - Machart einer Violine von Jacobus Stainer, 1679, ers, most of whom had found refuge in Italy and deren ursprünglicher barocker Hals unversehrt in particular in Venice, Rome and Padua. erhalten ist. Experts seem to agree that Stainer learned Jacobus Stainer is one of the very few non - his trade in Italy. And although this agree - Italian violin makers whose life and work have ment mostly rests on analogies of Stainer's been seriously researched. work, it is also known (from his writings) that he was familiar with the language. Furthermore, There have been a number of important publi - there are several oral traditions relating to an cations, most of which have drawn upon the Italian apprenticeship. As might be expected scholarly research work of the late Professor however these oral traditions are contra - Dr. Walter Senn. However, in spite of dictory, on the one hand saying that Senn's magnificent efforts, several im - Stainer worked in Venice and on the portant questions remain unanswered, other that he worked in Cremona. the exact dates of Stainer's birth and death, whether he used both written and Although Senn seems to have been printed labels, and undoubtedly the most convinced that Stainer .
    [Show full text]
  • The Working Methods of Guarneri Del Gesů and Their Influence Upon His
    45 The Working Methods of Guarneri del Gesù and their Influence upon his Stylistic Development Text and Illustrations by Roger Graham Hargrave Please take time to read this warning! Although the greatest care has been taken while compiling this site it almost certainly contains many mistakes. As such its contents should be treated with extreme caution. Neither I nor my fellow contributors can accept responsibility for any losses resulting from information or opin - ions, new or old, which are reproduced here. Some of the ideas and information have already been superseded by subsequent research and de - velopment. (I have attempted to included a bibliography for further information on such pieces) In spite of this I believe that these articles are still of considerable use. For copyright or other practical reasons it has not been possible to reproduce all the illustrations. I have included the text for the series of posters that I created for the Strad magazine. While these posters are all still available, with one exception, they have been reproduced without the original accompanying text. The Labels mentions an early form of Del Gesù label, 98 later re - jected by the Hills as spurious. 99 The strongest evi - Before closing the body of the instrument, Del dence for its existence is found in the earlier Gesù fixed his label on the inside of the back, beneath notebooks of Count Cozio Di Salabue, who mentions the bass soundhole and roughly parallel to the centre four violins by the younger Giuseppe, all labelled and line. The labels which remain in their original posi - dated, from the period 1727 to 1730.
    [Show full text]
  • A History of Mandolin Construction
    1 - Mandolin History Chapter 1 - A History of Mandolin Construction here is a considerable amount written about the history of the mandolin, but littleT that looks at the way the instrument e marvellous has been built, rather than how it has been 16 string ullinger played, across the 300 years or so of its mandolin from 1925 existence. photo courtesy of ose interested in the classical mandolin ony ingham, ondon have tended to concentrate on the European bowlback mandolin with scant regard to the past century of American carved instruments. Similarly many American writers don’t pay great attention to anything that happened before Orville Gibson, so this introductory chapter is an attempt to give equal weight to developments on both sides of the Atlantic and to see the story of the mandolin as one of continuing evolution with the odd revolutionary change along the way. e history of the mandolin is not of a straightforward, lineal development, but one which intertwines with the stories of guitars, lutes and other stringed instruments over the past 1000 years. e formal, musicological definition of a (usually called the Neapolitan mandolin); mandolin is that of a chordophone of the instruments with a flat soundboard and short-necked lute family with four double back (sometimes known as a Portuguese courses of metal strings tuned g’-d’-a”-e”. style); and those with a carved soundboard ese are fixed to the end of the body using and back as developed by the Gibson a floating bridge and with a string length of company a century ago.
    [Show full text]
  • Open Model Specification Sheet As
    Model name: A-48 Archive of guitar models Guitar type: 6-string Body shape: Auditorium Top: AAA Engleman spruce Back & Sides: Macassar ebony (Style 48) Neck: Cedro Soundhole rosette: Premium Design with two woods and abalone purfling Headstock: Slotted headstock Headstock veneer: Ebony Body bindings: Yew Headstock bindings: Yew Fingerboard bindings: Yew Body purfling: Abalone purfling on soundboard Fingerboard: Ebony Headstock inlays: White MOP Lakewood logo Fingerboard inlays: none Heel cap: Ebony Nut: Bone Neck width at nut: 46 mm (1.81 inch) Neck width at body-neck-joint: 57 mm (2.24 inch) Neck thickness: 21mm to 23mm (0.83 to 0.91 inch) Neck profile: C-shape Body-neck-joint: at 12th fret Scale length: 650 mm (25.6 inch) Frets: 19 frets Bridge: Ebony Bridge saddle: Bone String spacing at bridge: 57mm (2.24 inch) Bridge pins: Ebony with pearl dot Tuners: Schaller old style gold Tuner buttons: Gold Body finish: High-gloss finish Neck finish: Satin-gloss, filled grain End pin: Lakewood end pin (matching bridge pins) Strings: Elixir Nanoweb Phosphorbronze .012 - .053 (light) Case: Hiscox Lakewood hard case Recommended retail price: $ 0 incl. 0.0% VAT You've had a Lakewood guitar for a long time and now you cannot find it within our guitar range? Maybe you are luckier here. This is a list of older guitar models that have been taken out of the series program. Most of them are still available via our customshop. This Guitar was part of the Premium range from 2005 until 2006. Specification sheet A-48 - Copyright 2021 by Lakewood Guitars.
    [Show full text]
  • 1002775354-Alcorn.Pdf
    3119 A STUDY OF STYLE AND INFLUENCE IN THE EARLY SCHOOLS OF VIOLIN MAKING CIRCA 1540 TO CIRCA 1800 THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Allison A. Alcorn, B.Mus. Denton, Texas December, 1987 Alcorn, Allison A., A Study of Style and Influence in the Ear School of Violin Making circa 1540 to circa 1800. Master of Music (Musicology), December 1987, 172 pp., 2 tables, 31 figures, bibliography, 52 titles. Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authenti- cation, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tra- dition of the craft rather than on the individual maker. o Copyright by Allison A. Alcorn TABLE OF CONTENTS Page LIST OF FIGURES.... ............. ........viii LIST OF TABLES. ................ ... x Chapter I. INTRODUCTION . .............. *.. 1 Problems in Descriptive Terminology 3 The Origin of the Violin.......
    [Show full text]
  • Fine Musical Instruments
    2018 ND OMPANY 22 NSTRUMENTS C I & CTOBER , O ONDAY USICAL ESTENBAUM M K M INE . F KESTENBAUM & COMPANY FINE MUSICAL INSTRUMENTS • MONDAY, OCTOBER 22ND, 2018 t K ESTENBAUM & COMPANY ! . Auctioneers of Rare Books, Collectibles and Fine Art Lot 7 Catalogue of FINE MUSICAL INSTRUMENTS . To be Offered for Sale by Auction Monday, 22nd October, 2018 at 1:00 pm precisely ❧ Viewing Beforehand: Wednesday, 17th October - 10:00 am - 6:00 pm Thursday, 18th October - 10:00 am - 6:00 pm Friday, 19th October - 10:00 am - 3:00 pm Saturday, 20th October - NO VIEWING AVAILABLE Sunday, 21st October - 10:00 am - 7:00 pm No Viewing on the Day of Sale ❧ This Sale may be referred to as: “Adam” Sale Number Seventy-Eight Illustrated Catalogues: $40 (US) * $50 (Overseas) KESTENBAUM & COMPANY . 242 West 30th Street, 12th Floor, New York, NY 10001 • Tel: 212 366-1197 • Fax: 212 366-1368 E-mail: [email protected] • World Wide Web Site: www.Kestenbaum.net K ESTENBAUM & COMPANY! . Chairman: Daniel E. Kestenbaum Operations Manager: Zushye L.J. Kestenbaum Client Relations: Sandra E. Rapoport, Esq. Fine Musical Instruments (Specialist): David Bonsey Fine Musical Instruments (Administrator): Adam Rosenbaum Judaica & Hebraica: Rabbi Eliezer Katzman Rabbi Dovid Kamenetsky (consultant) Auctioneer: Mark O. Howald (NYCDCA license no. 1460490) Israel Office: Massye H. Kestenbaum (Tel Aviv) ❧ Front Cover Illustration: See Lot 98 Back Cover Illustration: See Lot 37 List of prices realized will be posted on our website following the sale www.kestenbaum.net — FOREWORD — fter nearly 25 years focusing upon auctions of Rare Books, Manuscripts and Judaica, Kestenbaum & Company is delighted to A present our inaugural auction of Fine Musical Instruments.
    [Show full text]
  • Acoustic Guitar Catalog Jean Larrivée Guitars USA Inc
    Jean Larrivée Guitars USA Inc. Acoustic Guitar Catalog www.larrivee.com | Email: [email protected] 1070 Yarnell Place Oxnard, CA USA 93033-2454 Jean Larrivée Guitars USA Inc. Larrivée Custom Shop For over 50 years, Larrivée has been searching the globe and sourcing the finest materials available for our guitars. It is the best of the best that ends up on our custom shop series. Whether it’s our topline 72 Presentation model or a complete custom build, our world-class craftsmanship results in a peerless instrument of extraordinary sound and beauty. Your imagination is our limit. For a full list of custom options and inlays, please see our custom option price list found on our website and visit our inlay section. Jean Larrivée Guitars USA Inc. 03 Recording Series We build our 03 Recording Series using only all-solid Indian Rosewood or African Khaya Mahogany. Just like our top-end models, this series features our hand-fit dovetail neck joint for superior fit and sustain. Available in satin finish and all body styles, the 03 Series is our most versatile line played by pros and beginners alike. Whether it’s front stage at the coliseum, local jam night at the pub, or just picking & grinning on the couch, this is a series built for all players. SPECS INCLUDE • Rosewood or Mahogany • Sitka Spruce Top • Mahogany Neck • Ebony Fingerboard & Bridge • Satin Finish • Herringbone Rosette • Maple Trim • Available In All Body Styles Jean Larrivée Guitars USA Inc. 40 Legacy Series The 40 Series features our revolutionized parabolic hybrid bracing combination. Utilizing non- symmetrical scalloped lateral cross-bracing, the 40 Series allows even further vibration of the soundboard, resulting in a much greater dynamic and controlled bass response.
    [Show full text]
  • Specification Sheet M-53 Edition 2021 - Copyright 2021 by Lakewood Guitars
    Model name: M-53 Edition 2021 Edition 2021 Guitar type: 6-string Body shape: Grand Concert Top: AAA European bear claw spruce Back & Sides: Cocobolo (Style 53) Neck: Cedro Cutaway: soft (round) Soundhole rosette: Premium Design with two woods and abalone purfling Headstock: Flat headstock Headstock veneer: Matching wood of back & sides (Cocobolo) Body bindings: Muninga Headstock bindings: Muninga Fingerboard bindings: Muninga Bridge bindings: Muninga Body purfling: Abalone purfling on soundboard on cutaway-guitars Headstock purfling: Abalone purfling Fingerboard purfling: Abalone purfling Bridge purflings: Abalone purfling Fingerboard: Ebony Headstock inlays: Lakewood logo in abalone Fingerboard inlays: Circle, Abalone 3-17th fret Heel cap: Ebony Nut: Bone Neck width at nut: 45 mm (1.77 inch) Neck width at body-neck-joint: 57 mm (2.24 inch) Neck thickness: 21mm to 23mm (0.83 to 0.91 inch) Neck profile: C-shape Body-neck-joint: at 14th fret Scale length: 650 mm (25.6 inch) Frets: 20 frets Bridge: Ebony Bridge saddle: Bone String spacing at bridge: 57mm (2.24 inch) Bridge pins: Snakewood with pearl dot Pickup system: L.R. Baggs Anthem Tuners: Lakewood ProTune I chrome Tuner buttons: Snakewood Body finish: High-gloss finish Neck finish: Satin-gloss, filled grain Colors & dyes body: Wine, translucent Colors & dyes on neck: Wine, translucent End pin: Lakewood end pin (matching bridge pins) + Second strap button: Like end pin, normal position Strings: Elixir Nanoweb Phosphorbronze .012 - .053 (light) Case: Hiscox Lakewood hard case Recommended retail price: $ 6,485 incl. 0.0% VAT Every day a new Customshop guitar is built in our workshop.
    [Show full text]
  • Nicola Amati & the 'Alard'
    10 Nicola Amati & the ‘Alard’ ROGER HARGRAVE CONTINUES HIS SERIES ON THE AMATI FAMILY WITH AN EXPLORATION OF THE CRAFT OF NICOLA, GRANDSON OF ANDREA, AND AN EXAMINATION OF THE FAMOUS ‘ALARD’ VIOLIN As regular readers will recall, I promised three ar - of roses for Nicola. In fact, he must have been a fairly ticles on the Amati family of violin makers. The first, tough old bird, judging by the few details left to us. which was published in THE STRAD, December 1991, Although almost nothing definite is known about his covered the work of Andrea Amati, the founder of the early life, it is assumed that Nicola was apprenticed to Amati dynasty. The second article was to have been his father and uncle at an early age. Unquestionably, about Andrea's two sons, known as the Brothers Nicola was a superbly trained craftsman and by the Amati. Finally, I was to have covered the work of 1620s his hand was clearly the dominant one in the Nicola 1 Amati, the grandson of Andrea. Unfortu - production at the Amati workshop. nately, for various technical reasons it has been nec - essary to rearrange the natural order of these Two outstanding instruments in the Soviet Union articles. I hope that the reader will excuse this. Collection Exhibition, which took‑ place in Cremona in 1987, demonstrate this admirably. These violins, which bear the labels of Antonio and Hieronymus, re - spectively dated 1628 and 1629, are clearly the work Nicola Amati of Nicola. A comparison of the outlines also shows that these instruments were probably made on the same mould as that of the `Alard' Amati 1649, illus - Towards the end of the 16th century, the fame of trated here.
    [Show full text]
  • PART II Measuring a 1716 Violin
    PART II Chapter 5 Measuring a 1716 violin In the summer months of 1816 Count Cozio di Salabue made detailed measurements of some of his instruments. On 29th May 1816 he measured a 1716 Stradivari violin: 1816, 29 mago, Milo. forma (P.G.) misure del mio piu bello e grande V[iolin]o di Ant[oni]o Stradivari del 1716. Ver[ni]ce rossa, prese col Compasso compresi li profili del Coperchio.1 1816, 29th May, Milan, mould (P.G.)2 measurements of my most beautiful and large violin of Antonio Stradivari of 1716. Red varnish, taken with dividers including the profiles [purfling] of the front plate. Giuseppe Baretti’s 1831 Italian-English dictionary translates compasso as ‘a pair of compasses’ and compasso matematico as ‘dividers’. Since Count Cozio is not likely to have wanted to draw circles, it is reasonable to interpret his compasso as indicating a large pair of dividers, possibly with legs which were jointed at their mid-point so that the lower halves could be pivoted inwards towards the vertical. Although the Count’s dividers were sufficiently large to measure across the purfling-to-purfling distance on the lower bout of a violin (c205mm) they were evidently not large enough to allow a single measurement of the full length of a violin’s body length (c356mm) which is why the Count establishes the body-length measurement for an instrument in stages (see later in this chapter).3 It makes very good sense for Count Cozio to have defined the outer limits of his measurements as exact points on the front plate – namely, the outer line of the purfling – leaving the small width of border- wood lying to the outside of the purfling to be measured separately with small callipers or, simply, a rule(r).
    [Show full text]
  • GUITARS at AUCTION FEBRUARY 27 Dear Guitar Collector
    GUITARS AT AUCTION FEBRUARY 27 Dear Guitar Collector: On this disc are images of the 284 guitars currently in this Auction plus an GUITARS additional 82 lots of collectible amps, music awards and other related items all being sold on Saturday, February 27. The Auction is being divided into two sessions AT AUCTION FEBRUARY 27 starting at 2pm and 6pm (all East Coast time.) Session I, contains an extraordinary array of fine and exciting instruments starting with Lot 200 on this disc. The majority of lots in this Auction are being sold without minimum reserve. AUCTION Saturday, February 27 The event is being held “live” at New York City’s Bohemian National Hall, a great Session I – 2pm: Commencing with Lot #200 setting at 321 East 73rd Street in Manhattan. For those unable to attend in person, Session II – 6pm: Commencing with Lot #400 the event is being conducted on two “bidding platforms”… liveauctioneers. com and invaluable.com. For those who so wish, telephone bidding can easily PUBLIC PREVIEW February 25 & 26 be arranged by contacting us. All the auction items will be on preview display Noon to 8pm (each day) Thursday and Friday, February 25 and 26, from 12 noon to 8 pm each day. LOCATION Bohemian National Hall 321 East 73rd Street Please note that this disc only contains photographic images of the items along New York, NY with their lot headings. For example, the heading for Lot 422 is 1936 D’Angelico ONLINE BIDDING Liveauctioneers.com Style A. Descriptions, condition reports and estimates do not appear on this disc.
    [Show full text]
  • Webermandolins.Com
    WeberMandolins.com PRICES SUBJECT TO CHANGE - Confirmation Recommended Mandolin Family Carved Top A Style Mandolin Family Instruments Carved Top f Style Mandolin Family Instruments Retail Retail Mandolin $1,659 Mandolin $2,499 Mandola $1,859 Mandola $2,799 Gallatin A Gallatin F Octave $2,259 Octave $3,299 Mandocello $2,659 Mandocello $3,799 Mandolin $1,999 Mandolin $3,299 Mandola $2,199 Mandola $3,699 Bitterroot A Bitterroot F Octave $2,599 Octave $4,199 Mandocello $2,999 Mandocello $4,699 Mandolin $2,599 Mandolin $4,799 Mandola $2,799 Mandola $4,999 Black Ice Black Ice Octave $3,199 Octave $5,499 Mandocello $3,599 Mandocello $5,999 Mandolin $2,599 Mandolin $4,799 Mandola $2,799 Mandola $4,999 Yellowstone A Yellowstone F Octave $3,199 Octave $5,499 Mandocello $3,599 Mandocello $5,999 Mandolin $3,499 Mandolin $5,799 Mandola $3,699 Mandola $5,999 Rawhide Rawhide Octave $4,099 Octave $6,499 Mandocello $4,499 Mandocello $6,999 Mandolin $3,499 Mandolin $5,799 Mandola $3,699 Mandola $5,999 Custom Vintage A Custom Vintage F Octave $4,099 Octave $6,499 Mandocello $4,499 Mandocello $6,999 Mandolin $3,499 Mandolin $6,999 Mandola $3,699 Fern F Mandola $7,199 Fern A Octave $4,099 (Varnish is standard) Octave $7,699 Mandocello $4,499 Mandocello $8,199 All instruments include hardshell case WeberMandolins.com Mandolin Family Customization Options Mandolin Family Instruments that are a One-Piece Cast Tailpieces Retail little different Stainless Steel “W” or Universal $80 Retail Nickel Plated Bronze “W” or Universal $100 Mandolin $3,699 Gold Plated Bronze
    [Show full text]