As I recall - Edlinger routinely manufactured "conversions" of "earlier
Tiffenbrucker" instruments.
RT
----- Original Message -----
From: "Alexander Batov" <alexander.ba...@vihuelademano.com>
To: "lute-cs.dartmouth.edu" <lute@cs.dartmouth.edu>
Sent: Saturday, February 07, 2009 9:01 AM
Subject: [LUTE] Re: was trench fill now exact replica
On and on and on it goes ... I'm afraid I've got no time to engage in
empty rhetoric here; if only I had been a historian ... Anyway, why not
roll up your sleeves and take up some practical steps in sorting out all
those fakes that no one knows about and then report us back on your
findings, that would be great. And I'll keep my eyes peeled, whatever that
means historically.
Alexander
----- Original Message -----
From: "David Tayler" <vidan...@sbcglobal.net>
To: "lute-cs.dartmouth.edu" <lute@cs.dartmouth.edu>
Sent: Saturday, February 07, 2009 9:37 AM
Subject: [LUTE] Re: was trench fill now exact replica
I'm not talking about the copies we know about, I'm talking about the
copies we don't know about. There's a difference.
The ones we don't know about--and they are everywhere--are the good ones.
The idea that the guilds were strictly enforced in quite
charming--have you looked at court records from the time?
Seems like everyone was either a spy or a snitch.
You can of course claim that there are no unknown forgeries--but
history would not be on your side.
Historical instruments are rarely tested with the specialized tools
used in paintings--and even ifthere were, there is less information
available about the materials.
Strads and some other fiddles being the exception. It's a question of
economics.
The other reason s that musea rarely devalue their collections by
tossing out the "opera dubia"--it also makes them look silly when
they admit they have been showcasing a fake.
As far as daft, well--I like to think of myself as an historian,
Historically, daft was the same word as deft.
dt
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