[分享]部分意大利琴称重结果

Maker (location) Date Description and Fittings Weight (grams)
Andrea Amati (Cremona, Italy 1574 7/8 violin; no chin rest, all else ebony 346
Andrea Amati (Cremona, Italy) 1577 No chin rest, all else ebony 353
Hieronymus Amati (Cremona, Italy) 1609 7/8 violin; no chin rest, all else ebony 322
Nicolo Amati (Cremona, Italy) 1628 No chin rest, all else boxwood 381
Nicolo Amati (Cremona, Italy) 1654 “Brookings”; Complete- all ebony 419.7
Antonio Bagatella (Padua, Italy) — Complete- ebony pegs & chin rest, boxwood tp 482
Anselmo Bellosio (Venice, Italy) c1780 No chin rest, all else boxwood 357
Carlo Bergonzi (Cremona, Italy) 1732 “Tarisio”; No chin rest, all else boxwood 355
M.I. Brandstaetter (Vienna, Austria) 1824 Original condition, no chin rest, all else ebony 393
Brescian School (Brescia, Italy) c1630 No chin rest, baroque setup; boxwood pegs & ebony tp 330
Brescian School (Brescia, Italy) c1640 No chin rest, boxwood pegs & ebony tp 402
Giofredo Cappa (Saluzzo, Italy) — Complete- all ebony 436
Tomaso Carcassi (Florence, Italy) 1759 No chin rest, ebony pegs & tp 380
Marco A. Cerin (Venice, Italy) 1792 Original baroque condition; no chin rest, ebony pegs & tp 358
Marco A. Cerin (Venice, Italy) 1792 No chin rest, baroque set up, boxwood pegs 356.2
G.B. Ceruti (Cremona, Italy) c1800 No chin rest, ebony pegs & tp 410
Fran?ois Chanot (Paris, France) 1819 Guitar shaped violin; no chin rest, boxwood pegs 444
Pietro A. Dalla Costa (Treviso, Italy) 1749 No chin rest, all else boxwood 358
Michele Deconet (Venice, Italy) c1748 Birdseye maple back and sides-Complete-all boxwood 410.25
Luigi Fabris (Venice, Italy) 1854 Complete, rosewood except boxwood chin rest 462.5
Luigi Fabris (Venice, Italy) 1885 Complete, all boxwood 436
G.B. Gabrielli (Florence, Italy) — Complete- all boxwood 426.2
G.B. Gabrielli (Florence, Italy) 1761 No chin rest 373.6
G.B. Gabrielli (Florence, Italy) — Stripped, no accessories 306.5
Allesandro Gagliano (Naples, Italy) 1696 Complete- all boxwood 418.2
Ferdinando Gagliano (Naples, Italy) 1784 No chin rest, all else ebony 370
Joseph Gagliano (Naples, Italy) 1791 No chin rest, rosewood pegs, boxwood tp 362
Francesco Gobetti (Venice, Italy) 1702 Complete, all ebony 402
Francesco Gobetti (Venice, Italy) 1717 No chin rest, rosewood pegs & tp 390.5
Matteo Gofriller (Venice, Italy) c1700 Complete- all boxwood 444.7
Matteo Gofriller (Venice, Italy) 1715 Complete- all boxwood 394.7
Matteo Gofriller (Venice, Italy) c1700 Complete- ebony chin rest & tp, rosewood pegs 421
G.B. Guadagnini (Italy) — Complete- all ebony 397
Peter Guarneri (Venice, Italy) c1730 Complete- all boxwood 412.5
Peter Guarneri (Venice, Italy) 1732 No chin rest, all else boxwood 371.5
Antonio Gragnani (Livorno, Italy) 1788 Original baroque condition, no chin rest, ebony fittings 354
Guarneri del Gesú (Cremona, Italy) 1733 “Kreisler”; Complete- all ebony 434.8
J.G. Hamm (Markneukirchen, Ger) 1796 No chin rest; baroque set up, all else ebony 398
Mathias Hornsteiner (Mittenwald, Ger) 1803 No chin rest; all else ebony 367
George Klotz II (Mittenwald, Ger) 1780 No chin rest; all else ebony 395
Carlo F. Landolfi (Milan, Italy) c1760 No chin rest; all else ebony 394
Giovanni P. Maggini (Brescia, Italy) 1623 No chin rest; all else ebony 398
Johann G. Meisel (Klingenthal, Ger) 1735 No chin rest; all else ebony 405
Dom. Montagnana (Venice, Italy) c1715 Complete- all boxwood 403.75
Dom. Montagnana (Venice, Italy) 1742 Complete- boxwood pegs & tp, rosewood chin rest 448
Dom. Montagnana (Venice, Italy) 1731 Complete- all rosewood 463.8
Pietro G. Rogeri (Brescia, Italy) 1715 3/4 violin; no chin rest, baroque set up, ebony fittings 316
Gorgio Seraphin (Venice, Italy) c1750 Complete all boxwood 428.2
Santo Seraphin (Venice, Italy) c1730 Complete, all rosewood 423.2
Santo Seraphin (Venice, Italy) 1732 Complete- all boxwood 435
Santo Seraphin (Venice, Italy) 1735 Complete- all boxwood except ebony chin rest 432.6
Santo Seraphin (Venice, Italy) 1746 No chin rest- all else boxwood 376
Jacob Stainer (Absam, Italy) 1668 Original baroque condition; no chin rest, ebony fittings 319
Antonio Stradivari (Cremona, Italy) 1694 “Harrison”; no chin rest, rosewood pegs, ebony tp 386
Antonio Stradivari (Cremona, Italy) 1698 “Lark”; Complete- all boxwood 415
Antonio Stradivari (Cremona, Italy) 1699 “Castlebarco”; Complete-boxwood pegs & tp, ebony chin rest 448.5
Antonio Stradivari (Cremona, Italy) 1700 “Ward”; Complete-all boxwood 427.7
Antonio Stradivari (Cremona, Italy) 1704 “Betts”; Complete-all boxwood 429.3
Carlo A. Testore (Milan, Italy) 1759 Complete- all ebony 453
Carlo A. Testore (Milan, Italy) 1748 No chin rest, all else ebony 385
Carlo Tononi (Venice, Italy) 1718 Complete- all ebony 429.7
Carlo Tononi (Venice, Italy) — Complete- all rosewood except boxwood chin rest 412.8
Carlo Tononi (Venice, Italy) — All boxwood except rosewood chin rest 404
Johann G. Voigt (Markneukirchen, Ger) 1788 No chin rest; all else boxwood 391
Voller Brothers (London, England) 1890 No chin rest; all else boxwood 386
J.B.Vuillaume (Paris, France) 1871 No chin rest; all else boxwood 378

有问题可以和他们联系： Weights of Violin, Viola, and Cello By John R. Waddle1 and Jeffrey S. Loen2 1John R. Waddle Violins, Inc. Saint Paul, Minnesota Wadstar@skypoint.com 2Kenmore Violins Kenmore, Washington Casjeditor@aol.com

几百年了,当初能有多重?

好像不少是不带腮托，但确实很轻。不知意大利新琴平均重量大约是多少？

以下是引用明月山人在2012-5-11 11:36:00的发言：
好像不少是不带腮托，但确实很轻。不知意大利新琴平均重量大约是多少？

没有意大利新琴数据，倒是有美国新琴的

Contemporary (USA) — Complete- all boxwood 454
Contemporary (USA) — Complete- all boxwood 434
Contemporary (USA) — Complete- all rosewood 460
Contemporary (USA) — No chinrest- otherwise all boxwood 381
Contemporary (USA) — Complete- all ebony 384.5
Contemporary (USA) — Complete- all boxwood 451
Contemporary (USA) — Complete- all rosewood 446.5
Contemporary (USA) — Complete- all boxwood 423.5
Contemporary (USA) — Complete- all boxwood 438
Contemporary (USA) — Complete- all ebony 457
Contemporary (USA) — Complete- all boxwood 401
Contemporary (USA) — Complete- all rosewood 462.5
Contemporary (USA) — Complete- all rosewood 457
Contemporary (USA) — Complete- all almond wood 445

我的琴不带腮托，大概在450克左右，新琴来说这个是很正常的重量。

好象没有多大意义.

以下是引用经典提琴在2012-5-11 14:24:00的发言：
好象没有多大意义.

那些买过1000+克琴等了N多年，G弦依然干瘪如初的人，恐怕会和你的想法不同。

手头没有精确到克的天平，只好先用体重秤试一下。我上去是65.3公斤，在加上琴是66公斤，难道这琴有700克重？

以下是引用明月山人在2012-5-12 2:00:00的发言：
手头没有精确到克的天平，只好先用体重秤试一下。我上去是65.3公斤，在加上琴是66公斤，难道这琴有700克重？

如果你的城市有伊藤洋华堂的话，去三楼卖电器那里去买，好的牌子Tanita三百多一个，很精确。 我的江峰2010是430g，有腮托，无肩垫。 顶级欧料会轻50g左右。

以下是引用明月山人在2012-5-12 2:00:00的发言：
手头没有精确到克的天平，只好先用体重秤试一下。我上去是65.3公斤，在加上琴是66公斤，难道这琴有700克重？

 

还好，你没去18轮的地磅上去秤差额。

 

家里没有这样的秤很不方便，很便宜的，建议买一个。

 

 

感谢楼上二位网友。好像沃尔玛有售？另，18轮地磅可是能称8万磅以上的，差不多8万个小提琴的重量了，亏你能提出这种建议……

以下是引用明月山人在2012-5-12 5:35:00的发言：
感谢楼上二位网友。好像沃尔玛有售？另，18轮地磅可是能称8万磅以上的，差不多8万个小提琴的重量了，亏你能提出这种建议……

只是让你称差额，基数再大也是要减掉的。另，这个建议就很客气了，没让你去八万吨散货船打水尺呢，厚厚厚

 

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