#Guarneri

[splungecoyote]

Art attack of @arkadarp 's OC Guarneri!

[arkadarp]

it's Artfight season so that means it's time for the annual character ref update, newly featuring Ibis Wind, who was made for the Celostia character contest

[hellwegandcloutier]

An replica of Giuseppe Guarneri’s 1730 “Kreisler” violin, fitted with a mountain mahogany “Lady Blunt” tailpiece, “Alard” pegs, and a richlite Rippleboard

[audiovenue]

Sonus faber Guarneri G5 and Carbon stands have arrived. #auralic #magico #sonusfaber #sonusfaberhomage # #sonusfaberhomage2023 #sonusfaberguarneri #guarnerig5 #guarnerihomage #italianspeakers #guarneri #neohighend #hifisystem #hifilondon #hifiuk . @sonusfaberofficial . (at Audio Venue) https://www.instagram.com/p/CnjMbgtovX9/?igshid=NGJjMDIxMWI=

[arkadarp]

the boy!

Lil drawing for @arkadarp

I missed uploading this one opps

[thunderstruck9]

Riccardo Guarneri (Italian, 1933), A toni caldi [Warm Tones]. Oil on canvas, 95 x 95 cm.

[guarnerimauro]

[hildegard-von-bingen]

Like most technological breakthroughs, today's instrument is an evolutionary product. So far as we know, there were no violins in 1500. A century later, there were several types and probably thousands of specimens north and south of the Alps, and from England to Poland. A marvel of craftsmanship and acoustical engineering, the violin produced more sound than any stringed instrument to date. Almost immediately, composers, players and collectors liked what they heard and saw. Italian and non-Italian makers proliferated.

The conjunction of supply and demand led to the modern orchestra and chamber ensemble, and from there to the subscription concert, the living-room quartet and the middle-class conviction that nice children take violin lessons. By the mid-19th century, French and German makers turned out hundreds of thousands of instruments yearly. A generation later, exports from Markneukirchen, a Saxon town of 9,000, justified an American consulate there. By the early 20th century, Sears, Roebuck marketed mail-order violins, complete with bow, rosin and user's manual, at $13.95 and down.

Over the same period, a consensus emerged among the dealers, superstars and collectors who set the tone and prices at the upper end of the market. First, violins made before 1800 were more equal than those made afterward. Second, Italian violins were more equal than others. Third, violins made in Cremona were more equal than other Italian violins. Fourth, violins by Stradivari and Guarneri were the most equal of all. That consensus has prevailed almost unchallenged ever since.

How the Cremonese patriarchs might view today's market is, again, anyone's guess. As independent craftsmen, they sold to a largely local clientele, invested in real estate and worked hard to provide for their numerous heirs. Stradivari, an exception, was famous in his lifetime. Guarneri was hardly known beyond the city limits. His death in 1744, seven years after Stradivari's, effectively marks the end of classical Cremonese violin-making. Then, some half-century later, the superstar violinist Giovanni Battista Viotti did for Strads, and the legendary Nicolò Paganini did for Guarneris, what Michael Jordan would do for Nike.

When the Italian economy sagged, the French and British rich took to Italian violins as they took to classical statues, Dutch paintings and Persian rugs. In the 1880's, W. E. Hill followed the carriage trade to New Bond Street, London's most fashionable retail district. Over the next half-century, his sons Alfred, Arthur and William turned a respected family business into the Ritz of violin shops.

The Hills not only bought, sold, appraised and hunted down Old Masters but also created a lucrative sideline in repairing and restoring them. They manufactured instruments for the family trade as well as accessories, including rosin, strings and virtually indestructible cases. They commissioned and published the first standard monographs on the bellwether makers. Their clientele included concert performers, doctors, lawyers, professors, stockbrokers, clergymen, diplomats, military officers and, occasionally, members of the royal family. Inquiries and orders poured in from around the world.

As money and power moved, the market followed. By the end of the 19th century, it extended to Germany and the United States. After World War II and a generation of American hegemony, it again struck roots in Europe, then Japan and South Korea. With the collapse of the postwar dollar in the early 70's, demand for perhaps 5,000 to 7,000 credibly certified old Italian instruments went global.

Market standards range from ''decent, honest and fair'' to ''outrageous,'' according to the owner of one high-profile instrument, with years of experience in both violins and Wall Street. But they have rarely been called transparent. Prerequisites for the trade include a passion for the product, a data bank memory, the patience of a Zen master and the nerves of a riverboat gambler. Good connections, a good location, a generous credit line and an open-ended tolerance for air travel are standard operating equipment. A first-rate repair shop and an effective sales staff are essential, too.

Still, the endgame is in sight, says Robert Bein, a co-owner of the Chicago-based Bein & Fushi, one of the world's major firms. With even the biggest private collectors, let alone performers, finding it hard to keep up, the great Italian fiddles seem destined for public or institutional ownership, like the great Italian paintings before them. In the 1960's, a dozen or so shops dealt regularly in old Italian violins. Since then, the costs of doing business -- inventory, rent, staff, insurance and credit and legal fees as well as rarely acknowledged commissions to teachers and assorted middlemen -- have reduced their number to four or five.

[barstoolblues]

the andante from death and the maiden is probably my favorite classical piece and this is imo the best recording

[icecrematorium]

Here's a couple more that I made

@samreich

[arkadarp]

doin' this thing again, and put a non-zero amount of effort into the profile card :)

https://artfight.net/~ArkaDarp

[quotesfrommyreading]

How the Cremonese patriarchs might view today's market is, again, anyone's guess. As independent craftsmen, they sold to a largely local clientele, invested in real estate and worked hard to provide for their numerous heirs. Stradivari, an exception, was famous in his lifetime. Guarneri was hardly known beyond the city limits. His death in 1744, seven years after Stradivari's, effectively marks the end of classical Cremonese violin-making. Then, some half-century later, the superstar violinist Giovanni Battista Viotti did for Strads, and the legendary Nicolò Paganini did for Guarneris, what Michael Jordan would do for Nike.

  —  Nearing Endgame in the Violin Trade?

[audiovenue]

Image taken in our Ealing store, year 2006. Full Naim system with Sonus faber Guarneri. PMC and Martin Logan in same shot. . . #naim #naimaudio #naimclassic #naimcd # #naimclassic #martinlogan #pmc #sonusfaber #naimsystem #guarneri #naimfraim #naimfraimlite #hifisystem #hifilondon . . @naimaudio . @sonusfaberofficial . (at Audio Venue) https://www.instagram.com/p/CnWVBkPoPrS/?igshid=NGJjMDIxMWI=

[materialsscienceandengineering]

Scientists create the thinnest lens on Earth, enabled by excitons

Lenses are used to bend and focus light. Normal lenses rely on their curved shape to achieve this effect, but physicists from the University of Amsterdam and Stanford University have made a flat lens of only three atoms thick that relies on quantum effects. This type of lens could be used in future augmented reality glasses. Curved-glass lenses work because light is refracted (bent) when it enters the glass, and again when it exits, making things appear larger or closer than they actually are. People have used curved lenses for more than two millennia to study the movements of distant planets and stars, to reveal tiny microorganisms, and to improve vision. Ludovico Guarneri, Thomas Bauer, and Jorik van de Groep of the University of Amsterdam, together with colleagues from Stanford University in California, took a different approach. Using a single layer of a unique material called tungsten disulfide (WS2 for short), they constructed a flat lens that is half a millimeter wide, but just 0.0000006 millimeters, or 0.6 nanometers, thick. This makes it the thinnest lens on Earth.

Read more.

[ilpianistasultetto]

- Pronto, Cup? Dovrei prendere un appuntamento per una visita dermatologica.

-Aspetti che controllo il primo appuntamento utile. Siamo al 22 Dicembre 2023 presso l'Ospedale Pertini..

- Pronto, clinica Guarneri? Dovrei prendere un appuntamento per una visita dermatologica.

- Aspetti che controllo la diaponibilita'. Le va bene domani alle 11,30? Il costo della visita e' 120 Euro.

- Va bene. Domani alle 11,30.. buongiorno.

Click..

Dico la verita'.. sul momento mi ero incavolato parecchio ma poi, pensando che questi miei soldi aiuteranno tutti quei commercianti, artigiani e professionisti sottoposti al "pizzo di Stato" che si apprestano a trascorrere le loro vacanze in quelle zone "anguste" della costa smeralda o in quei mari "inquinati" dei paesi caraibici, mi ha tranquillizzato non poco. Come credo si senta tranquilla la maggioranza dei cittadini, visti i grandi applausi a chi si sta spendendo per togliere a certe categorie il "pizzo di Stato".

@ilpianistasultetto

[mozartbachtoven]

Nicolò Amati (Cremona 1596-1684 Cremona) | Violin | Italian (Cremona) | The Metropolitan Museum of Art

The violins of Nicolò Amati (1596-1684), the preeminent violin maker of the Amati family of instrument builders, were known for their elegant design, responsiveness, and sweet sound, although they lacked the strength of violins by Stradivari and Guarneri "del Gesù”