Sunday, July 31, 2005
Saturday, July 30, 2005
Thursday, July 28, 2005
Saturday, July 23, 2005
Sanctus Seraphin Violin A.D. 1742 - Real or Copy?
Violin Maker's label: Sanctus Seraphin Utinensis Fecit Venetijs Anno 1742. Translated it means:"Sanctus Seraphin of Udine made in Venice in the Year 1742". Sanctus Seraphin (Santo Serafino) (1699-1758) from the town of Udine was a successful violin maker working in Venice . His instruments are finely crafted and tonally excellent. If this is not a German made copy of the 1800's, it is of great value.
Even a Sanctus Seraphin copy in good condition such as c.1880 Santos Seraphin copy of probably Tyrolean origin is quoted at US $ 19,500.
From : The Violin - Its Famous Makers and Their Imitators -by George Hart -1909:
"SERAFINO, Santo, Udine—Venice, 1710-48. This maker is chiefly famed for the exquisite finish of his workmanship. The modelling of his instruments varied. There are instances, particularly in the case of his Violins, where he has entirely set aside the Stainer form, and copied Amati. These Violins are wonderfully like the work of Francesco Ruggeri. The varnish upon them, of a rich red colour, is of so exceptional a quality, that one is compelled to look twice before being satisfied as to the author. The greater number, however, of his instruments are of the German character, the sound-hole, scroll, and outline all hinting of Stainer. These Venetians were wonderfully fortunate in obtaining handsome wood, and in this respect Santo Serafino was pre-eminent, for his sides and backs are simply beautiful to perfection. His method of cutting the wood was invariably to show the grain in even stripes. The scroll is well cut in point of workmanship, but the style is poor. Santo Serafino cannot be regarded as having displayed originality in any shape, and he thus forms an exception to the great majority of Italian makers. His instruments are either copies of Amati or of Stainer; there is, of course, a strong Italian flavour about his Stainer copies, which lifts them above the German school of imitators, and hence their higher value. Nearly all his instruments were branded with his name above the tail-pin. He used an ornamental label of large size. "
Sanctus Seraphin Violin Comparison
Maker's labels: Top left is Dad's violin; remaining three photos are from internet. It would appear that Dad's is the more authentic of the two, with Sanctus Seraphin Utinensis (Santo Serafino of Udine) on the same line and Fecit Venetijs Anno 1742 ( Made in Venice Year 1742) on the second line. Whereas for other violin there are three lines. It is obvious that whoever made this label did not have the benefit of three years of Latin study, otherwise he would know that "Utinensis Fecit" doesn't make sense. An additional point of note: On my father's violin label the last two digits ("42") of the year 1742 are handwritten, whereas in the other, all four digits of 1730 seem to be printed. It is believed that the authentic violin maker would glue the label inside the body first when it was being assembled and after the violin was finally completed he would use a pen to enter the year it was made. This process was confirmed to me by Privy Councillor M.L. Usni Pramoj, who also believes that Dad's violin is the authentic one and not a copy.
Dad's Sanctus Seraphin violin
Sanctus Seraphin violin that my father bought in the US in the 1940's and played for many years in Thailand, the US and Italy.
Dad bought this violin from an antique shop in Philadelphia while he was studying for his Masters at the University of Pennsylvania (1939-1943). His roommate there was Khun Chintamai Amatayakul. Mom said that it was one of the few possesions that the Japanese occupation did not sequester from him on his return to Thailand from the US during WW II with Khun Tuey Vutthikul, who graduated from MIT.
Sanctus Seraphin violin: single piece backside
Sanctus Seraphin violin: single piece backside. Body is 35.8 cm. long. Shoulder is 18.5 cm. The neck is 13.7 cm.
Sanctus Seraphin worked under guidance of Nicolo Amati before 1692, his instruments' versatility of modeling a remarkably characteristic feature combines Amati, Stainer and even Magginiinan original manner. Varnish mostly a golden-brown, sometimes a orange-red, occasionally a dark-red. Generally of brilliant appearance, often splendidly transparent and soft, but also at times rather hard and dry with its usual accompaniment of crackling. Nearly always plentifully applied. Tonal quality resonant and very responsive, not of extraordinary brilliancy but of good carrying power, richly mellow, and in fact all the attributes that soloists are continually hankering after.
Friday, July 22, 2005
Thursday, July 21, 2005
Wednesday, July 20, 2005
Monday, July 18, 2005
Gnocchi with Crayfish and Cheese-Both Khun Napaporn and Khun Rochana ordered this dish. I think both were unable to finish half of this unpalatable dish. The best deal here at Biscotti is to order the single course lunch at Baht 320 and have the" all you can eat" appetizer and salad bar. There you can stuff your plate with an assortment of parma ham, salami, roast lamb, rocket and garden salads, cheese foccacia, anchovies, artichokes, etc. etc. Then order a tea or coffee and get the crunchy bar gratis.
Pan Fried Red Mullet with Scallops and Purple Asparagus. Apparently, it was good because Khun Pichai made it disappear very fast. However, not as fast as the pasta dish that Khun Sathit had. He cleaned his dish within a wink before I could get a photo of it. He said the portion was too small and he seemed very hungry afterwards.
Sunday, July 17, 2005
Friday, July 15, 2005
Thursday, July 14, 2005
Tuesday, July 12, 2005
China Town Scala Shark-Fins Restaurant: We treat Khun Suwat, former chief accountant of TISCO, to some sharks fin soup at this famous restaurant recommended by the US Ambassador Skip Boyce and McDang. Khun Suwat is helping to get the books of accounts in order at the Elephant Reintroduction Foundation.
Famous Golden Buddha constructed during the Sukhothai period. The image of solid gold is three metres high and weighs five and a half tons. Originally, this golden Buddha image was completely covered with plaster to conceal it from the enemy then invading Thailand and was installed as the principal Buddha image in the main temple building of Choti-naram Temple or Wat Phrayakrai, Yannawa District. When Chotanaram Temple was deserted in about 1931, the East Asiatic Company, with official permission, extended its operations into the land area of the deserted temple. When the building was completed and while preparations were being made to move this Golden Buddha image to the building, the covering plaster was partly broken. Only then did the people realise that it was a golden Buddha image.