I found this cello in a music store in Hannover, Germany, in 2005. Dusted over, neglected and in need of some major repairs, it caught my interest with its full bodied sound and mysterious past. While playing it I noticed that there was something very special about this old cello and I decided to purchase it and bring it back to the US. A major restoration was performed by Gerry Field in Chicago, and I have posted photos of the restoration, as well as close-up shots of the instrument after its restoration. Many thanks to Gerry Field (www.fieldviolinworkshop.com) for his expert work and great skill.

Why "gypsy cello"?
To make a long story really short, the instrument has several unusual features that suggest its origin to be outside of established instrument building schools but rather from a lineage of instrument makers that had their own techniques and varnishes. There was a gypsy instrument making tradition in central Europe- what a possibility- a cello made by gypsies? Ok, it's pretty thin ice, and if anyone has specific information about its origin, I would be most grateful.

Unique features
A neck replacement had been performed a long time ago, with a scroll that had been grafted onto the replacement neck.The intricate graft seam is almost completely invisible and doesn't show up in photographs but is visible in proper lighting.
Spalted maple was used for the back (see photos for details), and spruce on top with a dark chocolate brown varnish. Numerous cracks, gouges and scratches that have developed over the last two centuries or so accumulated a nice dark patina- there are no active cracks, no rattles or buzzes, and the cello seems to tolerate temperature and humidity changes well. There is no label indicating maker or place of origin.

Measurements
Length of Body: 29.125 inches
Upper Bout: 13 in
Center Bout: 9.25 in
Lower Bout: 16.75 in
Rib at neck: 4.5 in
Rib at end pin: 4.5 in
Estimated body volume:1708 cubic inches

Restoration details
The restoration photos show repairs to the ribs around the neck base- cracks to the ribs that were repaired from the inside with cloth a long while ago. the cello's corner tips were also reinforced in a non-standard manner. Gerry Field performed the following steps after removing the top:

1. Resetting the margins
the cello's lower body had slowly deformed due to the pull of the strings. The endpin wooden block was removed, the center seam around the endpin hole was opened and recut, and the ribs (margins) were reset. A new endpin block was glued into place.

2. Bass bar was shortened
the upper end of the bass bar had separated from the top. We decided to keep the old bass bar in place but to shorten it by about an inch (or less) to remove the end that had come loose.

3. Rib cracks around base of neck were re-glued with cloth

4. The edge of the top needed to be repaired from improper prior clamping. Gerry used various techniques to repair the top (see photos), including cleats and moisture application.

5. A new sound post and bridge were fitted.

6. A new ebony fingerboard was installed. The old fingerboard was made of fruit wood and was warped.

7. I installed Peghead planetary pegs for smooth tuning and reduced wear on the peg box.

Sound quality
After all these repairs I decided to live with the cello for a while and let it settle into its renewed state. It's signature full low end is really enjoyable- very full, dark, and expressive. The high registers also sound pretty nice- this cello can sing! But there is still work left to be done- I am looking for ways to improve its responsiveness and can see another round of adjustments ahead. I am also still
looking for the right combination of strings.

Restoration photos

Recent photos