Three other skulls could not be assigned to a reference group; these might be remains from hybrids or captive wolves.Modifications by humans of the skull and canine remains from the large canids of Předmostí indicate a specific relationship between humans and large canids.► Accepting an Aurignacian beginning of the domestication of the wolf is controversial.Quantitative polymerase chain reaction was used to estimate the copy numbers of this gene for 13 ancient dog samples, dated to between 15 0 years before present (cal. This evidenced an increase of Amy2B copies in ancient dogs from as early as the 7th millennium cal. We found that the gene expansion was not fixed across all dogs within this early farming context, with ancient dogs bearing between 2 and 20 diploid copies of the gene.The results also suggested that selection for the increased Amy2B copy number started 7000 years cal. This expansion reflects a local adaptation that allowed dogs to thrive on a starch rich diet, especially within early farming societies, and suggests a biocultural coevolution of dog genes and human culture. Although carefully collected, accuracy cannot be guaranteed. Differing provisions from the publisher's actual policy or licence agreement may be applicable.ABSTRACT: Extant dog and wolf DNA indicates that dog domestication was accompanied by the selection of a series of duplications on the Amy2B gene coding for pancreatic amylase.In this study, we used a palaeogenetic approach to investigate the timing and expansion of the Amy2B gene in the ancient dog populations of Western and Eastern Europe and Southwest Asia.Large Hungarian Orchestral Double Bass (15 years old) 3/4 size with violin corners, similar to the London school of bass-making (Lott, Betts), associated with the famous Hungarian maker Akos Balazs.The front is solid hand-carved spruce, maple sides and back have a highly attractive flaming; the grain of the wood is absolutely stunning.
Had all the virtues of the enthusiastic worker, and was thoroughly conscientious. Found out that the only sure-road in this direction was to work retrogressively to the conditions existing during the old masters period, and while so doing, disabused his mind of the idea that any of them were chemists, or, in fact, anything other than painstaking workmen. Modelling principally after Guarnerius but also produced Stradivarian examples. Clever bow maker who knew what the artist requires. Beautifully transparent reddish varnish on best specimens, rubbed down to represent wear and age.
First a violin maker working temporarily at Valence-on-the-Rhone. In choosing from these better class ones we prefer the examples having octagonal sticks (medium red), for they seem stronger and more elastic than the round. Several German firms of the present day stamp some of their productions with the name ADAM. Employed by Hill & Sons (London) for several years. Specialist in bow-making - specimens very similar to the Dodd - completely artistic and reliable - deserve to be more sought for - some beautifully mounted. Retired from the Civil Service 1924 and joined his son (William Samuel Day, Junior, born 1887) at the latters violin-making establishment at Plymouth. No adherence to any particular model, but rather favoured the Guarnerius. Easily positioned, haughty looking but dignified scroll adds character and point to the whole. Some instruments varnished with a special spirit preparation. Produced several interesting violins very Rocca-like. Unfortunately, this has been retarded by his occasional descent into the production of cheaper and a kind of commercial instrument for which he received ￡10. Lan 1884--------------------------------------------------------175 is the number of the instrument.
Returned to Mirecourt 1790 and devoted himself solely to bow-making until death, 1820. His bows (largely made for the trade) are not very skilfully finished or balanced. Enjoyed the personal friendship of Sarasate, Carrodus, and other noted violinists. Pupil (in woodwork) of Gottardo at Venice, and (in violin making) of Pezzoni at Cremona. Workmanship distinguished in a pre-eminent degree, specially refined finish of the inner edges of the sound-holes. Purplish-mahogany shade of varnish doctored up etc., to look like genuine old age.
It has fantastic resonance and a big sound, suitable for all kinds of music. The instrument has a comfortable string length (105 cm), a new set of D'Addario Hybrid strings and a new bridge. Certification: Not available Restored German 3/4 1860s Good quality German instrument that has been fully restored,and originally a 3 stringed double bass. Happy to ship abroad at new owners risk,but will be well packaged.
It has a big sound, suitable for solo/orchestra/jazz. She is set up very nicely and sounds lovely.dating from around the mid 19th easy playability and ready for classical or jazz. Certification: Photos and details on request Bussetta flat back 3/4 masterpiece A stunning instrument specially made for me from two top luthiers from Hungary and Slovakia.