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Richf

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  1. Amen to that. I have Evah Greens on two late 19th century violins -- one French (Mirecourt), one German (Munich). The Munich violin produces a dark warm sound (I would say "clear"). The Mirecourt, while still very pleasant, produces a distinctly brighter sound (with just a bit of string scratch at the start of bowing) -- and that's after correcting the neck angle to modern standards.
  2. Richf

    Old bow

    I think I'm seeing the stamp "A Lamy A Paris." Staring too hard? FWIW I have a cello bow with deep thumb wear like on your bow. Mine also has a groove on the top, where the player's index finger rested. Until I had those "repaired," the bow was the super comfortable to hold.
  3. In the case of the Tarisio's "School of Van Gogh" violin, I believe that was very descriptive. One ear of the scroll was missing.
  4. I can't see a crack in any of your photos. Could you show a close-up photo of the problem. Some cracks can be left alone, some need immediate attention. Some can be fixed quickly from the outside, some need a repair that requires opening the cello. Presumably you will want something done fast, so you can get it back before the next lesson, right? It sounds like you've already shown it to at least one shop in the area. What did they say about the repair and the cost?
  5. Well, on a closer read the Wurlitzer bow catalog indeed says "about" 1890. But the point was that one can find a very expensive "Leon Pique"-stamped bow made well before Otto Hoyer went off to Sartory's shop to learn his trade. For me the interesting question has always been "where did this name come from," not "who made them." I don't expect that ever to be answered.
  6. "Leon Pique" is a curious stamp. Even if Otto Hoyer is widely credited with using that brand, he was not the first. I have a Wurlitzer bow catalog (1931) that lists a Leon Pique cello bow, made in Paris 1890 -- and priced higher than a Fetique cello bow in the same catalog. (Otto was only one year old in 1890, so that still begs the question of where that name comes from.) Given the other illustrious French bows in that collection, I feel certain that Wurlitzer could distinguish a French bow from a German one, and the 1890 date was then sufficiently recent so as not to be grossly in error. There is no Pique photo in that Wurlitzer book, but decades ago my son had a quality 1/2-size violin (late 19th c. Mittenwald) that came with a beautiful little bow stamped "Leon Pique Paris," upside down in the French manner. All the other Piques I've seen are stamped in the German manner. Unfortunately, "Leon Pique" is a name that some really cheap makers picked up, maybe as late as the 1950s or 60s, and those bows can be absolutely terrible. (FWIW, Jfield, to me yours looks better than those most recent knock-offs. I don't know about the Roth ones.)
  7. And just in case someone doesn't think fake labels come in colors:
  8. FWIW I'm wondering if the labeled "maker" is Anton Schroetter. If so here's a little discussion of that brand from a couple years ago: https://maestronet.com/forum/index.php?/topic/342082-anton-schroetter-cello-maker-info/ . Although unlikely to be highly valuable, if mold is your only problem, it might be worth putting it back into service as a good student instrument.
  9. I think I'm reading "swiss made" on one side of the bow. Could that be right? The other side seems to have a much sharper stamp, but I can only make out "IN." Also, I'm wondering if the adjuster is a different metal from the rest of the bow.
  10. Verband Deutscher Geigenmacher and Bogenmacher -- VDG
  11. For a 1970s bow, the stamp could be "W. Germany," with the W hidden under the frog. ??? But didn't the bows of that period from Berlin originate in the Soviet sector of the city? In that case, I would have thought the stamp would acknowledge that. Also, going back to the pins vs. screws question, my understanding is that both were used (although not on the same bow). Here is a photo from the VDG book on the Nurnberger family.
  12. Hmmm. Maybe Mittenwald after all? This needs better eyes than mine.
  13. Neat, very old fiddle! Is it full size (body length about 14 inches)? Can you add a photo of the ribs at the tail end, to see if it has a one-piece lower rib? (I wouldn't guess Mittenwald at this point, but a question about the lower ribs is sure to come up.) Someone here will have an idea of where it's from, for sure. Definitely not something ready for a Goodwill donation, even in its current condition.
  14. A couple more historical figures... I believe Olga Adelmann gets credit as the first German maker to pass the master's exam, in Berlin just before WW2. I've never seen one of her instruments. But years ago I did have another Berliner instrument, a very nice viola labeled as by Greta Tennigkeit, 1923, with the interior note "student of Otto Mockel" (auf deutsch naturlich). That is the only example of her work that I know of.
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