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About Richf

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  1. When it rains, it pours?
  2. Sorry to hear about your loss, and sobering to hear about Clarion's treatment. They specialize in coverage for musical instruments, right? Did you file with your home-owners insurance, too? BTW is that Pfretzschner gold mounted? Fingers crossed for a speedy return of the instrument or a happy resolution to the insurance claim. Richard
  3. Michael, a quick look at the Thomastik website shows two variations of the Rondo A strings -- carbon steel core chrome wound (more expensive) and synthetic core aluminum wound. So far, there seems to be only a single option for the E, D, and G. Which A string are you choosing? Also, I see there are Rondos for cello. Any opinions on those that you can share? Richard
  4. Inge, given Martin's thought on the "lift," you would should probably first get an assessment of the damage from a bow specialist. If the condition is good, it would easily sell in one of the auction houses specializing in string instruments. It would fetch an even better price at violin shop, if you are willing to wait. Do you know what shops are in your area?
  5. The name stamp and both the frog and adjuster look right to me. Hopefully someone here with better eyes than will chime in. The asterisk before and after the name I think says something about the value of bow. Was the stick actually cracked behind the head? I don't see any sign of damage on the stick. If not needed, the removing that string will add quite a lot to the value.
  6. Hello Inge, and welcome. For starters, you could post photos like the first two shown at the top of the first page of this discussion. That should be enough to let folks know whether your bow is in the “Nurnberger” ball park. But you may have trouble posting pics right away — there is some rule here limiting newcomers’ability to post photos until they have contributed to some threshold number of discussions.
  7. To Skinner's credit, they let you copy photos to your own PC, so you can zero in on features of interest (per Delabo's photo), and they provide more photos for the more valuable instruments.
  8. The auction of Glenn's fabulous collection of violin cases at Skinners started yesterday, November 9. That sale also includes violins and bows by other consignors, all pictured in their regular online catalog. I know this auction has been discussed on the Auction Scroll, but I would like to draw your attention to a separate, special catalog just for Glenn's cases that Skinners also has published: "The Collection of Dr. Glenn P. Wood." The special catalog includes more photos of each case than are available in the regular catalog, including additional photos and details on the history and construction of each case (see photo). You can view and order a copy here: . I have just ordered one -- cost 34Euros plus mailing, with discounts for multiple copies. (I'm not sure where they're coming from or, as a result, how long the delivery will take.) This should be a nice complement to Glenn's book "The Art & History of Violin Cases" (and maybe a good preview of his next installment?). Richard
  9. I can't tell if those are 2 pins or 2 stamped circles. I think two circles would indicate William Richard Retford. Hopefully someone here who has direct experience will chime in.
  10. Your photo of the head with the hair lifted should have revealed the tell-tale maker's mark, but it's too blurry to see, especially if it's worn down a bit. Can you get a sharper photo there? I'm sure lots of folks here know the various code numbers and symbols. As luck would have it, there's also a booklet with them on ebay just now: .
  11. Yes, it is a little hard to tell from inside the fiddle just where the longer side of the block is. I will defer to your eye, Jacob. Regardless, Mr. Dirking seems to have left no reminders of his time other than at least a couple violin labels (Wenberg apparently knew of one from Spokane), his wedding in Montana, and a US Patent for some type of electrical price card. Maybe someone will stumble on this thread sometime in the future and provide some answers.
  12. I think I see corner blocks with a longer tail towards the lower bout and maybe a rib lining inserted from the C-bout side. And for the rib seam at the corners, the lower bout rib seems to overlap the C-bout rib the way I would have expected. I'm not saying this is Mittenwald work, just that the maker might have been influenced by a Mittenwald-trained maker, namely John Hornsteiner or one of his mentees in Chicago, where Mr. Dirking made this instrument.
  13. Jacob, looking at the corner blocks and the rib seams at the corners, I see internal mold construction. That is, not some Markneukirchen purchased in the white. Am I on the right track?