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  1. Excellent! Thanks, Jacob. If I sell my Volumes I and II and maybe a Henley, I might just be able to afford that. Strange that I couldn't find that copy with a google search.
  2. Hah! No, Jacob, I like all my violin books, especially the Jalovecs and the Lutgendorff. Now I need to get the Volume 3 -- very rare it would seem. Good question, Brad. I've always thought that Jalovec had more names, but you forced me to be a bit more objective. Attached are the first pages of the makers' list from Lut. Vol 2 (second photo) and Jal. Encyclopedia. From Aabenmund and Joseph Achner, it looks like Jalovec has about twice as many references, mainly some French and Italians that Lutgendorff excluded. Presumably Jalovec had access to Poidras and other sources published after Lutgendorff. Also, comparingi the Lut. Vol. 1 and the Jal. Encylopedia vioiin photos, it also seems that Jalovec has a different source for his pictures.
  3. Thanks, Jacob. I will keep an eye out for the Lutgendorff Volume III. That's the edition listed with Thomas Drescher, 1990, right? FWIW it's worth, all the various Jalovec editions are available in English. Maybe not "good" translations, but surely better translations of the original German than is available from the Google Translator. As far as plagiarizing, the "German/Austrian Makers," the"Violin Makers of Bohemia," and the 2-volume Encyclopedia all include the credit "Material from Lutgendorff's Die Geigen- und Lautenmacher von Mittel-alter bis zur Gegenwart is being used by permission of the publisher, Mr. Hans Schneider,of Tutzing bei Munchen." The "Italian Violin Makers" does not include that reference. From experience and without offering any opinion on the credibility of such, I believe all the volumes contain at least some information that was never original to Lutgendorff, like photos.
  4. I had never heard that a volume 3 exists. If you want a good translation, look for volumes 1 and 2 of Jalovec's encyclopedia.
  5. You mean like here: https://www.ebay.com/itm/115368941041 ?
  6. Uguntde, here are some interior photos of a violin labeled and signed Collin-Mezin: https://www.facebook.com/iriscarrrestorations/photos/pcb.146506683855824/146506560522503 . Are those blocks what you would call "square shaped"? I assume the wide linings there are what you call "high." Just curious about the terms. Also, I have seen your statement "Originals always have the signature" elsewhere, but I can find a couple older C-Ms offered by prestigious shops that sport labels by other makers. That suggests to me that some instruments left the shop without the C-M label and signature. I wonder how common that might be. ???
  7. Good distinction and certainly it was a spline, not a splice, that the original poster was asking about. Sorry for any confusion -- I was thinking splices. Just to be clear here is a "spliced" head repair, maybe on a Nurnberger, probably done many decades ago.
  8. In this discussion of splined bows, is the focus on splined heads or splined shafts. I would thin any loss of value would depend on where the break is, controlling for the quality and visibility of the repair. A spline under the wrapping might have relatively little negative impact compared with mid stick, no? A spline on the head might be worse yet? Or??
  9. When selling an instrument in a retail setting, would it be common for the sale to guarantee any existing post cracks and restore them if they do fail?
  10. From Martin Brinser's "Dictionary of Twentieth Century Italian Violin Makers," he was a pupil of Raff. Ronchini. Good work. Oil varnish, yellow-brown. In 1930 he emigrated to Toronto, Canada. Here's an auction for a cello with his label: https://app.amati.com/en/auction/1071-amati-specialist-28th-october/21-a-cello-probably-by-attilio-montanari-fano-circa-1918 . I have know idea if he actually made that instrument..
  11. 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.
  12. 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.
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