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About Richf

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  1. I don't know if this will help, but.... the shop catalogs compiled in Vol. 2 of Ehrhardt's Identification and Price Guide lists a couple violins by Carl Sandner in 1965, along with a picture of Carl and the violin labels. The catalog attributes the violins to "Mittenwald / Karwendel Mountains," but notes that he comes from Schonbach and is related to that line of makers. This Carl is probably the same guy listed in Jalovec as a 20th century maker named Karl Sandner. Good luck!
  2. By coincidence I was admiring some photos of a G. Fiorini violin this afternoon that seemed to have this feature on the bass side of the top (photo edited by me just to show the upper bout). I had thought it was an indication of a really good wood choice. I had always thought that the presence of distinct "bear claws" said something of the density of the wood. So that thinking is all wrong, right?
  3. string length and after length

    Very investing to see the extra long after length on the Heifetz Guarnere. Perhaps also interesting that that was one of the first things changed when the violin went out on loan to the San Francisco Symphony. Richard
  4. A Beautiful Case

    Glenn, Dimitri's apostle case is not the one shown in your book "Art & History of Violin Cases," right? Can I assume that that case along with your latest acquisition will be in the second edition? How's that coming along? Richard
  5. Ha! I thought that ship sailed 2 years ago. And, yes, mine does look very much like the one that Blackface posted. I'll call it East Vienna.
  6. Wilhelm August Hammig

    Have you checked the contents of the recent book from Wolfgang Meyer, Berliner Geigenbau ?
  7. Antiquing vs. Real Age ??

    Thanks, Bruce. Nice to have some confirmation on that. But it sure makes it more difficult to guess the age.
  8. Antiquing vs. Real Age ??

    Not sure if the fake grafting lines show up well, but here's a photo of the scroll. Since the violin is labeled Stradivarius, I guess you're never too old to want to look older. I just got wondering, what if any other features of "age" might be faked.
  9. Antiquing vs. Real Age ??

    I confess that I often confuse clever antiquing with the real effects of age, especially when the antiqued instrument is an old one. Case in point, this old Germanic violin. Features that I would otherwise attribute to age and use on this include: crackling in the finish (in areas that wouldn't normally be worn off), shrinkage in the top plate that necessitated moving and patching one of the lower bout ribs, wear on the scroll (treble side) and corners, and bow wear on the C bout. And attributable to antiquing, the head on this violin has been scored to give the appearance of grafting, although much of that scoring is now worn off. Also, if super old, I would have expected the peg holes to have been bushed by now. If I assume the fake graft was done when the violin was new, should I also assume the extensive crackling in the finish and the worn scroll were an original feature, too? (FWIW I assume this is a Saxon violin, mid 19th century -- abbreviated fluting on the scroll, two-piece lower ribs, centering notch in the backplate -- although I would be happy to be wrong.) Thanks for any comments. Richard
  10. M. Nebel & Bro / New York

    Ha! And he does it so well. Much appreciated.
  11. M. Nebel & Bro / New York

    Thanks, George. Looks like I may have to save up for that book. The Wenberg time line has them opening shop in Philly in 1928.
  12. M. Nebel & Bro / New York

    Peering deeper inside an old Strad-labeled Saxon or Mittenwald violin, I spied this other label for the Nebel firm. The violin looks way too old to be something they made, but maybe they did some restoration on it? Just curious if anyone knows when they had a shop in New York. Wenberg has them working for Wurlitzer while in New York, but only has them operating under their own name while in Philadelphia.
  13. Baroque double bass

    For your next visit, the Venice collection is distributed across three venues. In addition to the main collection and gift shop in the San Maurizio Church, the museum has Italian violins from the early 1900s on display in the San Vidal Church (where the ensemble Interpreti Veniziani plays, just north of the Accademia Bridge) and some very old instruments from the Vivaldi Collection on display in the San Giacomo di Rialto Church (on the north side of the Rialto Bridge). Admission to all three venues is free! Richard
  14. Baroque double bass

    A couple years ago while visiting St. Marks Basilica in Venice, I came across this bass, identified as by Da Salo. As I recall, the little plaque indicated it was made in the late 1500s and acquired by the church in the 1700s. So, I guess that would mean it's still in a baroque set up. If you want to find it, you have to go up to the top where the famous bronze horses are and then come down the dimly-lit back stairway. It's in a corner on the way down. Sorry, there were no flashes allowed. There are several other baroque-era double basses in Venice in the San Maurizio Church. The museum website has some photos, much better than mine: , including good detail shots of an Amati and a Bergonzi Richard