Richf

Directly to your f holes question, although not really answering, I would note that there is more to being an Amati model than the f holes. E.g., Stainers are generally recognized as Amati-influenced, but imho he did his own thing on f holes. Back to this copyright question, I would have thought that this particular discussion for education purposes would fall clearly within the “fair use” exception to US copyright law. A scholarly discussion taking place on a commercial website may be an exception to that exception. ??? Also, thank you! I very much appreciate all the photos you have assembled here.

Looking forward to it, Donald !

Lebanon was indeed Terenzio's last location. For some years towards the end of his life he was selling Chinese (I think) that he regraduated and set up. Not sure when he stopped making his own. I have seen one of those, and I share Stephen's view that it was very nice.

"The Lewis Collection" catalogs of old violins, cellos, etc seem to have been publish annually for quite a few years. I have a few of them. By t955, the numbering had moved above 6800. I don't see any mention of 6675 there, although instruments and bows ranging from 6632 to 6699 are present.. In my next latest edition, 1952, your number is not reached. Hence I would recommend you look at catalogs between '52 and '55, with '54 being your best bet. However, if a violin came into the shop, was assigned an inventory number, and then was sold before the next catalog could be published, I assume it would never appear in print. Good luck!

Hah! Thanks, I bet you're right. Good eye.

Indeed. Very interesting. A very minor point: did you notice that the G and E and the D and A pegs are all reversed (p. 153)? Was that placement once the norm? I can't see that it makes much difference compared to the modern placement.

In your earlier photos the stick at the frog end does not appear darker. But regardless, years of sweaty hands could by itself explain a darkening. Here’s an actual grafting, with the lighter wood just peeking out from under the leather.

From my limited experience owning two such instruments -- one from the early 1800s and one from the late -- the similarity in construction methods (molds, corner blocks, saddles, etc. as described by Jacob) and even materials does not extend to similarities in quality. I don't know who in the Verleger assembly gets responsibility for such differences in quality re appearance and playing and hence value, but IMHO one should not be overly happy or dismissive simply because they own a Mittenwald Verleger. Some of these violins went to market after final assembly destined for greater things, others not so much.

My one experience in filing a claim on a damaged bow was that the insurance company asked me to get two appraisals. Nothing in the policy had mentioned that, so you might ask your insurer what they require. Also before paying the claim, they took the bow. I wonder what happened to it -- I would have liked to have kept the frog. If relevant, I filed my claim with my homeowners policy, not with one of the musical instrument insurors. Also, happy St. Martin's Day, Martin.

IMHO best to post directly on MN -- even if you have to wait for eligibility with the minimum number of posts. From imgur: "Just a friendly PSA, for those who haven't already noticed. There are accounts created on imgur solely to scam you and get your information."

For the record, here is the auction description for Einstein's 1884 Zunterer violin: https://www.dominicwinter.co.uk/Auction/Lot/lot-258---einsteins-violin-a-german-violin-formerly-belonging-to-albert-einstein-late-19th-century/?lot=418361&so=0&st=violin&sto=0&au=876&ef=&et=&ic=False&sd=0&pp=48&pn=1&g=1 . And for posterity, since these auction records often vanish, here are a few photos from that description. Anton trained at the violinmaking school in Mittenwald and was a founding member of the Association of German Violinmakers and Bowmakers. Examples of his work don't seem to be very common -- at least here in the US. I have a fiddle by Franz Ramftler, who in 1884 was still operating the shop where Zunterer worked. Zunterer took over the shop from Ramftler in 1888, although Ramftler was still active making violins in 1892, based on the label in my violin.

Quick aside. Would an original viola fingerboard from France circa 1900 have a beveled surface for the C string? (Not present on OP’s instrument.) Just curious how long that feature was common in France or elsewhere—if ever.

Blank Face is referring to the rounded “track” on this bow: I thought the term “Vuillaume slide” for that feature was common.

Just to complete the list of suppliers..... According to the Grunke et al. book "German Bow Makers," in addition to the Christian Suss and Albert Nurnberger bows, Suss'es grandson Albin Nurnberger-Suss and both Herbert and Alfred Leicht supplied Hammig as well. Photos of bows with the WH Hammig Leipzig stamp from different makers appear in the Grunke book, in the Babbitt and Chin book "The German Bow." and in the VDG book "Bogenmacherfamilie Albert Nurnberger. I suspect the Babbitt book on Markneukirchen makers could have photos, too.

$100 is cheap for a good lesson on what not to buy.