Richf

Members
  • Content Count

    1727
  • Joined

  • Last visited

Everything posted by Richf

  1. It looks like 3408 to me, too. That may be an inventory number stamped on the bow by the William Lewis & Son company in Chicago. I have a Nurnberger bow with a similar stamp. If you can find someone with their annual sales pamphlet "The Lewis Collection," probably from the late 1950s or early 1960s, you may be able to confirm that. (The latest pamphlet I have is for 1955, and at that time the inventory numbers only went up to about 2500. Hence the need to look at later dates.) I would be interested learn what other shops stamped on a number like that.
  2. Richf

    Bow Id

    I believe your bow is stamped "Durro Artist." The New York shop Buegeleisen & Jacobson marketed violins and bows by the fictitious maker Salvatore de Durro. From Roy Ehrhardt's collection of violin shop catalogs, Volume 1, in 1912 B&J advertised one Durro Artist bow for $8 and another with engraved frog and button for $16.23. For comparison, at the same time, they listed Nurnberger bows at between $15 and $45.
  3. When it rains, it pours? https://www.ebay.com/itm/1890-s-Vintage-Violin-From-Germany/124489446205
  4. 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
  5. 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
  6. 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?
  7. 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.
  8. 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.
  9. 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.
  10. 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 hist
  11. 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.
  12. 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: https://www.ebay.com/itm/Bow-makers-marking-by-William-E-Hill-Sons-Booklet/264900864465 .
  13. 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.
  14. 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.
  15. 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?
  16. We may need Jeffrey or someone from the Chicago area to weight in here. John Hornsteiner was a master to many Chicago notables, and we was a Mittenwald guy. I always assumed that folks working under him followed Mittenwald methods. But since I've never seen a Becker, Sindelar, Halvarson, Einsele, etc. in person, and it would be very interesting to learn that they exhibited Markneukirchen traits. (This is all an aside, of course, if anyone in the know wants assert that this Dirking has nothing to do with Chicago.)
  17. Nice looking fiddle. The Wenberg book on American makers lists him, but in Spokane, not Chicago. To my eye, this looks very similar to works by other Chicago makers of the time. John Hornsteiner disciples? Folks working together at the benches of William Lewis or Lyon & Healy? Wenberg doesn't say where Dirking received his training.
  18. That was quite an effort. Looks like Paul has earned his money on that one. I hope it plays as nice as it looks. Richard
  19. Just to confirm, this is the cello that Paul Perley had worked on, right? http://www.paulperleycellos.com/cello-restoration It looks a lot better now!
  20. Taking a quick look at examples in the German bow makers book by Klaus Gruenke et al., it seems that the name stamp was not turned upside down in the French fashion until after August Paulus took over the business in 1902. Do you see the additional stamp, RW with an arrow, that Paulus applied? Like Blank Face, I'm curious about the weight. Just from the photos, I'm wondering if it could be a viola bow?
  21. My only experience with US Customs and bows was after I had put a Bultitude gamba bow on consignment in London. After a period of time when it seemed clear that the bow would not sell, the shop returned to me. Fedex billed my credit card for import duties based on the insured value of the bow. Maybe I could have got that money back, but I'm sure it would not have easy.
  22. Chris, was your purchase also through Tarisio? It seems strange that your experience was so different from Dwight's. I will directly ask the auction houses what charge they collect on exports of items that they had sourced from outside the UK. The exemption from US import duties would for antiques, right? Ie, not necessarily for "used"? Richard