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Everything posted by Richf

  1. Blankface, that is the first nickel-mounted Nurnberger bow I've ever seen. The stick looks to be of the same quality as their silver bows. Is it haired yet? Does it play well?
  2. Thanks, guys! Always good to have a reality check and not become complicit in spreading nonsense. Separately, I just checked donbarzino's rule against my own violin. The nut was way too low, suggesting the angle is too steep, so that rule must be wrong, too, since my violin has to be perfect.
  3. Any other opinions? The maker who shared this rule with me is an accomplished luthier. I noted the importance of a "normal" scroll and the overstand, but I would think that the rule should hold regardless of the top and back arching (assuming that the bridge would be lowered as the belly rose). Again, I can't imagine making a violin with this rule in mind, but it certainly seems useful as a first approximation for a buyer trying to get an idea about whether an old violin may benefit from a neck reset.
  4. Probably not of much use to someone making a violin, but can anyone comment on this rule of thumb that I've been told can quickly tell you if a neck angle is too steep or too shallow? Assuming a normal overstand and normal (ie, Strad model) scroll, if the line that is created where the bottom plate meets the ribs is visually extended to the scroll, that line should go through the eye of the scroll. In front of the eye means the angle is too steep. Behind the eye, too shallow. ???
  5. Best wishes for a speedy recovery, Jacob! Even with one eye, I defer to your assessment.
  6. My guess is old English, Nathaniel Cross. A focus on construction details, such as that observation from Blank Face, is surely the best way to understand an unattributed instrument like this. So that noone thinks I am becoming any kind of expert, I will confess that I naively researched the inventory number cited in the auction listing and found it in an old William Lewis catalog: Nathaniel Cross, London, 1740, $600. So, a Markneukirchen instrument misattributed as English? Online photos of other Cross cellos certainly look similar (to me).
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. You mean like here: https://www.ebay.com/itm/115368941041 ?
  12. 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. ???
  13. 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.
  14. 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??
  15. 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?
  16. 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..
  17. 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.
  18. 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.
  19. In the case of the Tarisio's "School of Van Gogh" violin, I believe that was very descriptive. One ear of the scroll was missing.
  20. I can't see a crack in any of your photos. Could you show a close-up photo of the problem. Some cracks can be left alone, some need immediate attention. Some can be fixed quickly from the outside, some need a repair that requires opening the cello. Presumably you will want something done fast, so you can get it back before the next lesson, right? It sounds like you've already shown it to at least one shop in the area. What did they say about the repair and the cost?
  21. Well, on a closer read the Wurlitzer bow catalog indeed says "about" 1890. But the point was that one can find a very expensive "Leon Pique"-stamped bow made well before Otto Hoyer went off to Sartory's shop to learn his trade. For me the interesting question has always been "where did this name come from," not "who made them." I don't expect that ever to be answered.
  22. "Leon Pique" is a curious stamp. Even if Otto Hoyer is widely credited with using that brand, he was not the first. I have a Wurlitzer bow catalog (1931) that lists a Leon Pique cello bow, made in Paris 1890 -- and priced higher than a Fetique cello bow in the same catalog. (Otto was only one year old in 1890, so that still begs the question of where that name comes from.) Given the other illustrious French bows in that collection, I feel certain that Wurlitzer could distinguish a French bow from a German one, and the 1890 date was then sufficiently recent so as not to be grossly in error. There is no Pique photo in that Wurlitzer book, but decades ago my son had a quality 1/2-size violin (late 19th c. Mittenwald) that came with a beautiful little bow stamped "Leon Pique Paris," upside down in the French manner. All the other Piques I've seen are stamped in the German manner. Unfortunately, "Leon Pique" is a name that some really cheap makers picked up, maybe as late as the 1950s or 60s, and those bows can be absolutely terrible. (FWIW, Jfield, to me yours looks better than those most recent knock-offs. I don't know about the Roth ones.)
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