Guy_Gallo

Thanks. I've had work done by both Yung Chin and John Aniano. It's been a while. I don't know if he's still there. Good idea. --Guy

Jeffrey, What might t signify, perhaps in term of sate, that this has the Retford tip mark and also shows the drill marks? Guy

Thanks all. I think having one custom made is the way to go. Guy

Sorry to be so long in replying. I've been snowed under recently. Yes, it does have retford's engraved single dot on the tip. There is no dot on the frog. There is a letter K which is repeated on the stick. -Guy

I have a gorgeous Hill Bow by William Retford. I am thinking of getting am ebony frog to replace the original both to preserve the original and to make it possible to travel with the bow. The bow probably dates from 1910-20. Questions: Anyone have a Hill ebony frog from that era they'd like to sell? The tortoise is unlined. Would an ebony from that era be unlined? If I have one carved, should I have it unlined? Can an off the shelf silver fitted frog be made to fit this channeled stick? (see attached image) Thanks, Guy

I have a Retford Hill bow that I just had re-haired and it had a bit of metal re-inforcing the area where the plug/ferrule go. It is also unlined on the top.

Bump.

When I got this violin there were patches under the bridge and on the upper treble side that were nearly to bare wood. Those places were touched up and the whole thing French polished. I don't think the entire top was re-varnished. Here is a comparison. The difference in color is more to do with lighting than the restoration. The before was incandescent, indoors. The restored top is in sunlight.

As the composition of the forum has changed since last I posted this question, I thought I'd do so again. I'd love to hear thoughts regarding the region/period for this violin.

Thanks Jacob, The scroll has a very poor cheek patch (which may be why it seems itself to be a composite). It has patches on both sides, but one side is markedly more amateurish than the other. So it looks like it was done at another time. Under UV light there are at least four distinct varnishes -- the back is pretty consistent save for an area around the button. The scroll has three -- the base dark red and each of the patches. And the front two -- the main body and what was added in retouch. I don't have any photos of the inside construction if that's what you mean. I suspect you are right it will never yield to ID. Though I am surprised that those honking big f-hole wings have not rung a bell with someone. They are pretty distinct. But it's a beautiful player.

It may look like he redid the entire top, but I don't think that's the case. I believe the parts worn raw were touched up and then the whole thing was "french polished" a bit.

I have no stake in it being Viennese. It seems that the ribs, scroll and back are by one hand and the top another. I'd love to hear any thoughts on either one.

Here's the fiddle before given to a luthier to clean and restore. The varnish had been worn nearly off in two spots.

Nope. Realize this was not a certificate appraisal, but a verbal assessment if such a cert was even possible. I think he was more interested in the other violin I had with me (a Voller) for which he did write a cert. Still, that was his suggestion suggestion. I'm open to others. What's it look like to you?

The violin in this gallery has been deemed a composite by Beare. 18th c Viennese back and 19thc Italian front was his guess. No maker suggested for either. Frankenfiddle

Good idea, Jacob. I'll see if I can get ahold of some calipers. I can say for sure that it feels thinner both across and vertically than other violins I own or have played.