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Fotios

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  1. I'm sorry, I didn't mean to be cruel to you. I was responding to J.DiLisio's post. I think about the violin itself roughly what Mr. Holmes summed up beautifully. Unfortunately, your photos are not ideal, but even so, it is clear that the violin is not in good condition and the cost of a professional repair would probably exceed its value after repair. That's about all that can be said about the violin at this point.
  2. I think that it is the specific terminology here on Maestronet that makes it difficult for many, especially new users, to understand things. To divide violins into "Saxon" = quality handmade, and "Markie" / "Schonbach" or "usual" = poor quality mass-produced is simply confusing (besides being downright nonsense). Also in Markneukirchen and Schonbach - at least up to a certain point - quality individually built instruments were produced. The change of production and the transition to a 'cottage industry' only took place during the 19th century. But even then, strictly speaking, one cannot speak of 'factory' instruments. They were also handmade, but they were not individually built, i.e. by a single craftsman. This was matched by a relatively low commitment to quality, artistic ambition, etc. Mass production and minimisation of production costs became a fundamental aspect. A similarly confusing term is "Czech" violin, which comes up in discussion whenever a particularly ugly, unshapely violin is reviewed. Most of the time it is a particularly crappy cheap violin from Schonbach or Markneukirchen. However, Schonbach may be in Bohemia, but geographically and ethnically (before 1945) it was more of a German area. In terms of the history of violin making, it has much more in common with Markneukirchen than with Prague, for example. So the notion of "Czech" = poor quality, ugly, etc. is simply confusing.
  3. No - this is the label of the celebrated Bergonzi del Gesu! Don't you know him?
  4. I am Czech, but I do not understand what the questioner actually wants. I agree with Jacob that it's a kind of verbal masturbation. I apologize for the incorrect statement...
  5. There is probably no reason to believe that your violin is not a Lowendal (Löwenthal). It is important to understand that it is not a violin made BY Lowendal, but made FOR Lowendal. Löwenthal was only a dealer or reseller. This is an instrument that came from Markneukirchen. No one will ever find out the real maker. This is nicely documented in Löwenthal's letter, to which Mr. Saunders referred. As for the year, your photos of the label are poorly focused, but it looks to me more like 1892. The violin itself would be consistent with that era.
  6. I'm sorry, but like the label, nothing about this violin matches the Dvorak at all.
  7. In the words of Mr. Saunders: a "usual", i.e. Saxon mass-produced violin, no more than 100 years old. I have no idea about prices in the States, here (Czech Republic) about $200 - 300.
  8. Fotios

    Albini

    Just a small detail - he was a bishop of Olomouc (Olmütz) in Moravia ...
  9. I certainly don't think this is "the usual" Markneukirchen area cottage industry violin. I'd be quite interested to know what the internal construction is like (corner blocks, lining). There's little of the original varnish left, but it doesn't look brutally repainted. The purfling looks original (see damage on the lower right bout of the top) and very decent. I'll leave the judgement to the experts, but I'd guess southern Germany. And quite old.
  10. Rafael Piskorsch, violin maker in Místek (northern Moravia), died 1880. I have physically seen one violin from him. German work, distinctive, somewhat fuller arching. One of his violins is also in the Silesian Museum in Opava (https://www.esbirky.cz/predmet/7410538). So much can be said about the picture of the label. What kind of violin you have is another matter, of course.
  11. I see. It's so hot here in Europe - the brain doesn't work...
  12. Sorry, I'm a bit confused - I've only read about one sister of Lorenzo and her name was Antonia. Who was Telmia Storioni?
  13. Thank you for your response. That is quite interesting information, but it seems to be based on older data (I would be quite interested in that dictionary of violin makers you mentioned). Mr. Rosengard, who has done extensive archival research in Cremona, has found that Lorenzo's father, Omobono Storioni, was a Cremonese, and I believe died in Cremona in the 1770s. So his death and the care of the family heritage probably cannot explain Storioni's presence in Rijeka. However, I would be interested in that violin from 1804 (and possibly other similar late Storioni works). Have they been published anywhere?
  14. Hello, I would like to ask you a question about Lorenzo Storioni. Mr Gindin, in his book on late Cremonese violin makers, talks about a Storioni violin dated 1804, on whose label the word "Cremonae" is crossed out and inscribed "Flumio", which should be the Latin translation of Fiume, i.e. Rijeka in Croatia. Mr. Gindin even speaks of the fact that several specimens of a similar type to the "Flumio" violin are known. Unfortunately, he has not published a single violin of this type in his book. Therefore, I would like to ask if any of the esteemed experts have ever seen a Storioni violins of this type, or if they have been published anywhere where it would be possible to study them. Many thanks in advance for any advice. Have a nice day, Petr
  15. Among the tens of thousands of dutzendarbeit from the turn of the 19th and 20th centuries, there are indeed relatively better quality violins from Schönbach from time to time. Contemporary dealers are fond of describing them as master or semi-master instruments. However, the fact is that at the beginning of the 20th century there were no violin makers in Schönbach building violins individually. The first real master violin makers did not appear here until the 1920s (of course I'm not talking about the old violin makers of the 18th and early 19th century). For the history of violin making in Schönbach I can recommend the representative publication "Z dějin houslařství na Chebsku / Aus der Geschichte des egerländer Geigenbaus" from 2014 (https://vufind.mzk.cz/Record/MZK01-001457382?lng=en). Unfortunately, due to the small print run, it is basically unavailable.
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