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Ratcliffiddles

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Everything posted by Ratcliffiddles

  1. Really not at all sure that this is French. Those corners, especially the ones on the back, look much more like German work and I don't think the placement of the sound-holes fit the style usually associated with French work.
  2. Does it?? on the ribs maybe on earlier Mittenwald, but backs?? Markneukirchen, yes plenty, but Mittenwald, I don't remember seeing slab backs often at all.
  3. No Mittenwald features that I can see. I'd guess late 19th century, certainly not old enough to warrant a graft on the basis of age. Looks Markneukirchen to me, scroll possibly older, but I don't think it is.
  4. Looks like something that would have been made in Markneulirchen c.1900 to me
  5. It has been a gradual process, and the usual tedious platitudes such as " it can't tell you when it was made, or who made it" although essentially correct, or "you have to know where the tree grew" essentially incorrect, fall flat now under the weight of the information gleaned from the increasing databases.
  6. They look patently from the same workshop to me, and if the Smithsonian is from Derazey workshop, I suspect this one is too.
  7. Why?? It actually is not that instrument.
  8. I know that some people doubt the accuracy of the attribution, although the latest ring on its one-piece belly falls in the early part of the 16th century, so on that front, it certainly does not rule out that maker, or ANY other ( I just say that to humor Jacob S. and before anybody points it out)
  9. The ones listed are single examples of the most significant correlations, some by Stradivari also cross-match with lower stats. There were more than one location that were exploited for tonewood in the 17th century.
  10. I think this one, although I am not 100% is one of the pressed ones with one-piece front and back. The can sound very, hmm.... loud
  11. I care That was a long time ago, there are plenty more instruments cross-matching with the Dumas, the best being a Rugeri cello which may well be from the same tree. This is followed by a Pietro Guarneri of Mantova (not from the same tree), Andrea Guarneri, Rugeri violin, another ex-Maggini now Rogeri, a Guarneri Filius Andreae, another Andrea Guarneri another ex-Maggini, etc.. "significantly cross-matches" does not ever imply a same-tree connection, it simply denotes a statistically significant relationship. It's all to do with the level of statistical significance, and the adequacy of the relationship when data are plotted on a graph. Who says the Kievman viola hasn't been tested?
  12. French "Caussin type"
  13. Most unusual, 6 piece front and is that purfling whalebone??
  14. and the scroll couldn't be anything else than a ropy French one..
  15. I beg to disagree, but the first one is French, not a nice one, and not that it really matters, but French nonetheless.
  16. This would be more usual for a Stradivari, this example, from 1708 has an average ring-width of 0.9mm, as opposed to the previous one which hovers around 0.26mm average width.
  17. Part of the tightest grain in my database so far measured on one of the Strads mentioned. Just under 100 rings on that portion.
  18. I wouldn't disagree about the "finest grain wood" not generally being used by Italian makers, although there are many Strads with very fine grain indeed and, incidentally, the finest grain I have ever measured (i.e. the highest ratio of rings per inch) was not on a German/Tyrolean violin but on a Strad ( actually on 4 different Strads). I was just questioning the "dark, thick, well spaced lines". When I saw the description "dark/thick/wide", It made me think ( rightly or wrongly) of timber with dense latewood (dark line), That doesn't make me think of wood used by Italian makers on violins. Yes, it is seen on some (many) Italian cellos, but I suspect it is because the wood required for cellos was of larger dimensions, and that size tree would be more prevalent at low altitude than it would at high elevation. You talk about gradual shading, but that is not what I see on the whole. Of course there are many variations, but what I tend to notice on wood used on many pre-1775 Italian violins, are rings formed of about 75 to 95% earlywood (spring growth), and the remaining of latewood. Yes, there may be a gradual darkening within the late growth itself, but usually the transition between the 2 is fairly defined. Again there are many variations of that within one piece of spruce. I tend to look at wood on high res images, so maybe see things slightly differently than the naked eye. If and when I see a gradual and wide shading from early to late wood, I usually find that this type of growth doesn't respond well to cross-matching and the main reason it doesn't is that it probably isn't from high altitude.
  19. Not quite sure I understand what you're saying. In my experience, high elevation spruce doesn't tend to show dark, thick well spaced lines, and I am unsure whether any maker would use that in preference to lower density spruce with fine, even growth lines which, I believe tends to characterize high elevation spruce.
  20. I've seen others of "the usual" with similar linings over blocks and inserted into top and bottom blocks
  21. Wondering why people are still calling it Winter growth. It is called latewood and occurs from late Summer into early Autumn. Cambium activity in Spruce is dormant in the Winter and resumes in the Spring of the following year, producing the earlywood.
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