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Ratcliffiddles

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Everything posted by Ratcliffiddles

  1. Personally no, I'd call that typical English "interpretation" of a Stainer model by Duke.
  2. Brand is there on the right one, but has been mostly scraped off, on the left one, a piece has been replaced (not very well) where stamp would have been.
  3. "Strad" model in "British violin maker's " BVMA book, I had 2 in workshop at the same time, I'll try to find pictures
  4. Very few, and yes, you are correct, the vast majority find their most significant cross-match against data from other instruments.
  5. Totally outside my expertise as a dendro person
  6. Ok... If you must know... The most significant cross-match with published regional references from the International Tree-ring Data-Bank was identified with a Master chronology from Obergurgl, Ötztal, in Southern Austria (ITRDB/AUST003, F.Schweingruber), followed by a further central Alpine reference from central Switzerland (ITRDB/SWIT173, F.Schweingruber et al.). Both place the latest visible ring on the one piece belly at A.D.1514 Against data from other instruments, the ring-patterns from just over 100 separate instruments cross-matched significantly at the date suggested by tests with the published references. The most significant from my database are: a Viol by V.Linarolo, a violin by A.& G. Amati, a 1563 Francesco Linarolo lira da braccio, a viola attributed to Andrea Amati likely Peregrino Zanetto, 1564 Andrea Amati violin, violin by Giovanni Paolo Maggini (South Dakota NMM), a viola by Peregrino di Zanetto, a violin by V.Rugeri, c.1620 G.P.Maggini, 1590s William Bowelesse viola da Gamba, an early keyboard by J.Ruckers, a 1582 Lute by Vendelio Venere, a double bass by Gasparo da Salò, a viola by Gasparo da Salò, a c.1590 violin by Girolamo Amati, an early Brescian violin possibly Gasparo da Salo, a c.1560 viola by Andrea Amati (South Dakota NMM), a 1622 Theorbo by Giovanni Tesler, a 1670 Jacob Stainer violin, a Tenor viola by Jacob Stainer, ac.1580/90 Brothers Amati violin, a Jacob Stainer violin (Royal Academy of Music), a cello by G.P Maggini, an early 17th century Italian viola, etc... That's where I get my info from, Jacob. (I know, total bollocks as far as you are concerned...)
  7. hmmm, well, that's what I do for a living... 1514 latest ring to be precise.
  8. Looks very fine work to me. Not sure why it should be from Markneukirchen.
  9. Looks like mid-19th century Saxon with seriously re-shaped sound-holes. Scroll probably absolutely nothing to do with the rest.
  10. A good question, which is why a dogmatic answer will not do, and why I always way the pros/cons. I think the point is not so much about the likely "same-tree" associations, which in my view are a distinct possibility, but the circumstantial evidence highlighted by dendro results. These offer real insights in relation to wood-trading networks, that allowed separate pieces of wood from the exact same source, to reach opposite ends of the Italian peninsula, at a time when "Italy" did not actually exist as we know it now. You mean visually?? Unless you have measured all rings from pieces of each tree and compared their plotted data on a graph, "They seem to have the same grain features", doesn't mean much. Depending where those 3 trees grew ( particularly interested in the elevation), the level of inter-correlation from their ring-width series will differ significantly. They can also differ significantly at opposite sides of the log ( that, I know, because I tested it). Since you have these pieces, post high res.images, and will be happy to test. Hundreds of 18th century instruments with a 2 piece front that seem to have a visual similarities between their 2 halves, actually turn out to be from different trees. Those include a few by Stradivari ( less than 10), a large number of Guarneri del Gesu' (well over half his production) and again a high proportion of violins by G.B Guadagnini and Carlo Bergonzi.
  11. Nope... it is now official, it says so on a Trentino region tourist website ( and many others...). "Stradivari in persona si aggirava nella foresta di Paneveggio alla ricerca degli abeti rossi plurisecolari più idonei per costruire i suoi violini." So, it must be true
  12. Exactly.. Several same-tree matches have been found between Nicola Amati violins, and Stradivari violins, as well as other contemporary makers. Possibly the same wood dealer or the "more important" shop would buy a larger billet, and sell parts thereof. It didn't occur to me that it would make a "good story" in itself. Wood seemingly from one spruce tree in the first half of the 18th century ended up in 4 ( or five, can't remember..) "Italian" towns from Venice down to Naples via Cremona, as well as abroad in Madrid. When your database is large enough, hypothetical same-tree matches are very common. Unfortunately, I am far too busy to write "scientifically suitable" papers.
  13. I should definitely start charging a percentage of the sale price for my reports, even a teeny-weeny one would do.
  14. 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.
  15. 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.
  16. 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.
  17. Looks like something that would have been made in Markneulirchen c.1900 to me
  18. 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.
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