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Everything posted by luthier

  1. I see the edge work, bottoming out a good distance inside the purfling, and the blackened pegbox interior. I doubt it being Chinese or French.
  2. I see the edge work, bottoming out a good distance inside the purfling, and the blackened pegbox interior. I doubt it being Chinese or French.
  3. I'm only lesser qualified to ID violins, but I will say it appears to me of high quality, either recent or extremely well cared for in it's life, possibly of German origin.
  4. I'll assume these repairs are followed up by cheek patches? I glued one up using Jacob's method recently, and put it away awaiting the cheeks.
  5. In the JGC violins I've seen, the ribs are cut from a flat board, with the corners cut out; the inside of the rib is flat and strait. It is then bent to form. To cut out the ribs from a board to the violin shape would result in end grain on the top and bottom of the ribs, which would have no stability at all, not to mention the same problem above and below the bouts.
  6. With a google search I found this thread: This will keep me busy for quite some time. I'm not a math wizzard.
  7. Mike, That will be 3 and 5 mm when I get that far. I'm not worried about being at standard 27 mm projection, just interested in what is more important, the angle of the strings over the bridge, or that 27 mm projection.
  8. Hello all, What is more important, the string angle over the bridge, or the bridge height of 33 mm? The reason I'm asking is I have a Andrea Amati model violin with really high arching. The string length is 330 mm, and the projection is 26 mm at the bridge. Thanks for any insight you may have.
  9. Make a violin instead. You should pick up a new piece of spruce for your viola. Assuming you will need a little bit of overage in the length, you'll never be able to hide the graft. no matter how hard you try. It's just not worth the effort.
  10. I search ebay regularly for broken stuff for repair, but the gems are getting more rare every day. Through the schooling I've received here on MN, my conception of worthy of restoration has changed drastically over the years, which may explain my lack of interest. None the less, I've been fortunate on several occasions.
  11. When I click on a listing in my ended listings list, this appears: The listing you are looking for is no longer available. Check out this similar listing we found for you. The listing ended June 27th.
  12. Looks like the newest on ebay is that the listing disappears the moment the auction ends. This makes it even easier for the scammers to cover their tracks, and harder for this forum to expose them...
  13. With a little research, I found this: Take a look at the first picture of a violin scroll on the page. Well, we now know where they are coming from. I found this by going through the seller's received feedback.The seller has bought from this maker in Berlin. Are they one in the same person? Probably not, but who knows? By the way, buyer beware is the rule on ebay.
  14. Most sources say G. A. Ficker was a cousin of Ernst Heinrich, and a co-founder of the shop in 1902. He was apparently a violin maker as well. I once had a G. A. Ficker from 1926, which seemed no different than the top level E. H. violins from that time period. There was no reference to Lewis on the label, though. I think that connection was made in the post war era. As to the Mittenwald distinction, I can't comment. Maybe they were out-sourced?
  15. You should also check the string grooves in the top of the bridge, to make sure they are lubricated with graphite, pencil lead. That goes a long way preventing the strings pulling the bridge top toward the scroll.
  16. Thank you, Jacob. I can't put into words how much I appreciate your contributions on this forum... Last night I closed a nice Mirecourt violin. I remembered reading here your cornerblockology essay, and this morning here it was again, bumped up. I wish I had seen this before I closed the violin. The blocks in it are extended into the c-bout ribs, as you described. Now I know more about how it was constructed.
  17. Mainly because the button slopes down towards the scroll, continuing the longitudial arching of the back, and the inside of the pegbox is blackened. I'm probably not qualified to comment on these types of instruments, so take anything I say with a grain of salt. Obscure East European origins also makes sense.
  18. What I see is absolutely no wear from bowing on the edge of the top plate next to the e string. If it is a newer violin, the antiqueing is very convincing otherwise. Looks German to me.
  19. I have 3 tops for sale. There is no end checking on any of them. The first is $40 + shipping, as pictured. No runout evident, nice medular rays, strait tight evenly spaced grain. Measures 5 1/4" x 17 3/4" x 13/16" - 5/16". This one is the first 5 pictures. Aged and dry, cut in 1998. SOLD! The second top is $35 + shipping, see next 4 pictures. No runout evident, strait tight grain broadening just slightly to the flanks, measures 16 1/2" x 4 5/8" x 7/8 - 5/16". Aged and dry, probably from late 1990's. The 3rd top has been in my possession since 1980, and was already very well aged when I bought it. My guess would be cut around 1960. Of the 3, this one has the best quarter, dead on. The grain is strait, tight in the middle, widening to the edge. No runout evident. Measures 23 1/8" x 5 1/16" x 7/8 - 5/16". Cost is $70 + shipping. I prefer a MO, but will also take a check.
  20. Purchased from International Violin in 1998 (dry), full size. Measures 9 1/4" to 10" wide, 1 1/2" to 3/8" thick, and 35" long. Asking $225.00 plus shipping. Was photographed dry, no finish applied. No cracks. Pictures 1 & 4 are full length, others are from each end, both sides pictured. SOLD
  21. I've used denatured alcohol for decades to clean guitar and violin strings. Other types of alcohol will also work, as long as they aren't flavored. I take the strings off to do it, preventing any finish damage. You'll be amazed at the difference, and the amount of crud in the rag.