jacobsaunders

agree

I thought as much. I don't think it's Bohemian, but I have no idea what it is

I find it hard to determine from the pictures if the "purfling" is scratched on or painted. I am normally the first to call everything Saxon/Bohemian, but here I have my doubts

nor am I

how about writing to the Höfner firm and asking? Home | Höfner

If I buy an instrument at auction, I have no interest in every Tom, Dick or Harry on Maestronet knowing what I paid (net)

From Linarol, I only know the (Gamba) instruments in the Kunsthistorische Museum in Vienna. I would have thought that these are from an earlier epoch, although from a social point of view it will surely be part of the same development Treble viol - Works of art - Kunsthistorisches Museum - KHM.at

One doesn’t need to “believe” Prof. Pio, rather one needs to acknowledge the evidence preserved in the historical archives. I tend to run a mile whenever people talk of “”Germanic features”,even if they are just quoting some grotty book. One should also understand the Füssen system. There were relatively few violins actually made in Füssen, rather they “exported” 13 year old boys to relatives in far away places, who subsequently learnt there. I had an attempt at explaining that here https://maestronet.com/forum/index.php?/topic/361833-johannes-albrecht-violin-identification/#findComment-1038209 This “export” of young boys went in all directions of the compass. The Easterly axis of this compass for instance went along the Danube to Vienna and beyond. The south-Easterly axis went through Innsbruck, Bozen, Paadua and on to Venice, the Southerly towards Rome and so on. Venice was a centre of what I would call ethnic Füssen violin makers, even if some were born there. A thirteen year old boy doesn’t bring any “Germanic” scroll carving tradition with him in his luggage.

You will have to save up, and buy the book from Pio that I linked to above. The (large) documentary evidence, preserved in the Venetian archives confirms that Deconet was NOT a maker, but rather an itinerant musician/violin teacher. One may only speculate upon which Venetian makers made the fiddles that bear his labels. Pio’s conclusion is: “some instruments attributed to him were made without doubt by Giorgio Serafin and other by Domenico Montagnana. I am convinced also that several “Deconet instruments” were made also by Lazinger, the two Ongaro’s , the two Santini and Andrea Comel”. The violin literatur is full of crap like ”The scrolls followed traditional German carving methods." Just ignore that

There were a lot of connections between Vienna Innsbruck and so on and Venice. Indeed, Vivaldi even died in Vienna, where he was looking for a job. One might also take it as a given that it was in wheelbarrow range from Saxony

I would draw you attention to the post of Prof. Pio on page 3 which answeres your question comprehensively

I woud expect it to come from Mittenwald, late 18thC

We had a long and detailed thread on this subject some years ago https://maestronet.com/forum/index.php?/topic/327351-michele-deconet/

You should add the work of Prof. Pio to your reading list der Holfter GmbH im Online-Buchshop : Stefano Pio: Liuteri e Sonadori, Venezia 1750-1870