jacobsaunders

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About jacobsaunders

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    We’ll be back
  • Birthday 05/24/59

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    jacob.saunders@aon.at
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    http://www.geigenbau-saunders.at
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    castle near vienna
  1. Atypical construction violin

    1. Junk 2. ca pre WW1 3. Normal bought parts from the Markneukichen industry 4. not worth anything
  2. Atypical construction violin

    Dr. Franz Thomastik, an „Anthroposoph“, Born 1883 in Vienna, made all sorts of inventions, and wierd acustic publications. The Infeld Family took over his firm in the 50’s. The only inventions that had a longer life, are the steel strings, and the tailpiece with integeral fine tuners. The firm, in the 5th. District of Vienna, to this day, has no end of such junk in the basement, and asked me (with an unsurprising negative response) to repair it, some 25 years ago. I am not Aware of Jakob Buchner, there is a large dinasty of „Bucher“ violin makers, although it should be noted that there were no end of makers in Vienna at this time, and one is surprised oftten enough. I wrote an Essay about these here: https://maestronet.com/forum/index.php?/topic/329024-who-made-this-violin/&do=findComment&comment=596648
  3. How did these cracks occur, and how should they be treated?

    It Looks like a shake that pre-dates the violin. I would warm it. massage some glue in, and apply a cramp
  4. Looks like a bog Standard Markneukirchen one, end of 19th C
  5. Violin type Nicolo Gusetto

    There is a subtle difference between „a wreck“ and junk
  6. Lots of Books at T2

    I think it is about the same length, just padded out with adverts
  7. Favorite small viola model?

    When considering viola size and which old models to use, I think one should perhaps stop to think how this developed over the last couple of hundred years. Up until about the mid 18th. C., one comes across some large violas, 42cm LOB and above. Should one come across one of these that still boasts it's original neck, then one can hardly help but notice, that these necks were scarcely longer than violin necks (13,5cm for instance). I think this can only be understood when comparing with the viola literature. The viola back then seems to have been far more an instrument to fill out the middle of the harmony, in first position, and didn't get rewarded with any, or much (surely exceptions too every rule) virtuoso literature. At about this time, some “disruptive” individuals like Haydn, invented the string quartette, and all of a sudden, the viola players had to go home and do some practice! From this time on, naturally with rare exceptions, no violin makers made any “large” violas any more, presumably due to lack of demand. The “Large” viola only really came back in a big way in the 20th C. with the likes of Tertis, Hindemith and their generation. For this reason, if you go to an orchestra concert in the Musikverein, whichever guest orchestra they have, you can see well from the gallery that the %ige of “old violins, is invariably much larger than the %age of old violas, either that or that viola players seem to have small heads. The south German/Austrian 18th C. makers, seemed to have 3 distinct viola sizes 38cm, 39,6cm, and 42cm+, so that one can give viola players a shock, by telling them across the room, exactly how long, to the mm, their viola is, should one be in a mischievous mood.
  8. Violin type Nicolo Gusetto

    It is a product of the late 19th C. Markneukirchen Music Instrument industry, and has no commercial value (i.e. NIL)
  9. Lots of Books at T2

    yes, exactly
  10. Lots of Books at T2

    This thread incited me to drudge through the whole catalogue whilst watching the England v. Germany football match this evening. I'm afraid I only had to take my eye off the ball twice. The first time was when I got to item #228 https://t2-auctions.com/auctions/lot/?csid=2198781952&cpid=3487039488&filter_key=80f98cc83f572785246237d6e52d7846 A VIOLIN, c. 1892 Labelled, "Louis Noebe, Kunst-Atelier, Bad Homburg., L.N. no 769, 1892., System Noebe, Schutzmarke." where I wondered if anyone knew what Nobe had patented. Noebe's patent was an „induction Bass Bar“, which is basically the same as a normal bass bar, except it has five square gaps cut out of it along the glue joint, supposing it is still in the instrument. Quite which wholesaler Noebe bought the basic fiddle from is something that one could speculate over. The second time was #238: VIOLIN, c. 1885 Labelled, "Karl Kienol, Geigenmacher in Wien, https://t2-auctions.com/auctions/lot/?csid=2198781952&cpid=3483418624&filter_key=80f98cc83f572785246237d6e52d7846 where I wondered who on earth Kienol was. I swiftly realised that they meant Kiendl. There were two Kiendl's in Vienna, father and son, both called Karl. Every Kiendl violin I have ever seen, was either a better “Markneukirchener Ware” or (less often) a Mittenwald “Verleger”, so that is the quiz to answer. Sometimes, when I get dragged along to do a probate appraisal, one gets to see a Zither or a guitar with Kiendl labels in, so I presume that they were a general music shop. Still, never mind, T2 don't do certificates, do they? The football match was pretty boring too, so I suppose tomorrow will be a new day (lets hope).
  11. old violin for ID

    This is a slight misunderstanding. In the hints I gave to distinguish Mittenwald from Markneukirchen here https://maestronet.com/forum/index.php?/topic/325798-quiz-for-addie/&do=findComment&comment=538590 a mitred rib end is a clue pointing towards the Mittenwald use of an inside mould, a rib joint in the middle of the rib end pointing towards a Markneukirchen (area) Built on back construction. The Mirecourt 19th C and later trade (and better) seem to have used a sub-group of the method #3 I listed here https://maestronet.com/forum/index.php?/topic/328919-violin-id/&do=findComment&comment=594080 where they built ribs on the back around the corner-blocks. This method gives you the tell-tale up to double gluing area rib/block on the centre bout, compared to the size of the rib/corner-block gluing area on the upper/lower bouts. This can be seen well on Juan's OP fiddle above. The joint on the end of the ribs can be so or so using that method. Just goes to show that one needs to be able to tick multiple boxes, not just one clue when working out where a violin came from.
  12. If you mean my customers Cello,I have appraised it at considerably more than that.
  13. I have a customer with a Ragot Cello, which I would characterise as a diligently made new(ish) instrument, nothing to write home about, but quite good. It also has a RAGOT stamp on the bottom rib above the spike. It is quite thinly graduated. It doesn’t have any Hague exibition or similar stamps though. Boasting all medals & awards, all the way down to the Allensteig Agracultual Show etc. was rife in the late 19th. C./early 20th C. The Vienna World Exibition is quite a frequent one, even Gmünder in Amrica boasts of that. The Technische Museum in Vienna has a vast Collection of steam engines from that exibition, and there is a sign on the wall, that says that they awarded 20,000 medals, so I expect you could have got one for farting.
  14. Older bow for ID

    No, it would land in my "not worth repairing" box