jacobsaunders

Stainer is certainly a worthy subject of study. Here is a picture of me and my boy Leopold standing infront of his house in Absam a couple of years ago We will be going to visit for his 400th birthday again this summer. The so called "Stainer copies" (which have practically nothing to do with either "Stainer" or "Copy" are a diffferent matter. We had quite a detailed thread about (the real) Stainer some years ago here

I have soaked out period bass bars on baroque instruments, and refit them over crack studs on 18th C. instruments, where it was important for me to preserve all original parts, particularly when working for museums. I have even demonstrated this here on Maestronet. Doing it on a cheap Dutzendarbeit Stainer “copy” seems decidedly in the sector I would call “pissing around” and begs the question if one is earnings ones living or pursuing a hobby.

I think you might be confusing the Viola and the violin. It was the Viola from 1779 that had he cyclops scroll, but that grew a new eye (Picture). I added the Violin from 1814 at the request of Antero, so he could compare it with his violin. The violin was really filthy, and I cleaned it first with "Super Nico" and Wiener Kalk, whatever that is called in English, and then with my "camphor cleaning" stuff.I have since wondered if a craquelierte varnish can ever be "transparent", and why one should even wish a varnish to be "Transparent". Seems easy, a couple of coats of shellac would do the trick.

I'm afraid I don't understand what you mean. I wish I had a few pots of Widhalms varnish.

If someone asks how one would go about repairing violin X, one can either ignore it, or spend a quater of an hour at the computer explaining exactly how one would do it. That is a thankless task on MN, 'cos one will inevitably have to argue with Tom Dick and Harry, quite apart from the OP. If the OP is already in the middle of the repair it will most lightly be a thankless task squared. It would be far better to talk it through with an expierienced repair man before he started, which is what I said.

If you don’t mind me saying so, from what weve seen up until now, I would say that the violin isn’t particularly a „basket case“, or the neccesary repair particularly terrifying. Rather you seem to be doing all sorts of things in the wrong order. If you wish to learn routine repairs, you might be better advised asking someone first.

I have put up some pictures, and a short write up of my Widhalm violin for you. I put it in the Widhalm reference thread though, incase somebody googles Widhalm, so they get directly directed there. Hope thats alright.

By popular request I am adding this violin to this Widhalm reference thread. It illustrates nicely, how one should view “Leopold Widhalm” as a workshop that spent 3 generations making the same violins, rather than an individual, since this one, from 1814 is just the same as others made 40 or 50 years before. Actually it is, for 1814, quite old fashioned, should one stop to think what colleagues such as Geissenhof, Stoß or the third Stadlmann were making at the same time. Rather than moving to the “Biedermeyer” this violin remains unadulteratedly in the 18th. C. That doesn’t stop people queueing up to tell you which Widhalm is which and why, I just take no notice. The label (and stamp) are textbook examples of what an absolutely fresh untampered with 200 odd year old label should look like. Unusually for such an old violin, all 4 belly corners are preserved as they were on day one, and are, in my opinion a fine example of how one should cut belly corners. Both in the inside of the belly, and on the (replacement) upper block, someone has rubber stamped “1919 no.41”, which is surely a repair inscription. No name though. The repairer has sadly made a replacement peg bow, which although a fine exercise in woodwork, has not remotely tried to reproduce any Widhalm characteristics. Also the obligatory paper strip along the back joint has been replaced by pine cleats, for goodness know what reason. Otherwise the linings are of walnut, and all other inside work as I described above for the viola. The thick red, slightly chippy varnish has a fine craqueleur and is reminiscent of varnish one sees, for instance in Salzburg of the 1720’s. At some stage I will have to open the belly to see too some belly cracks, and cracks in the lower ribs, and could perhaps post additional pictures, but for now, the violin will have to queue up and wait it’s turn.

The ivory Pins for the sympathetic strings are evidently later, since one can see plugged out holes where original ones might have been.. Unfortunatly one pin head has broken off, so I will either have to find something suitable to replace it, or make new one.

Is there any credence in the rumour that future Chineese violins in America will all have Italian labels to sidestep Mr. Trumps tariffs?

No. Is "Stramm" a name or an adjective?

In the search funktion, you will find chapter and verse re. bows stamped Bausch. Here for instance

IMHO lot 182 is most lightly not a Geissenhof, which is why I didn't bid on it, for what it's worth

since yours is a bit older, I wouldn't trust any stars