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Everything posted by violinfrank

  1. I am appreciated for Will to point it out. I need to be a bit more careful about a language never in my book and just made a mistake the moment I used it.... I did a little searches on google simply by typing "Collin mezin" and year. I found that 1883 could very likely be the last year before droping Fils to simply "Collin-Mezin" on the label. The address on the label of 1884 instrument remains the same: Rue du Faub: Poissonniere No. 10. Frank
  2. Oops! I should have checked my writing before I posted. It is indeed Collin-Mezin Fils, not Fil.
  3. Sorry for the late post, just noticed this thread mentioning about the earlier Collin-Mezin label. I recently encountered an 1882 Collin-Mezin with the label listed: Ch. J. B. Collin-Mezin Fil Luthier a Paris Rue du Faubg: Poissonniere No. 10 It is a beautiful Guanerius model with yellow varnish, with the correct hand signature by the sound post. The sound is much better than ones made after 1900 and could make many Italian violins of similar vintage to shame. If the label on this violin is genuine (which I believe), that would push this label of "Collin-Mezin Fil" from 1878 to a later date (1882). Frank
  4. Thanks! Your explanation makes a lot of sense. The purfling line could weaken the connection between the neck and body of the violin. That was probably why Capelli didn't want to make the purfling in the traditional way but to rise the line well into the button instead of making the line abruptly stopped on each side of the button. Frank
  5. I recall reading somewhere that there were discussions between him (Capelli) and Carlo Vettori about this purlfling on the button approach. Don't know what was the conclusion of this extra point will affect the strength of the button. Maybe makers here can contribute your own opinions......
  6. I remember I read somewhere about the maker Aldo Capelli made the button stronger by making an extra purfling point on it. Is it in a way similar to the ebony ring? http://aldocapellieng.altervista.org/ALDO_CAPELLI_LUTE_MAKER/The_Trademark.html Frank
  7. Does anyone has "Modern Violin Making in the Emilia-Romagna Region" by Artemio Varseri? Aldo Capelli is listed in "Dictionary of Twentieth Century Italian Violin Makers" by Marlin Brinser. Brinser gave "good maker" and an one star rating to him and his work. Before I actually commit to buy Varseri's book, I will be appreciated if someone could give me more info. Thanks! Frank
  8. I recently bought a violin made by this italian maker. This violin came with 2 certificates, one by the maker himself and the other by Rampal. A search on Internet resulted in a web site dedicated to him: http://aldocapellieng.altervista.org/ALDO_CAPELLI_LUTE_MAKER/Photo_Gallery.html. In addition, a recent communication with this violin maker's son, Marzio Capelli, revealed a bit more information about him and his works. This luthier made his first violin in 1956-57 and he only spelled his name as "Capelli", not "Cappelli" in the labels of his instruments. Violins and cellos currently listed on eBay or other web sites with "Cappelli" labels were made by an impostor. This maker finished the inside of the pegbox with light color paint, unlike the usual black or colors matched varnish of the instrument. Marzio also mentioned more information about his father can be found in Versari's "Italian violin maker and writer" . I am not sure if this is the actual name of the book. Could it be "Modern Violin Making in the Emilia-Romagna Region"? If someone has Versari's book, please confirm this information. Thanks! Frank
  9. Hmm... I happened to try one 1900 Muncher violin which sounds wonderful. Better than several French (Bailly, Collin-Mezin, Apparut, etc.) and American (not mention names) I tried lately. Maybe an unique example? Aldo Capelli, anyone tried his violin? CF
  10. How about the controversial one like Romedio Muncher? I know the fact he worked for Claudio Monteverdi and other workshops have probably compromised his luthier worthy status. But how about his own hand-made instruments? Was he only worthy of an average maker as some suggested or a very good maker as other books commented? And Aldo Capelli just passed away not long ago. His works seem to be very good. How is his works compared to other modern Italian makers and worthy of buying in? Any input will be welcome! CF
  11. I happen to know two fine examples of "CH NURNBERGER" stamped bows. One has "///" under the leather wrap and nothing on its frog, the other has "V /" on the frog but unknown under the leather wrap (never uncover it). Both were made and played like fine French bows and command decent prices at dealers. It will be hard to believe if both bows are factory/workshop made bows. CF
  12. Hi Bruce, After reading so much about German workshop/factory bows, were those famous German makers like Albert Nurnberger, HR Pfretzschner themselves also left numeral markings on the their original sticks and frogs? Have you seen many examples on their original works? CF
  13. Thank you, Bruce. I suppose this Roman numeral marking practice therefore doesn't have to appear only on German workshop bows. Just because a large number of lower-end bows have these marks could easily give you a false association between them. CF
  14. Hmm......Sorry, I don't mean to be disrespectful but how about those makers in Hill workshop made many nice bows and they seem to have a system to number sticks and frogs. CF
  15. Thank you, Josh! I read through the posts and understand that those scratches were used in workshop for matching up sticks and frogs. I guess my question is more about: Does a bow having these marks represent a collective efforts by several makers from e.g. Nurnberger workshop or Could it be just from a single maker like CH Nurnberger? I notice that in the Hill shop, each maker was responsible/marked for each bow from that shop, so a maker could be identified for each bow from that shop. How about the German workshops like Nurnberger or Pfretzschner?
  16. So there is actually no extended meaning of workshop made or not on the bows with these scratches. Then what is the most direct way to tell a workshop bow from a bow of specific maker? Thanks a lot! CF
  17. Hi, The following question has been on my mind for a while: Does Roman numeral found scratched on the metal underslide of the frog or stick under the leather wrap indicate the bow is from a workshop without exception? Is it possible to appear on a bow of specific maker like e.g. CH Nurnberger, Albert Nurnberger, or HR Pfretzschner? As a violin player to see only a few examples can't hardly reach any useful conclusion. I am hoping I can have my puzzle answered here, thanks! CF
  18. While bows can draw different tones, it impact even more on techniques. I have trouble to play spiccato from my cheapo, but with ease on a bow by August Rau.
  19. Speaking of German bow, I recently acquired a good example of August Rau's violin bow. It seems less stiff than Pfretzschner I tried before, but more elastic. According to the info I gathered on web, this German maker had many stamps, e.g. Aug.Rau & sohn, August Rau, Aug.Rau, and so on., seem to represent different periods of his bow making. Does anyone here tried/owns his bow? How does his bow compared to those of other German makers? Frank
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