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Posts posted by Jacob

  1. Who apart from the Cremonese installed separate bass bars? Were there any violin making traditions doing this without necessarily following the Cremonese example? Apart from other Italian schools of making - Milan, Naples, Venice - I'm thinking about French, English, German, Austrian and Bohemian traditions. Or did these all eventually "convert" to the Cremonese method from originally doing intergrated bars?

  2. 1 hour ago, reg said:

    0997ScrSde1.jpgJ J Van de Geest Johannesburg??

    Van de Geest had several labels, but it always had his name on it. The violin about which I posted has a faclimile Gagliano label in it, something which van de Geest never did.

  3. 30 minutes ago, Blank face said:

    Yes, Mittenwald can be counted out. But I'm still unsure if it's Markneukirchen or Mirecourt. A Markneukirchen top is usally pinned to the bottom block, but not always. The absence or presence of cleats at the bottom joint, a closer look at the rib joints and the inside pegbox (blackened?) could give more clue. A 360 mm LOB is common to both places.

    The more I'm looking at it details say "Mirecourt".

    The back is cleated. The inside of the pegbox is varnished, not blackened. Here is another shot of a rib joint.


  4. 12 minutes ago, Blank face said:

    There's absolutely nothing what would make me think that it's not a better Dutzendarbeit or a small possibility of an early 20th JTL. Is the bottom joint cleated and the rib joints mitred?.

    And how long is the LOB?

    LOB at back button over the arching 360mm.

  5. 10 minutes ago, Andreas Preuss said:

    Can you check the following: 

    is the joint of the back exactly in the center? (Or bette: how symmetric is the outline?)

    are the linings inserted into the blocks?

    are there pin holes on the top?


    The joint is dead centre; I haven't had the top off, so I can't tell about the linings; no pin holes on the top.

  6. 49 minutes ago, Andreas Preuss said:

    What makes you think it is not Markneukirchen?

    The rib figure running in the same direction all around; shape of the head; the amount of overhang on the corners; the rib corners; the fluting in the throat; the rib heights tapering from 31mm bottom bout up to the upper corners) to 29.5mm at the neck; the extremely close distance of the purfling to the edge; the top arching.

  7. Thanks JacobS, that is very helpful. What needs to happen next is that I win the lotto, take this violin and the real William Luff I've seen (bought in person by the current owner from him), go and visit you, and remunerate you appropriately for an intensive tutorial on this matter. I may not thereby become an "Englishman", but I certainly will gain some insight. Seriously.

    My sincere thanks to you and other contributors to this thread. All in all, an informative climax to a not-too-bad day. Tomorrow morning it's the Springboks against All Blacks, while I'm holed up in the workshop with work, appointments, and training of an apprentice. But there will be multiple repeats of the game over the weekend.

    Again, thanks to all for responding.

  8. Perhaps it is a very good butt joint? I can't tell.

    The entire instrument has a feel of stoutness about it, I suspect top and back are both of substantial thickness. The sound is very focussed, borderline nasal perhaps, but it hasn't been played for decades, and the setup was dreadful. I replaced the nasty Infeld aluminium fine-tuning tailpiece, the sound post and the bridge, and strung it up with Karneols.

  9. Definitely one-piece bottom rib. Fluting in the throat kind of inbetween: ends beyond 6 o"clock. I can't tell about the corner blocks, I haven't opened the violin. I therefore can't comment on the linings either.

  10. 1 hour ago, jacobsaunders said:

    Typically they would be largely made by a schachtelmacher and the other divisions of labour, then finished by the bloke who put his label in (or not)

    Built on-the-back or interior/exterior mold?

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