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chrissweden

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  1. O boy here we go, might as well mentioning V Fetique buying nearly finished bows from French and German makers, stamp them with his brand, selling them as his own work, and, for some extra Francs he would include the "exposition" stamp.
  2. It is not a secret that prices in the UK for instruments are generally higher than in continental Europe. That was one of the main reasons why the instrument auction houses in the UK flourished all this time. People and dealers could simply buy things in Europe and put it at auction in the UK, profit guaranteed! And yes, I am one of those people, buy a French student bow in France, fix it up, sell it at Tarisio with a 40% profit. With Brexit, the influx of instruments from outside the UK has come to a halt and we'll probably see other auction houses making similar moves as Tarisio did. I fear that dealers in the UK have a similar situation but I can't speak for them.
  3. Compare the number of lots in Berlin with London and you have your ratio. I know that a lot of stuff was consigned from continental Europe to the UK auctions.
  4. My memory serves me well: https://ingleshayday.com/auction/1018-3/violin-by-carlo-antonio-testore-lot19/ It's up for auction and my assumptions were right. Still, if it gets the lower estimate, the profit is negligible considering restoration and auction fees for the seller.
  5. What a shame to see such a nice violin being mistreated so badly... It's full of badly repaired cracks and unnecessary wear/cracks
  6. Did you try them out? I know Becker's sound good, appearance wise they're quite boring. How's the Gagliano? looks 100 times more exciting though the scroll is somewhat misformed
  7. Last time I was there (pre covid) they got fines when the police arrived. Funny thing is there's a group of Gypsies buying the cheaper stuff at Vichy only to be shipped to Bordeaux/Marseille area to get a "make over" including new labels and stamps.
  8. I have doubts about the Antoniazzi at Bromptons, and that is said lightly. I did not see it in person but there's a reason it did not sell... on a side note, perhaps someone could shed some light on lot 158 at Tarisio, looks like a lovely violin, yet did not sell. Perhaps too expensive in combination with the small size? (personally I like 53.1cm)
  9. No, it can be on workshop bows also! I had some higher-end laberte/jtl bows (fricot, e.a brocca, blondelet, sarasate virtuoso) and they also had the nicks. I think your bow is from one of these Mirecourt workshops.
  10. For that money I know someone who sells the real thing with papers... Auction=Retail.
  11. Ok it's two pieces, but not in a mitre, we can exclude all the fancy makers now Can you check if the heelplate is fixed with one or two pins and if has a triangle on the ebony on opposite sides? I'm starting to think it could be a nice JTL bow..
  12. It's very rare to see a L Bazin with parisian eye! I have my doubts about the head. The lowerback of the head should be swept further and generally the head is longer. The heelplate does not have a mitre, instead it's one piece. Furthermore, the heelplate's pin in not centered which is a very important feature of one particular maker: Morizot pere. The parisian eye not being centered and slightly lower placed in the frog could indicate Mirecourt or the Morizot brothers. The head does not look like Morizot brother though and on a drunk day their father might have made it... It's difficult to say a particular maker from photo's. If you can, check if the width of the frog gets wide towards the stick (use a caliper) If it does, you have a Morizot on your hands. (or a German bow!)
  13. Makes sense if you look at their current and previous auctions; which were to say the least "disappointing" .
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