martin swan

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  1. Pretty common over this side of the pond ...
  2. Oscar Prager - trade name ...
  3. It wasn't Oscar Meinel ... not a name associated with Roth.
  4. To me this looks like any number of Markneukirchen violins from the period (1920s-1930s). It doesn't look like a Roth and the label looks like a photocopy. I did have one violin that looked very like this - hopefully I'll remember the label but for now my mind's a blank. Oscar Someone ...
  5. What's wrong with a very fine metal ruler? It also allows you to get a measurement from the bassbar for the left leg of the bridge, which is the essential starting point for me in any set-up.
  6. As Blank Face says, typical lower level Mirecourt violin with an irrelevant label. In fact the JB Colin was a Laberte invention designed to cash in on the success of Collin-Mézin - these violins are pretty common. I've never seen this particular label before.
  7. Well that would be invidious for the people who bought them or missed them! I tried to buy the Molia lot 210 but was outbid by someone who has more faith in the saleability of a small violin. Not sure what it went for in the end.
  8. I tried pretty much everything on Tuesday at the v sober hour of 4pm ...
  9. Yes I played both ... But how can you trust my opinions? If I liked them enough to buy I will tell you they were disappointing. If I thought they were disappointing then I will tell you they were disappointing. You need to try them for yourself.
  10. Quality of work, nature of the varnish, highly professional graduation at both ends where the varnish stops, utter conventionality of the scroll compared to the rest of the violin, the incongruity of a well made scroll and such a terrible button ... The fillet under the fingerboard could have been added at any time, but also might be evidence of a badly executed marriage of neck and body.
  11. I have the feeling that the neck is from another violin.
  12. He will be all the more thrilled when he sees the end result. I think another factor in this scenario is that people are quite traumatised by having caused damage to something valuable. Even if it's not their fault, they maybe see themselves as custodians of the instrument and feel they have failed it.
  13. I think in a lot of cases the consignor has very strong views on what the estimate should be ... I saw that one of the auction houses has a decent but unremarkable silver mounted Voirin viola bow at an estimate of £30-40k. Can't think of any other explanation there.
  14. This is advertised quite clearly as not an Audinot. It looks rather like a Collin-Mézin from the 1920s/30s to me, and it seems clean - so aside from the fact that the seller is suggesting it might be earlier, I can't see what the problem is.
  15. Serious answer ... Empathize with the customer, show you understand that it must be devastating. Point out that there are thousands of great instruments in daily professional use that have been repaired after having the same accident. When done well it's near invisible, it really won't devalue the instrument significantly, and it won't affect the sound. "Come by first thing in the morning and I will show you how we can fix this. Don't worry - I know it seems like the end of the world but you would be amazed how common this is and how readily it can be sorted out"