martin swan

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Everything posted by martin swan

  1. He has about 6 accounts, probably leaves feedback for himself Some buyers are far enough away from any expertise that they take things on trust - for instance it would have fooled you. Others leave positive feedback when they have returned the instrument and got their money back. To me this looks like a Reghin cello that's been knocking around for a while and then been distressed and had a bit of soot rubbed into it. It has absolutely no Mirecourt features.
  2. Absolutely not - and the signature is laughable.
  3. How do you judge projection in a Tarisio private view?
  4. I think it’s pretty good for MK trade, just not anywhere near as good as your expert says. A top level EH Roth Guarneri model is quite something - and then there are all the really good MK makers ...
  5. Sounds like someone wants to sign you up for a “first class set-up”
  6. They are not genuine. perfectly decent new student cellos ...
  7. Model, arching, varnish, f-hole shape, scroll carving ... Looks like a midrange JTL or similar
  8. Good call ... the flame in the back is also very characteristic but I didn't see it till you said it!
  9. Ireland is debatably within the British Isles but not part of Great Britain and emphatically not part of Britain. Sore topic ... But an Irish violin is deffo not British.
  10. And yet that's very much how the violin looks to me too ... Besides, if the top had to come off to fake the signature then they wouldn't have had to poke the label through the f-hole
  11. Agree - very basic Saxon violin ... post 1850
  12. I'm seeing a lot of nasty retouch in the bridge area but not much else that sticks out ... You are seeing the face of the Virgin Mary or what?"
  13. In1931 the Laberte H. Denis model sold for 174 Francs. Their cheapest violin cost 58 Francs and the most expensive was 736 Francs.
  14. Not to be contrary, i would have said Markneukirchen.... The purfling sits in the centre of the plate corners rather than favouring the c-bouts. The rib corners are far from parallel suggesting this wasn't made on an outside mold. The scroll has a generally chunky and Germanic air, the pegbox walls are rounded off and the varnish shading is something I don't associate with Mirecourt. But I agree that it's a tricky one ... Is the back seam cleated on the inside?
  15. Are you the seller? Yes Parravicini is a great maker - inexplicably only accorded one star by Brinser. This example has quite a bit of restoration to the table and a button/neck repair, more of an issue on a modern violin than on something older - maybe that's why the estimate is low ...
  16. I can't quite see the adjuster belonging to the frog, but otherwise I agree it could be French. The underslide looks like a replacement, unless you spent a hell of a long time cleaning it?
  17. It's funny but I don't have that experience at all. Pretty much every serious sale involves a try-out in a hall with some friends and colleagues, and the only issues discussed are volume and audible articulacy at a distance. I find this quite frustrating since I would always prefer to listen to a bit less of a great sound than a bit more of a nasty one, but it's a difficult point to make!
  18. Even if a Fagnola sounds like a barbecued cat, there is still always some idiot who will pay 6 figures for it.
  20. Irrelevant to authentication and to the identification of geographical origin - not irrelevant to its being a violin. Why is this so difficult to understand? If a violin has little or no antique value, then all it has is sound value. You don't need an expert to tell you about that ... Or if you'd like further clarification of the issues, just go and play 10 Guadagninis.
  21. I really don't agree, and I have regular contact with most of the international experts. I don't know of a single one who isn't interested in the playing qualities and tone of instruments. It's simply that this is not relevant to the question of identification or certification. There are very few hardcore experts who aren't also makers and/or players - in fact I can't think of any.
  22. I think you'll find most posters here on Maestronet are more than ready to share their knowledge when it comes to specific instruments. Jacob has gone even further and has attempted to systematise for the benefit of Maestronetters the whole issue of construction method as seen in the inner work or "cornerblockology" as he calls it. Various posters occasionally put up an instrument for study or offer photo essays ... you haven't been on Maestronet for that long, and I think you could spend the rest of your life reading all the material that's here. So even on Maestronet there is a huge amount of information which will help with the identification of the most commonly encountered types of instrument. If there is resistance, it's most likely to be a generalized resistance to the notion that this stuff can be learnt from books or from Google. Anyone who has a fair degree of knowledge knows that it came through sustained hard graft and through having thousands of instruments in their hands or open on a bench. I started doing this less than 2 decades ago, and after handling and scrutinising many many thousands of instruments (and buying and selling around a thousand items) I feel I am beginning to get the hang of certain schools. But I still rely totally on the expertise of specialists who have been focusing on one geographical area for 30 years or more.