martin swan

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Everything posted by martin swan

  1. Apples and oranges ... besides, if the Nurnberger is the same price as a JP Bernard, it's not much of a Nurnberger.
  2. I don't suppose it was late 18th century French? I have seen a couple of experimental violins by Salomon and Lepileur that were like that all round - kind of a 3/4 size back and a full size front. Hardly a concept that a modern maker should be able to patent ...
  3. It's easier to taper from the upper blocks to the top block than it is to taper the entire rib assembly. So maybe the bending stress is just a by-product - something that wasn't considered a big deal. We certainly have no evidence that it enhances the sound.
  4. Luis, thanks for posting this. From the work of Enzo Bertelli I assumed that the OP violin was not authentic - your photos confirm this for me.
  5. You're not really listening ... A poplar back would not be a factor in valuation but is this really the work of a mainstream professional maker? And what would a regular dealer be doing selling an authentic one for $5k when they could make 5 times that? I don't suppose it has any kind of certificate?
  6. An authentic Bertelli would surely be well over $20k at retail. Maybe this is your pot of gold ... or maybe not!
  7. Mid 4 figures negociable is not a Luigi Bertelli ... and in 1950 Luigi Bertelli had been making violins professionally for some time
  8. Hi Dani! Do you have photos of your violin? It would be great to get a bit more familiar with this maker.
  9. A quick google won't tell you anything much about anything, and what it will tell you is not worth knowing ... Luigi Bertelli was a professional maker, and father to the rather better known Enzo Bertelli. The entry in Vannes included in the OP's picture tells you a good deal. I don't know this maker personally. While the edgework and the scroll (and the poplar back) look Italian, I find the f-holes pretty crude (particularly the lower tongues) and I'm disconcerted by the bump in the arching just outside the lower portion of the f-holes, which I would associate with a rapidly made trade instrument. But hey, a lot of Italian violins are pretty rubbish and still people must have them in preference to far better non-Italian instruments.
  10. Yes they have all certainly been gravitating towards the US recently! I spoke with a violin hunter colleague of mine in Germany, he also attests to these violins being very plentiful in Germany. We discussed the Enrico Robella label and whether that might be specifically American, but the only examples either of us had bought came from Germany too ... Oscar Meinel may be a US label ... never seen one this side of the pond.
  11. Where are these alleged cracks? all I can see is a tiny start of a wing crack on the left side ...
  12. With regard to the first point, it has a certificate from the seller, so one would hope so - you might ask to see the wording. With regard to the second, what are you looking for? I can't imagine ever buying a bow without trying it, but this is a "no return" sale so you can't do that. It's like rolling the dice when you have to get a double 6 ...
  13. Haha! You can check the auction records, they really do crop up frequently, though admittedly the auction results show a lot more in the US.
  14. The label is fake ... It may well be worth $1k but I'm not convinced it's French.
  15. There is one and sometimes two in every round of the London auctions ...
  16. How do you keep the instrument stable without the mechanism being visible?
  17. Many c20 makers used this kind of quilted poplar ... but it’s a lot of money without a name.
  18. Maybe they are unpopular in Austria? In the old Ebay days I used to buy them from Germany and the former Czechoslovakia.
  19. I don’t think the coding is complicated - the issue is rotating the violin by a controlled amount. This is not a methodology that has been widely adopted, and I can’t imagine us doing so in future. With all due respect to Amati for innovation, I think it’s a bit like sound samples ie. it gives a sense that useful information is being shared without the information actually being useful.
  20. EH Roths are common in Germany and in the UK
  21. We did discuss the crack in posts 4 and 5 ...
  22. There is no de facto reason why an outside mold construction method would lead to a gap between the two bottom ribs, otherwise all Mirecourt violins would have this problem, and all modern commercial violins. Of the 150 or so instruments we commissioned and sold under our own brand, none had even the slightest gap, yet all were built on an outside mold. So if there is a problem that you see regularly, it's to do with something other than the use of an outside mold, and might just as easily beset a violin made on an inside mold but using the same finishing techniques. Reading back over the thread you are advancing two different propositions - the first that outside mold is quicker and easier if one is inaccurate about the bottom rib joint, the second that a good rib joint will open if left unvarnished for a period of time due to some kind of localised shrinkage. If I knew which proposition you were going to adhere to most stubbornly, I would know which one to try to dismantle
  23. In some cases it's decorative or a kind of tradition, in some cases it's a corrective for some inadequate method, in some cases it's a repair to do with the ribs having been repositioned, but I can't think of any case where it would be trying to support the saddle. The bottom block would do all of that work, either on its own or through its reinforcing effect on the ribs.
  24. Very interesting - during which period was he making violins? This is quite accomplished work for a hobbyist - do you think it's possible he was just practising varnish/antiqueing on a trade instrument?