martin swan

Members
  • Content Count

    10093
  • Joined

  • Last visited

  • Days Won

    9

Everything posted by martin swan

  1. Well, we have answered these points multiple times, but you have obviously paid for the one hour argument so I will attempt to give you your money's worth. "The dealers I have listed in my subject post" No, one dealer, a couple of auction houses and some Ebay hoodlums. The one dealer admits to not knowing and has put a reasonable price tag on the violin. I think many professional members here would probably admit to not having been too certain about the differences in construction method between French and German trade violins until they started participating here. It's something we
  2. A lower end French violin would not have an integral bassbar ... but it might have pressed plates or some other uniquely Mirecourt features, maybe flat scroll eyes finished with a rasp. So far you have only pointed out one dealer who is selling a Bienfait as "German or French", and for the price of £825. This is not an unreasonable price so i'm still struggling to understand what the problem is?
  3. As Blank Face said, the construction methods for Mirecourt and Schoenbach/Markneukirchen violins are fundamentally different, and one can identify the one from the other by looking at specific details, in particular the rib corners and the inner work, but also many other details which help to corroborate or preclude a determination. With regard to commercial value, a "Bienfait" violin would be worth about the same whether it's French or German. I think this may be the source of your confusion - sorry if the distinction wasn't clear.
  4. I honestly have no idea what you're talking about - I've really tried to understand what you're saying and have read it several times over but I just can't follow it. The way we determine the origin of an instrument is by looking at the construction method and the features of the violin. It's pretty scientific.
  5. I was explaining to someone that they have no automatic right to access images just because they were once published, and conversely that the auction house and the buyer do have the right to take images down. People do seem to have a bit of a bind spot about this kind of thing, and start foaming at the mouth when others exercise their right to privacy/discretion. Think back 30 years - producers were sampling other peoples' music left right and centre and there was widespread delight at the possibility of borrowing/recycling/stealing sounds. Now it's hard to imagine how anyone ever th
  6. He is definitely talking about the G, since he talks of the first string as the "chanterelle" which is the highest string.
  7. The violin is no longer public domain ... yes it sold.
  8. J&A Beare 1964 William Moennig 1972 Claude Lebet 1996 Jacques Francais 1996
  9. The one in Ingles and Hayday last October was remarkable, though rather stiff sounding. Back length was 35.7, date was 1810. According to the Jacques Francais certificate for this violin there are 5 known examples of Lupot DG copies.
  10. Outer mold construction also used on pretty much every French violin from the time of Gand onwards ... including authentic Vuilaumes. To me this looks like an early 20th century French trade violin of average quality, but the photos aren't good enough to make a determination.
  11. That's not really information - it's conjecture. I have been pretty categorical in stating that Bienfait violins were not made in France. With regard to the labelling, my conjecture would be that they were labelled in the UK by the wholesalers.
  12. I do understand that it must seem like bullying, but actually it's just a preponderance of better informed people telling you you're wrong ...
  13. OK understood "I think we've all had enough of experts" - Michael Gove.
  14. Still waiting for an example of a dealer claiming it's French. So far you have linked to Ebay sellers and auction sites and one shop saying they don't know ... "What's wrong with me" is that it seems like an inordinate amount of fuss about nothing. I think there are better and more obvious targets. You have consistently evaded the question that three of us have put to you ie. what would be the difference in value and why?
  15. Oh my GOD! People selling violins on Ebay with inaccurate descriptions - what is the world coming to? You might also consider that by buying a nice Saxon violin for £20 you were ripping someone off, given that its value is obviously much higher ...this is the logical end point of your thesis. To some extent the value of a violin is an agreement between a buyer and a seller. The reliability of the seller is a great deal of the real or perceived value.
  16. Perhaps you should elaborate on the difference in value between a modest French trade violin from 1900 and a modest German trade violin from 1900, clarifying how they differ in construction, materials, philosophy etc, and why this would lead to a significant difference in pricing. Then I might understand what you're upset about. From my point of view, new strings, entirely new fittings, a well gagued fingerboard, a properly set post, a non-invasive clean and a guarantee - that's worth about £500 on its own. And I would defy anyone to produce an optimally functional bridge until they've m
  17. What I mean is that if you were to spend 3 years at VM school learning the full gamut of restoration skills, then work in someone else's shop for another 10 years after that perfecting your tool skills and your efficiency, and then were to set up your own shop, perhaps employing others, where your reputation is on the line and where students at all levels and their teachers at all levels might drop in unannounced and expect you to be qualified and to back up your work with guarantees, you would quickly find yourself charging £825 for a Saxon trade violin. What you're doing is fine and lau
  18. The listing clearly states "German or French", and £825 isn't a lot for a retail shop to charge for a well set up violin, even if they got it for £20 on Ebay. I think you are building castles in the sand.
  19. Don't think I linked to that ... Lot of runout, yes, bit of runout, no. Butt I don't think anyone who know what they're doing would use a blank that's likely to lift.
  20. What link was this? Not sure if you're asking about lifts which develop after the bow has been in use or lifts that emerge before the bow is finished? Obviously these latter are curtains for the bow, and it would go in the bin.
  21. You obviously didn't follow the last discussion on the subject ... rather than "not wanting to admit it", everyone was quite clear that a lift is very bad news.
  22. maybe it's a browser compatibility issue - seems to be working fine on Google Chrome
  23. For me those big pins in combination with the one-piece back/bottom plate say Markneukichen. Likewise the rounded chamfers on the head and the lack of a second cut on the collar of the adjuster. And the wood, the finish and the general look ...