martin swan

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Everything posted by martin swan

  1. Maybe the amount of discussion on Maestronet is not a reliable indicator of how much people are paying attention ...? It's hard to know isn't it? The more interested I am in something at auction the less I would talk about it - and yet the less interested I am in something the less I would talk about it.
  2. For me Vuillaume was the person who first exploited the possibilities of the outside mold. According to the Millant book he knew how to imitate all construction styles while using an outside mold. From what you're saying, I wonder if Francois Chanot wasn't largely responsible for the invention of the outside mold. Lupot/Pique seems to me to be an entirely different tradition from Vuillaume, though in the early days of the Vuillaume shop the Lupot style persisted in makers such as Georges Chanot and ASP Bernardel. I think this article from the Strad written by Albert Cooper sums the matter up pretty succinctly :
  3. Anecdotally I have heard that the outside mold was a later innovation, pre-dating Vuillume but not by much. On the other hand I don't think there was much understanding of inside mold techniques in early C19 France. I have always assumed that Lupot and Pique built freestyle but I also find this an intriquing question and would love to know for sure.
  4. I don't think we know the price, only that it was in a price range up to $4500 and was a lot cheaper than expected. Personally I would be slightly wary of buying a bow from someone who claims not to know exactly what they are selling. Making a mistake in attribution is one thing, choosing to remain ignorant is another ...
  5. Is there any evidence that this is German made? It doesn't really look like pernambuco to me, and as Blank Face says, I would be very surprised to see something like this retail for more than a few hundred. For under $1500 you can get amazing handmade Brazilian bows that play like a dream.
  6. I only came across one small viola that was under 38cm - a Duke with a back length of 36.5. The neck proportions were to scale, maybe the body stop was a bit longer ... I'm sure I saw a Genoese viola in one of the current auctions with a back length of 37.5 or so, but it's super-rare to find anything under 38cm. Yes, here it is : Check out the size of the f-holes and the scroll - very hard to confuse that with a large violin ...
  7. If you find a viola that's close to the back length of a violin you will find that it's always significantly broader, the fs are bigger and more open and the head is bigger. Very few makers produced such small violas, I can only really think of the late 18th C English makers - bot they always signify very clearly that they are violas.
  8. I think you mean louder, not better. Whether it’s better depends on the shape of the wave and the makeup of the harmonics, as well as speed of attack and many other factors not visible on this kind of graph.
  9. What if the estimate was unrealistic? is it still a bargain?
  10. Yes, we regularly refer to Mk/Sch violins - these days I tend to just tell people their violins from Saxony. Some of our facebooky dealer types like to say a violin is from Klingenthal, I suppose that sounds more special and is maybe a one hour walk from KM as opposed to the mere 45 minutes ...
  11. For me there are very few cases where a nickel bow might be classed as equivalent to a silver bow, and that would be in the first 10 years or so that it was used. An early nickel Pajeot for example would not be devalued, because at that time nickel was the next big thing, very hard, and apparently better. Within 10 years everyone could see that it didn't wear nicely and it became an indicator of the lower quality of bow. I'm sure this is the same in German making as in French. However, it doesn't follow that nickel bows were necessarily made with less care - some makers were incapable of producing a bad bow, others incapable of producing a good one! I would say that the decision started with the wood. As I understand it, all of the busy makers and shops had a pile of roughed out sticks ... they would grab the next stick to hand, make a quick determination about its density and its visual appeal, and then decide wither it was a nickel bow, a silver bow, a gold bow, a gold and tortoiseshell bow etc. Nickel bows, apart from the very few examples such as early 1830s Pajeots, are worth significantly less than the ostensibly identical bow in silver. The proportion will vary with the maker but generally a half to two thirds ... When it comes to playability, the materials used for the mounts are generally not relevant, though some makers used nickel for softer sticks.
  12. The point is that many of the violins "made" in Markneukirchen started out in Schoenbach or were completed there. I don't think the distinction is very relevant in the context of this violin.
  13. Have you looked at a map? They are basically the same place ...
  14. Thanks, I'm glad you like our photos. Yes - there are obviously a few different approaches to violin photography, and I suppose that for archive purposes some soft, flat, non-reflective lighting might be the best. Most of the major auction houses choose a style of photography that eliminates reflections. While this allows for a certain kind of scrutiny, you don't really get to see the arching or the quality of the varnish, nor do you get to see when cracks aren't quite in register. Our approach (directional LED daylight lighting) creates a few hot spots and it's very uncompromising, but at least the violins look like they do in real life, and if you're selling valuable items at a distance, often to people who can't visit in person, it's a reasonable approach. The last thing we want is someone sending back a violin or a bow that they're trying out because it looked better in the pictures.
  15. Unfortunately it went out on approval today, but the back length was around 39.6. Yes it's a nice model - most French violas of this period seem to be based on the Archinto, with rather narrow upper bouts - this seems a bit more balanced. I think that as with most French instruments, when you see the real thing you realize that many of these makers were re-working Mirecourt boxes. I've seen plenty of Brugeres than weren't of this quality ...
  16. We had an "R. Weichold a Dresde/Imitation de Tourte" a couple of years back which was made by Heinrich Knopf. One of the best bows I have played ...
  17. It's a nightmare! Weight becomes very important when people can read what it is on a website ... with increasing years I become more and more conservative.
  18. I was at a friend's workshop the other day, his dog ate two cello bridges ...
  19. We have lighter bows that we never manage to sell ...
  20. But when Mozart's father got it from Mayr it would have been antiqued ... right?
  21. I have yet to sell a cello bow under 78 grams ... you might take that into consideration before committing to this bow. For me the acceptable rage of weights for a cello bow would be 78-83 grams or thereabouts.
  22. You're not trying to tell us that Mozart played on a violin by a contemporary maker ... like a NEW violin? I don't believe it.
  23. Just for interest's sake, here's a Charles Brugère from 1894
  24. The taste does kind of get stuck doesn't it ...
  25. This seems to be just another Ebay ID from the serial relabeller and faker also known as france 69, marsupilami, frcfra11 etc. Back in the good old days when feedback wasn't private you could work all his IDs by seeing who gave the best feedback Not a Brugere, not even sure it's French. I do in fact have a Brugere viola which i have just taken on consignment - I'll post some photos later today, I think the comparison should get a few laughs!