martin swan

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Everything posted by martin swan

  1. 1. there is stress in all directions 2. I don't think you can determine this without a UV light - it has definitely been glued back at some point, though as fiddlecollector says, this might ave been done by the maker before finishing the stick However, I don't believe a Finkel would have got through quality control with a flaw like this, so I would put money on it having been repaired.
  2. I don't think this is a thundershake because the edge is quite ragged. It looks to me like the end of a lift or a partial break. If you expand the third photo you can see that the diagonal takes a sharp turn at the top (when viewing) of the crack and then travels along the grain. Probably you would see the same at the other end of the diagonal. So there's some signifiant trauma, but it's not all directly across the grain, and with adequate gluing the repair could be pretty strong. Having said that I don't think the bow is saleable, even if it might be fine for everyday use. I w
  3. Having seen the instrument, I think QED might be more appropriate.
  4. This is not a Blanchi, sorry. The Ebay example you linked to is also not a Blanchi. The Viaduct Violins example is of course 100% genuine, and the differences should be glaringly obvious, even down to the label ....
  5. Peter Gallacher is listed in Rattray's book. His no. 2 was made in 1938. If your label is correct we can deduce that he was an amateur maker with an output of one instrument every 2 years. Having said that, this instrument doesn't look like the work of an amateur, or of someone who is only making his fourth instrument. I would send photos to David Rattray and ask his opinion. http://www.davidrattrayviolins.co.uk/
  6. To clarify, Dietré or Pieté are not French names, the word after that seems to me to be a long way from "Choix O" and nonsensical, and I can't think of any grammatical construction that would involve "...... au Nicolas" unless Nicolas was a place named after someone ie, "at the Nicolas" .... Coupled with a lack of any recorded Rue Croix in Lyon (it would be "Rue de la Croix) leads me to suppose that this is not written by a French person, even the sort of amateur that would knock up a label like this. To comment more meaningfully, it would be helpful to see the violin. A label is, af
  7. https://www.collinsdictionary.com/dictionary/english/cod#:~:text=You use cod to describe,[British]
  8. Tom worked for Bonhams until it closed its string instrument department and then for Bromptons for the last 5 years or so.
  9. Trad fiddle players regularly hold the bow well in front of the frog - this gizmo might help achieve some stability. Or it might be a modification to temporarily/cheaply make a 3/4 bow out of a fullsize bow ...
  10. You're sure this is pernambuco? If so it seems very poor quality ... It seems strange to me that a Mirecourt bow that's so hurriedly made would be pernambuco. But I don't really know exactly how to distinguish so would be glad to learn ...
  11. I would take it all with a pinch of salt since Lyon doesn't have a Rue Croix. I suspect this is cod French
  12. these are not really votes - it's what you use ....
  13. Doesn't look like Pernambuco ... though probably PhilipKT will still want it to supplement his burgeoning collection of tomato stakes.
  14. Agreed, made for the American market, I might put it a bit earlier around 1930-40 ....
  15. Andreas Kriner Mittenwald But the orientation and layout are very strange ....
  16. Emphatically no ..... In fact, rarely seen a less "stunning" bow. there are French bows that have spurious "Tourte" stamps, but never this way up.
  17. This is no more than a stopping of the chamfer that rounds over the pegbox edges ... We have a Carl Zach viola here with exactly the same detail if somewhat fresher!
  18. Initially I thought I saw pins in the back but I think I'm imagining them or seeing some kind of spotting ... The varnish alone would exclude Vuillaume, and I don't see this as an early C20 Mirecourt, partly because of the arching, partly because of the f-hole design and the way the purfling sits in the corners. The scroll is very similar to a scroll on a Carl Zach violin we had - the pronounced central spine, the inking, the rather flat surfaces and the absence of any return to the thumb stop. The rest of the instrument looks like it might fit with that.
  19. That's no kilt, that's a pseudo-tartan blanket ...
  20. Not sure what you mean ...?
  21. Hoochin' wi' Saunders ....
  22. There is one Stirrat listed in the Edinburgh phone directory, and 14 Saunders ... So when you take into account the fact that Stirrat is a Scottish name and Saunders and English one, yes Stirrat's a very rare name, even for a Scotsman.
  23. I can't see that this violin bears any relationship to a David Stirrat, and I haven't seen a brand on a Stirrat (though it's not inconceivable). The workmanship seems very crude compared to known examples of Stirrat's work - he was by no means semi-amateur .... Personally I don't see anything intrinsically British about it and I would suspect that the scroll design is more the result of an amateur maker copping out of the difficulty of finishing the eye of the scroll properly.
  24. I agree, for Vengerov it's a bit iffy ... I am sure he would not like to think that people are pulling his performance apart! The violin has a curious sound to my ears, but it's a live recording so I would hesitate to make a judgment on the violin. What I'm hearing tonally is a bit lacking in complexity or coloration, and over-forceful in the upper-midrange, with a marked contrast between the E string (which is fantastic) and the other 3 strings. The forceful upper mid is potentially a feature of the recording, the lack of complexity is more likely intrinsic to the violin ...