martin swan

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Everything posted by martin swan

  1. 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.
  2. 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.
  3. maybe it's a browser compatibility issue - seems to be working fine on Google Chrome
  4. 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 ...
  5. There is very little difference in value between a crappy French trade violin and a crappy German trade violin. Distinguishing between the two isn't always straightforward, and it was even harder before Jacob Saunders started his cornerblock-ology masterclass here on Maestronet. Thanks to him, many people now take the differences for granted and easily recognize them, myself included, whereas even ten years ago we didn't see what was right before our eyes. To expect everyone who deals in violins to understand all the nuances of all the regional schools is unrealistic, so I would be less quick to turn it into an issue of integrity than you are.
  6. Have a look at Vuillaume bow 36, vol 2 page 93 ... The later bows made by Simon for Vuillaume seem to me to have exactly this sort of throat (rather square at the top) and thick thumb projection, as well as rounded off button ends. I do agree the head isn't typical but the chamfers seem more Simon than Martin. Either way, it seems to be in terrific condition.
  7. Nothing to be excited about ... unless life is really dull as ditchwater
  8. it was a basic nickel mounted Nuernberger workshop bow btw.
  9. This one is not French - personally I have only ever seen this label in MK/Sch violins ...
  10. The brand looks good. I agree with fiddlecollector, though more towards Simon for me, even if the forehead is a bit rounded. Hopefully Isaac will look in here - I'm sure he can help you.
  11. It looks very promising, and a lovely bow all round - do you have photos of the brand?
  12. Great to see you here Isaac ...!
  13. You would be selling a Saxon violin with an extraneous label that you had introduced for the purpose of fraudulently adding value.
  14. It's not a Gaggini and it didn't go pretty cheap ...
  15. Yes I agree, this isn't a post crack. I think that restorers in the US have been quicker to adopt the "less is more" approach ...
  16. Actually the image of the corner on the "Blanchard" belongs on the listing for their "English" cello. The "Blanchard" is a rather odd affair. It's missing one detail without which it cannot be Blanchard, and the f-holes are so upright as to be almost making a V shape ...
  17. These estimates are just ludicrous, particularly 60-100k for a "Blanchard" cello with fake purfling Ah no wait a minute, that's the same corner photo as on the listing for the "English" cello.
  18. Best to look at the back corners as they are less susceptible to erosion. The corners on your Strad model and our DG model are different but they are both unusually long. The corners on the first violin you posted are more economical ...
  19. OK got you - we are in perfect agreement! ... a witty bon mot which sounds impressive but is demonstrably untrue! You dumped it so soon? I have been following that violin's fortunes for a while, doesn't seem like anyone holds on to it for very long ... or did you buy it to sell it?
  20. Are you talking about mine? It's exactly the same model as the two of Michael's that you liked so much in 2006 Whether it's very faithful to del Gesu or not is a moot point, but for me it's more like a DG than a Strad.
  21. One regular feature of Nestor Audinot, not immediately visible on these photos, is that the scroll tends to narrow down very suddenly with an obvious ramp as it hits the level of the bottom of the volute (ie just above the A peg).