Brad Dorsey

I've done some of these, too, and this is how to do it.

The length of this one should not be an impediment to resale.

I suggest that size be considered in addition to the other factors that have been mentioned. When I offer violins to other dealers they usually pull out tape measures. An instrument with the right measurements is always more readily accepted and valued higher than one that is over-size, for example. Perhaps size is included "model."

Which we call "alcohol" in the US. Removing a fingerboard is the one place where I think alcohol is safe to use to release hide glue. I find it effective, and I don't have to worry about getting it on the varnish because neither the fingerboard nor (most of) the neck is varnished.

Yes, you've got it. Thank you. How did you figure it out? Judging by the instrument, Ralph was obviously an amateur.

Thanks. The last name could be Durkee, and I find references on the Google to a Ralph Durkee living in Connecticut in the 1800s, but I cannot find any that place him in New Britain or that have him making violins.

The first name is Ralph; the last name looks like it begins with a D. New Britain, Conn., 1890, No. 11. No Connecticut maker with the first name Ralph and a last name beginning with D is listed in Wenberg.

To rule out the nut I would press the string down (toward the fingerboard) with the edge of a steel rule right at the fingerboard side of the nut while plucking the string. If it doesn't buzz when you do this, the nut is the problem. If it still buzzes, look elsewhere. You could also test the nut by moving the G string into the D string groove. Maybe not. I've heard of loose bass bars that didn't buzz.

I cannot tell you anything about the specific glues that you mention. But I a few years ago I asked a very highly respected bow maker and restorer for advice about straightening a bow in an area with a long scarf joint head graft glued with an unknown type of glue. He advised wrapping the scarf joint tightly with thread and proceeding very cautiously. I never summoned the courage to try it.

No.

It's not in a book. I visited the Historical Society.

Claude Goings was wounded in the Civil War. He practiced several trades including carriage making and violin making. The exhibits at the New London Historical Society include a speculative re-creation of his carriage shop and his violin shop. The violin shop contains a recently assembled collection of old violin parts and old violin making tools which were not owned by Goings and a violin which was made by him. I think the violin in your pictures not too bad for a presumably self-taught maker, but it would never be mistaken for a fine violin. The violin in your pictures is a lot nicer than my Schellinger.

Where did you see these two? I have a Schellinger, and Goings is on my New Hampshire list.

The Mittenwald Asa Whites that I have seen had quite a different label than those in the instrument for sale in Santa Clara, California, which I am sure was made by Asa. The violins were quite different, too, if you know what to look for.

This is a very inexpensive violin. I don't recall seeing this label with two ANCHORS before.