Barry J. Griffiths

Jackson, I don't know what the wood species is, but I have seen several examples of this type of wood on old Nippon violins. I have one or two other examples on violins I own but I posted photos of this one because it so closely resembled the wood on the OP's violin. My photos were limited by short time and harsh shadows but the rest of the violin I showed very closely resembles the OP's violin (scroll, pegbox, button, neck heel, etc.).

The violin in my photos was “Made in Nippon”.

Look familiar?

I'm shipping a violin from Kentucky to New York. Given the choice of USPS, Fedex, and UPS what's the recommended way to go? I'm mostly concerned about which carrier does the best at honoring insurance claims. Thanks Barry

To me it looks like contemporary Romanian work, like a Gliga. Deep channels at the edges and the scroll. Any label?

The "soundpost crack" is on the bass side of the back, so I'd have to go with fake.

You can try one of these: they’re called Piccolo tuners

So, if a lesser known maker produces the BEST sounding instrument in the competition but has only received $4000 for his efforts up until now, $4000 is the maximum selling price? How convenient for the buyer. How about something like: Best sounding: $25,000 Second best: $20,000 And so on

A client came in with a violin labeled Frank Barstow Pittsburgh PA 1898. The Wenberg book lists him as being from Marietta OH. He studied violin making with George Gemunder. He worked for H. R. Knopf in NYC as a repairman, having his own shop in Pittsburgh c. 1905-1910, then moving to Elkhart IN and worked as the head of the violin shop at C. G. Conn. He then went to the Wurlitzer shop around 1935. The violin: lob 357, ub 166, mb 111, lb 208, ribs 30-31. No major damage past or present. Some edge scuffing, one inch open center back seam, fingerboard needs to be reglued. Complete setup. What would the appropriate value be both as-is and repaired? I realize that this is a lot to digest but I’d appreciate any help. Barry

I’ll play along.

I've always made the balance point on violin bows at 7 1/4" from the actual balance point on the stick (fully haired, frog all the way forward) to the exit point of the hair on the ferrule. My question is if the balance point on a viola bow is the same as a violin or slightly different.

Aside from your other problems with this cello, it looks as if the bass bar is parallel to the center seam. Can you measure from the center seam to the bar at the widest point of the upper bout, and again at the widest part of the lower bout?

Is this about a cello you're making or a cello which already exists with a thin top?

I used to use all maple but switched to basswood for the spreader wedge a few years ago. The basswood cuts easily and compresses nicely on the wedges.

I have a violin coming into the shop in about a week and I would appreciate any information about the maker and the value of his violins. The violin was made by Josef D. Deulin. He's listed in the Wenberg book as having lived from 1988-1967, living at various times in Madison VA, France (working with Albert Aylor circa 1900), Washington D.C., Toledo OH (working with Alton Saunders), and worked in his own shop in Detroit MI from 1914-1960 when he retired. He made 328 violins, 32 violas, and 16 cellos. Any and all information would be greatly appreciated. Barry