Ron1

The c-bout linings may have been replaced- they seem to have a different profile than the rest. Looks as though someone just hogged-out some bulk from the corner blocks.

An example of someone's heavy-handed antiqueing ?..

Rue- before you know it, you'll be using a Sawzall!

I have had two violins that were almost exactly identical to that one- same double purfling, bird's eye backs, f-holes, and corner "pins". I think the dots are purely decorative, and doubt that they are pins that go into the corner blocks. (Another guess from a non-expert).

Rue- I really think you might want to further consider Stephen's "painting" solution. To me, it would be far less dangerous (possible damage to the antique aspect), and might surprise you how effective it would be- and as he mentioned, reversible. I think it's the way a real conservator would handle it.

Or maybe his entire output, kept together & never sold. :-)

:-)

Yes, Craig- and be sure to make #9999 & #10000 a trademark double-post. :-)

Addie is absolutely correct re rosemaling and techniques. I agree too, that there is no question that the case is 19th Century Norwegian. Glenn- the relatively huge size of the old-growth pines in America back then also allowed woodworkers to be quite selective. In many old buildings, the original lumber is often 'clear', having no knots whatsoever- contrasted with the crap that is currently available.

Yohansen- Where, in Norway, do you live, and/or where did your ancestors live? Also, can you provide a better picture of the label in the violin? I know of some old luthiers in the Telemark and Suldal (Rogaland)areas, and may be able to shed more light on the origin of the case. It is also possible to identify certain areas by examining the rosemaling decorating to determine the artist.

The rosemaling looks to be most likely Norwegian, or possibly Swedish or Danish. What is on the violin label that can be seen? Maybe Glenn will be interested, or chime-in.

I would think that the dimensional stability factor would make the choice a no-brainer. What, with makers being so anal about exact dimensions and all. We always used mylar for precise mapping, etc. when I was a draftsman in the military 57 years ago. Edi- I remember changing those gallon jugs of ammonia as well. Did you sharpen your nibs regularly, too?

Magnus- I just have to show this 'corner-block/lining system' technique that shows up occasionally, and apparently has no single particular origin. Not being a maker, I've been shot down before on this, but to me, the use of continuous linings seems preferable to the more conventional "let-in" technique. In addition to being faster & easier, it results in a smoother finished interior- no protruding corner-block edges (less turbulence?), and, I believe an argument can me made that it results in a stronger construction.

She was mostly a dedicated and focused student, but you may be correct about checking out mentally when ancient art history came up. Apparently it did no great harm- she's now a Madison Avenue designer in her chosen field. In my experience, "artists" seem to be the worst offenders when it comes to recognizing or admitting talent in other's "art". I think when there is that degree of creativeness in a person, they cannot bear to be anything akin to a copyist, which would put them in the category of being a technician (or craftsperson). I think I'm on to something here- it would be like a violinmaker slavishly carving out duplicate Strad copies! This should go in the "Art or Craft" thread! The art student must first be creative, which cannot be taught. Then the creative student acquires a rounded "art" education consisting of art history, mediums, techniques, style, composition, etc., etc.

Regarding art, and the history thereof, the teaching institutions apparently don't feel they necessarily go together. My grand-daughter, after taking high school art courses, and majoring in art/design at a top college, said she had never heard of Rembrandt!

Not sure where his instruments fit quality/price-wise. Poulsen, I believe, was employed for a time by Lyon & Healy. He also made the instruments for the Mills Music Co. Nickelodeon type machines. Eventually moved to Manistee, Michigan & opened a shop. His son, Carl A. worked for a number of years in the Fasssauer Ferron shop in Chicago.

Just look "cross-eyed" enough to bring the two images together- they will "lock" and allow you to see the image in 3D. (Aerial photo-interpretation major, U.S. Navy air intelligence school)

Craig- Wish I could locate the "Ram's Head" violin, so I could observe it in person & get additional pics & info for the Registry. I believe it to be his interpretation on the "Wolf in sheep's clothing" theme. On close inspection, clawed feet can be seen protruding... I call it "The Magus", after the magicians, or tricksters of old. "Beware of false prophets who come to you in sheep's clothing, but inwardly are ravenous wolves."

There have been a number of interpretations/variations on the "Da Salo" carved head-

Not the greatest wood carver, nor the greatest violin maker, but my favorite candidate, Knute Reindahl-

That violin is also listed in the May, 2014 Tarisio New York auction. My Reindahl Registry website is mysteriously gone for the second time in the past year or so. I had to jump through hoops to get it re-instated last time it happened. For the time-being, I've just grown weary of fighting them. Any questions, I would be happy to try to help if pm'd. Ron

Seems strange, to me, that old glue residue is only around the perimeter of the area of the label. Isn't the entire back of the label usually smeared with glue? Also, after 120 +/- years, shouldn't the wood under the removed label be a little lighter in color than the surrounding area?

Just an observation that hasn't been mentioned, but that you have likely noted: The handwritten in ink portion between the printed portions was almost certainly done by the same person and instrument that wrote "18" on the date. Also, it is odd that the scratchings appear to be deliberately made to obliterate certain areas (esp. the "18" in the date), but not to the extent to totally accomplish the obliteration. Why would someone do that, but not 'finish the job'?

Can't resist the opportunity to march these Reindahl heads out on my 1000th post: His version of the lion head, and his grumpy old man (Satyr head):

I think your 1904 is quite possible for O. H. Bryant, although it would be quite early. The earliest I have note of is a 1908 which was sold in Oct, 2006 by Skinner's for $2,800. Other, later Bryants have sold for considerably more. The $5,000 offer isn't bad, but you might think about checking with Tarisio or one of the other auction houses about consigning it to auction.