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    Luthiery, fine woodworking, music, weaving, photography, astronomy. history, geosciences, intelligent discussion, iaijutsu and kenjutsu, nihonto (authentic Japanese swords)

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  1. Thank you for the resources. The reference to "annual trips" undermines both of the "received versions", by suggesting that EHR II was shuttling back and forth between the US and Germany (carrying what, one wonders?), rather than settling in over here. You seem to be ignoring that there are inaccuracies in all of the commonly published versions of the history of Roth activities in the US, something which I've been drawing attention to. My surmise is that, having experienced damage to their American sales during WW I, and with US nativism and isolationism being on the increase, entering the 1920's, EHR wanted to transition to doing business over here through a red-white-and-blue sockpuppet which they quietly, but tightly, controlled. This would have been done cautiously to avoid any criticism of a "foreign takeover", which a more open approach could have invited (read some period editorials and such to get a feel for what I'm talking about). IMHO, different versions of Scherl & Roth's history later emerged because of this slight-of-hand. I'm fine with explaining this scenario in different ways until you grasp what I'm saying.
  2. They exist, and the prices are increasing for vintage examples. The problem here, as with several other violin-related historical issues, is that memories may become hazy when money is involved. My own suspicion is that the Roth version of events, however inaccurate in detail, is the more trustworthy with regard to the spirit of what was going on when EHR II came to the USA. I expect that he came over here with a prearranged business plan from his father, pre-agreed to by the other principals involved, along with a sufficient line of credit to do what was necessary to establish a supposedly independent, 100% American, Roth presence in the USA. Everything that followed was more-or-less a done deal as soon as he stepped off the ship. There would be legal and financial reasons for such an approach. The needs of the successors to the Scherl & Roth trademark, OTOH, are probably best served by painting him as a young business genius who clawed his way up from nothing in the best American tradition. They even change the name that they call him by, perhaps to distance him as far from EHR as possible. Speculation? Sure, but it fits the facts, and I'd bet you that nobody's telling, either way.
  3. The inanity here is not mine, nor does Hempel have a corner on the market, either. I am currently rummaging to find out, if possible, when and if EHR incorporated in New York. It certainly looks like it from the data below: Just who did you think registered the EHR trademark? It wasn't Selmer, their offices were at 119 West Forty-sixth Street. FWIW, one wonders why Roth announced an address of convenience at Selmer's offices. The more you examine this stuff, the murkier it gets, which is why there's a choice of narratives. BTW, Roth products had already been selling in the US for years, including brass instruments, which is where Selmer gets involved. I'm rummaging on that, too.
  4. It's a one column-inch PR blurb sent to the magazine, not investigative journalism. Probably even paid for.
  5. With the different versions floating around, you have a choice of narratives. My intuition is that none of them are totally accurate, given the agendas of those who post them, but the bottom line is that whatever importer EHR II became attached to in 1921 was importing Roth products to start with, continued to do so, and probably still does, under varying ownership and business names. I suspect that EHR sent his son over here under the terms of some arrangement with Simson & Frey that's now lost in the smog of time. Who might have owned stock in what, what "back-channels" existed, and what money might have changed hands is similarly obscured. Some would probably feel that it's none of our business.
  6. It almost looks like a duelist used it for parrying. Did Jim Bowie play the fiddle?
  7. No, they photographed it. Though I've seen much better, the one that's in there looks quite acceptable. I've seen a great deal worse. IMHO, the real test is how the violin sounds.
  8. No, for those of us who like Vogtland-style violins (not everyone does), they always have historical value. Assisting our dumping operations is just lagniappe.
  9. The valid reasons for replacing an integral bassbar are: 1. You have to regraduate the top or perform some repair where the bassbar gets in the way. 2. The bassbar is a stubby "conning tower" whose only purpose is to be seen from the bass F-hole, and isn't doing a proper job structurally. Many a discussion has established that, just like a "Saxon" violin doesn't need corner blocks for any structural or acoustic purpose, neither is an inserted bassbar any structural or acoustic improvement over an existing well-carved integral bassbar. It's simply a different traditional way of making.
  10. They were a great deal more than associated, actually. Scherl & Roth was founded in the USA by Ernst Heinrich's 19-year-old son, Ernst Heinrich Roth II, in 1921, and served as the means by which Roth violins and bows found their way into the US to begin with. While there has been some obfuscation about this (for instance, Conn-Selmer, the current holders of the Scherl & Roth trademark, portray things somewhat differently, *), you can now read all about it on the Roth website itself (by clicking on "History"), where E.H. Roth II is prominently featured in the first illustration. Many thanks to @khunsakee, who seems to be a Roth scholar, for making me aware of the details by PM.
  11. Actually, if one goes by physical displacement over time (e.g., purfling width, stop length, etc.), plate tectonics is speedier.
  12. Thanks. Your post's link and photos prove both that the EHR and Scherl & Roth firms were associated, as well as that EHR is and always was a workshop rather than a bespoke maker (old MN controversies).
  13. You're a hack!! "Don't fix what ain't broke". Well carved integral bass bars are fine. Leave it alone, and reassemble carefully.
  14. IMHO, something was going wrong with the center joint, and this was the panicked reaction. The sloppy gluing and the ubiquitous hanging chips/curls are telling us something here, but I'm not sure what, besides someone was in a hellacious hurry. In the fiddles I've worked on, I have not yet seen anything to match these exemplars of bizarre and excremental procedure. Thank God..........
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