Blank face

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    cottage in the urban wilderness

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  1. Depends wether you want a proper repair (in this case: definitely yes) or a sort of fisherman's attempt. For the cost you have to ask your repairperson, costs can vary all through the ballpark.
  2. There seems to be a long crack from the right side of the saddle, too, which could end up in a soundpost crack if not carefully serviced, if it isn't a soundpost crack yet. So there would be a need to take of top or bottom in any case. I won't recommend doing this somebody trying it the first time either.
  3. I wasn't thinking of a 19th century self taught amateur (you might be dealing with), but more of a classical trained person with a sloppy style of working. Maybe "peasant" was the wrong expression in this case..
  4. I think I can see that the front fluting at the scroll stops before the end, so it's most probably not Mittenwald made. OTOH, the slightly irregular geometry and sort of sloppiness seems to match the ff (which could be overworked at some point), so it could be well original. Interesting thought, that the rib scratching is rather a graffitti than antiquing, just because the rest doesn't show any other antiquing like this. I'm usually guessing (half serious) that anything being hard to identify could probably be English, and the outline seems to recall somehow the Forster violin we saw at a recent thread, so I hoped that Peter could give some hint to a peasant English maker or something similar. But if he can't, it might be something else.
  5. Please stop to the "delta" as a reference for a particular origin, this was discussed recently. It appears to be a bit too old for and outside mould construction, though one can never know. A closer shot of the rib joints to see if they are mitred could tell more, and also if the ribs are set into a groove at the bottom.
  6. The inscription seems to refer to Pietro Vangelisti and Alfredo Del Lungo
  7. Ah! Learning effect! Some insight already.
  8. IMO very Mirecourtish looking, but also built on the back. Possibly one of those boxes delivered by the Schönbach wholesalers to Mirecourt in parts about which Kauert is reporting.
  9. Blank face

    C.F Hopf?

    We had an exhaustive thread about HOPF, explaining nearly everything. For example, that the Hopf family had about 40 members working very different, at different periods after different models, that the brand was used a million times by wholesalers (Pfretzschner) to brand everything etc. etc., so that it's erroneous to tell "That's the way a Hopf has to look". The CF Hopf brand with three crowns can be found in cheapest mass produced cottage industry Dutzendarbeit as well as in very neatly worked masterpieces from the 2nd half of the 19th century, and all possible shades in between. The OP seems to be from this "in between", a rather well made Dutzendarbeit, but nothing special.
  10. One shouldn’t read too much of this commercial violin advertisements.
  11. Revisiting the museum's website it seems indeed similar to the very early example of ca. 1725, described as "probably Sebastian K.". This is quite different from the post 1730 model, so a 1736 date would be too late. If it's real, would be a very rare find. I can't tell about the label by this unfocussed photo, except that it seems to be solved and reglued at some point. This could even happen to genuine labels, but it could be also a (handwritten) copy of a later S.Kloz label to justify an attribution. The museum's example is bearing one of those 18th century printed Stainer labels. But leaving aside the label question, I'm still thinking that the stamp is a later added numbering and nothing else.
  13. I've seen such cottage industry made fancy carved violins often offered for sale in the white, so maybe an amateur bought such a box and varnished it by himself.
  14. It's a sort of pseudo-magical approach to count "parts" of a violin, these numbers are always depending of the way how and what you are counting. The marks are in my eyes clearly later applied inventory numbers or the like in a 20th century font and there are usually no such marks in Mittenwald violins by the makers (in opposite to Markneukirchen makers, who often applied a three or more letters stamp, years, stars, trees etc.) I must admit that the label doesn't look very convincing to me, too, not like 18th century ink nor paper, and that the model of the violin (though probably an old Mittenwald made instrument) isn't very similar to Sebastian Kloz violins I'm familiar with. But this might not be the last word.