Blank face

A bit of distortion is usual when taking the ribs hastily from an inside mould, and there's also some damage. Not as crooked as at many bob ribs IMO. The lower rib was probably divided during a repair, when there was "too much rib for too less plate width" due too shrinkage.

The scroll is a bit awkward but matches in my eyes the body and could be well original.

Probably Mittenwald region. By the shape of the scroll and some other details I would assume it’s from the early Verleger period, 1800 or a bit later, made in division of labor by makers in workshops.

I'm pretty sure that in the 1990s only a few specialists knew at all that there was another Sebastian, or even how one of them should look like.

There's a habit to call everything old from Mittenwald a Kloz, a bit similar as to give old Markneukirchen bows the name Knopf. Usually by people who have no idea how a Kloz (or a Knopf) might look like and that there were many other family names.

Salzkammergut or Saxony around 1800 with inked purfling and throughneck (which certainly belongs). Seems to be stripped from an originally darker varnish, neck heel and button mutilated. Please take photos with a plain background, not with something that's confusing like garden, forest or lively interior.

Looks to me like a Mittenwald violin from the late 18th century, but not a Sebastian or another good Kloz maker, which were a bit more refined. The photos don't reveal an evidence for a replaced belly neither. One can compare here:https://www.geigenbaumuseum-mittenwald.de/en/the-history-of-violin-making-in-mittenwald/photographic-instrument-archive/ and here:https://www.geigenbaumuseum-mittenwald.de/en/the-history-of-violin-making-in-mittenwald/the-history-of-violin-making-in-mittenwald/

I would it describe as “the usual used violin sellers blurb”. The instrument looks to me like a Saxon/Bohemian roughly 2nd half of the 19th century body (ff like these can be found occasionally) with a later scroll, and 800 $ at the upper end of a possible pricing. But imported violins seem to become more expensive in America now due to “greatness “.

I'm also doing the frog first, then head and at least the ferrule wedge, because this leaves the possibility to comb cross hair into the frog (or the ferrule). I'm also using the comb method to spread the hair and control the distribution of them at the comb.

No, there aren’t any of the usual signs of a revarnish visible, spots of a former color etc. Of course the idea of „who would mistrust an old lady“ seems always a bit too convincing.

So I guess it's not finally possible to identify the instrument from here, because as I said earlier it could be anything from elsewhere. From the photos it looks to me much more recent than 1969, especially the very regular dents in the varnish as an effort to make it look older than it is and the view at the inside with the sort of ragged label and diamond shaped cleats reminds me strongly of contemporary fake work from Hungary or Reghin, but only by the photos one can't be sure of this.

Because the question about Ruprecht in Wien popped up several times I add the photo from the exhibition book "Ein Himmel voller Geigen" below, showing a Maggini copy made "in Wien 1845". I'm also aware of an extraordinary fine executed Guarneri dG model by Ruprecht (which I'm not allwed to post here without permission), so it's very clear that both the OP violin here (Jacob nailed it) nor that from the other thread have anything to do with this maker.

You’re probably not aware that this Forum isn’t meant to list things for sale, or link to your EBay listings. For one or two times that can be ignored (especially for stuff of real low value), but when it’s becoming a constant habit it might cause others to imitate it. So please stop it.

My first thought was which of the two or three violins the OP showed here before as „Homolka“ (and at least the last one was something different) she actually is referring to. Regarding the repairs visible at the opened belly they are surely not what I would call actual standard, the irregular cut cleats being from maple or a similar hardwood and probably not well fitted to the belly wood. So there’s a good chance that buzzing and more problems are caused by this circumstance and my advice would be to look for a better qualified repair person as a first step. The mentioned G string protector could also be an evidence that the bridge or other parts of the setup aren’t as they should be. All these issues can lead to buzzing and other problems, but this can hardly be checked completely from this side of the screen.

With all respects, how can one be sure that a person of this age can remember the story of a particular instrument and not confuse a lot of circumstances? There wasn't accidently somebody else around "helping her" to recall? And the luthier in question calling it "probably Italian", did you check her/him and is he/she a specialist expert in Italian instruments?