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Blank face

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Everything posted by Blank face

  1. Thanks for the detailed explanation, very valid points.
  2. In regards of the bow you linked I can understand that they don’t agree with the attribute wunderschön.
  3. Johann Wilhelm Knopf is definitely not "unknown" but has a large and widely documented body of work, see the Grünke book. The work of Christian Wilhelm is much more rare and usually not branded, but was listed as "by", so there's not much logic within this information. Unfortunately it's now withdrawn (formerly lot 64).
  4. The certificate describes it as viola bow. You should ask Tarisio before going into speculations. Though it's curious.
  5. One photo alone won't be enough usually. A typical bob construction can be detected by the pinched together rib joints, but a mitred joint could mean a lot of other construction methods, also built on the back around preglued blocks.
  6. Or from the Austrian Salzkammergut, most probably sanded and revarnished.
  7. Not that it would make a difference, but it looks to me like what's called "Caussin school", which were probably assembled from Schönbach parts in France. Unfortunately the original volute of the scroll was replaced at some point. I agree that using white glue following some obscure YT videos would be deeply regrettable.
  8. The Christian Wilhelm Knopf with the French certificate is "by". Though I'm wondering why a 70 gr. bow should be for violin.
  9. Looking again at it I’m now unsure if it’s silver or nickel mounted. The ferrule could have the black tarnish of silver, the adjuster could be unoriginal. This all matters much, also the weight, while the headplate is not very damaged if it’s only the very top missing. How it plays is usually within the judgment of possible buyers and can’t be taken into consideration reg sales value.
  10. Our of your many questions, to remove a top, a fingerboard or anything else attached with hide glue a small amount of water or alcohol is applied into the gap if you don’t want to end up with a mess sooner or later. French polishing an instrument is a bad habit left over from periods when everything had to be as shiny as possible and shouldn’t be done at all.
  11. I guess this would make a lot of people laugh, though I was under the impression that you talked about a Danubian style of making years ago. Maybe this became a negative association with the activities of the "Danube fiddler".
  12. https://en.wikipedia.org/wiki/Austria-Hungary Looking at the map one can see that it was much larger than the actual states of Austria and Hungary, it contained both Czech and Slovakia, parts of Roumania, Croatia, Istria etc. Violin makers could move relatively easy within these borders.
  13. It depends. It looks as if bridge and pegs (at least) were poorly made and the belly crack not well repaired, but OTOH there was a claim recently that "Mathias Neuner" violins, which are the same "in green", fetch 5-8K on the US market.
  14. No. By the photos you provided it is unfortunately impossible to make any of such claims. All that was said is that the label is a sort of trade name for instruments of unknown sources. Those are usually not worth 7 K, but can be bought for wholesale prices much lower. The estimation of Jackson was probably meant (sorry for 2nd guessing) for handmade instruments only.
  15. Maybe that's the only way to get out of the circular argumentation, as long as the Cites commision does it, too?
  16. That's not a "copy" of something. An older German nickel mounted bow with an quite unusual head and adjuster for a Pfretzschner, but not completely impossible that it's real. I've never seen such with "Made in Germany" branded to the frog - are there more of them in America or elsewhere?
  17. Exactly like you're saying. I'm tending towards that it's an early 19th century Markneukirchen region, but that's not to tell for sure by this pictures.
  18. https://www.ebay.com/itm/324980229218 It looks as if it's sold now anyway.
  19. The German statement is more or less a translation of this. It lists a lot of reasonable arguments, but doesn't support any evidence that pernambuco is not endangered nor that the reason therefore is not widespread illegal harvesting or trade. In opposite I think that both the American and German papers are trying to take the Brazilian concerns very serious and are searching for a compromise. Don't know if claims about hidden agendas can be really helpfull in this context. These might be inner-Brazilian arguments and to get part of them won't help much the interests of musicians, makers and dealers IMO.
  20. Not Danish. I meant somewhere from along the river, where they used to travel and make these kind of violins. As I said some features like scroll or purfling doesn't look like the typical Verlegers I have seen, but I surely haven't seen them all.
  21. There were several schools using an inside mould with similar features, the first were the Cremonese. But there are features like varnish, edgework and purfling pointing more to what one call also the "Danubian school" here as I described IMO. This was holiday season.
  22. Thanks again. But I guess I'll read this one tomorrow with refreshed mind.
  23. https://en.wikipedia.org/wiki/Pterocarpus And yes, it's actually on Appendix II with a proposal to move it to I also. At least the African species , https://cites.org/eng/news/trade-ban-proposed-conserve-one-africas-exploited-tree-species but not if it is these: https://www.holzvomfach.de/fachwissen-holz/holz-abc/padouk/ So you would have to find out more if you're going to cross some out-of-Eu border.
  24. Thanks for the link! Of course it would need a lot of specialist knowledge to tell what's right and what isn't. After a quick reading the analyse definitely blames the bow and bow blanks trade (with a 90% part of waste), legally and illegaly, for pressure on the remaining native population of the species, claming that no plantation was ever harvested and especially blames IPCI as a camouflage for illegal activities, also telling names of countries and persons. Is there any other paper about the counter-arguments you mentioned?
  25. Maybe, but the top end is just a very small segment of the market. Personally I like pernambuco more than other woods, I can't tell if it's the feel, the appearance or just to know "it's finest pernambuco". but there are also a lot of very inferior pernambuco made bows, even if the best by the great historical makers are made of this. Possibly the value of great historical bows can increase, the harder they might be obtained. Furthermore, I would not think that individual bow making can be a problem for the conservation of the rainforest or the species. What makes me wonder a bit more is that mass producing of instruments and bows actually is in China and we don't know how much is traded there illegally. Considering that meat production is a driving factor for deforestation, it's also China consuming more than twice of Brazilian meat than USA and EU together. I'm not really informed about all these matters, but I could imagine that the motivation is not only populistic action. In the end there might be a compromise as it was for rosewood.
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