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Blank face

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Everything posted by Blank face

  1. The best thing would be to bring it asap to a qualified repair person. IMO the wedge should be removed immediately to release the pressure, for a repair the faceplate needs to be removed and probably the mortice needs an insert at the rear to prevent it from further cracking up. Otherwise the head could split up sooner or later into two halfs. There's also often an analog crack where the tip is pinned to the plate, too. The bow seems to be of nice pernambuco, so it's always worth the effort.
  2. It's nearly impossible to glue such a long crack in register without removing the top. And without being in register you will have varnish and probably wood damage very soon around there. There's also a crack starting from the saddle pin which should be repaired and cleated from inside before it will become longer. The sound post region seems to be less affected.
  3. This looks very critical and isn't what I would describe as a pin crack anymore. These are usually small, not longer than ca. 1 mm and only from the pin to the outer edge. At your bow a much larger area is affected. Is it at the place of the pin at all? German bows like this have usually only one pin in the center, but this must have two, one at each side, to have the crack starting from the pin.
  4. We would look, according to the given description, for "German" violins not to be made in the cottage industry but with machines, meaning no carved bar, no through necks and insides smooth as machine work. These should be present in big numbers, because "a large portion of the halfway decent, cheap violin you see in the US from that time" (1872-mid 1880s roughly) should come from this factory. Furthermore there should be a sort of patent or other description, drawing of Strattons fabulous machine, allowing a girl to make 6 times more tops than any handworker. So where are these?
  5. There’s a difference between Waffenrock and uniform with Prussian cap and Pickelhaube, as well as Fire guard helmets from different periods, what all can be easily researched in internet documentaries. But that’s a curious sideaspect. Regarding the crash in 1873, the point is that the foundations happened mostly before the crash and the bankrupts after this date. So there’s nothing odd with a building pictured in 1872 and a bankrupt of the factory soon after. Probably they noticed that the cottage industry could deliver the instruments much cheaper than the factory ever would produce. If they had made violins in larger numbers they would undoubtedly be present around here and pop up from time to time. But they don’t. So the conclusion is that Mr Stratton learned very soon that it was more economical to purchase violins the usual way (from the Mnk/Schb trade) and sold his buildings for other purposes. I‘m still curious to see examples of Strattons instruments.
  6. To give a bit context, the years after the establishment of the new German Empire in 1871 were called "Gründerzeit" (period of the founders), because there were lots of money available which they pressed out of France (and gave them reason for revenge after 1918), followed by a big crash in 1873 with a depression. Considering this, it could be well that some entrepreneurs tried to establish a big facory for violins in Leipzig during this years, but were unable to get ready with such plans due to the economical circumstances. Maybe they produced some, but stopped this very soon. The illustration could be seen as a sort of draft or "animation" what they had in mind, but not as reality. It's really odd, that they pictured soldiers in uniforms which might be usual some decades later, but the actual Saxon soldiers around this date would have looked like in this picture:
  7. I bet that they copied this picture from a Mirecourt catalogue. To make it more convincing add some Pickelhauben, and no Frenchman would complain. BTW, it makes absolutely no sense to invite some Prussian military in a factory located in the Kingdom of Saxony (even after 1871). Certain stupid fakes reveal themselves.
  8. It could, but in fact both claimed to be the "true and only". West/East Germany" weren't official names. There were Bundesrepublik and Deutsche Demokratische Republik (you can guess which was which), West and East G. would have been sort of denigrations.
  9. Because fake news and alternative facts aren't an invention of the 21st century. One could also wonder why so many Mirecourt violins were branded "A Paris", or 18th century makers claimed to be pupils of Stradivari etc. That's all marketing. Factually I never found a Leipzig (Dresden, also many Berlin) labelled violin which was different from the Markneukirchen/Schönbach. Therefore it would be usefull to see pictures of these Stratton violins, if they aren't simply basic Schönbach made.
  10. No, the grooves don’t go always to the very end, sometimes they stop with the rib ends. In this case they are only visible when the ribs are removed, and even then often not very clearly when they are shallow and filled with glue and dirt. OTOH not all French bob instruments have this grooves, so this would be only one point from the identification list. But your photo proves that it‘s most probably not a South German violin.
  11. Nearly all bows with pinned metal faces that I have inspected have this small cracks. Some are so small and/or well glued and touched up that they are invisible without a close look, or can be confused with scratches, but it seems to be typical and characteristic for this way to attach the headplate. Must have to do with wood shrinkage. Even when the metal was replaced with ebony/ivory a small crack is the usual evidence that it had a metal face before.
  12. Nobody knows exactly when they started to use outside moulds there, but there's photographical evidence that they did it pre WW1. But that's a red herring as long as it's not clear how the Kaplan violin in question was factually made. Except reported opinions by experts who shall not be named.
  13. That's the right one (hope so)https://maestronet.com/forum/index.php?/topic/350770-violin-id/#comment-958840
  14. Ooops, wrong link! This was actually filed for another thread.
  15. Bedtime, Jacob! Another Kaplan thread is better than sleeping pills.
  16. That's a wrong conclusion, as we proved here: https://maestronet.com/forum/index.php?/topic/339950-violin-id-18th-century/ and here: https://maestronet.com/forum/index.php?/topic/350850-eh-roth-cornerblockology/#comment-959784 For the period a German or Czech/Bohemian import can be both either bob or made in a mould. We don't need other people's reported opinons, just in-focus detail photos of the rib joints to get a clue how it was constructed.
  17. It would be interesting to learn how you came to this conclusion, though the photos seem to indicate the opposite?
  18. Compare this one, here the grooves are quite visible as Peter pointed out: https://maestronet.com/forum/index.php?/topic/339950-violin-id-18th-century/
  19. At some photos it looks as if there could be grooves at the outer ends of the bottom corners, but it's not to tell for sure. OTOH not all French violins have these. A name branded under the button would be common for old French, often with "A Paris" (especially at Mirecourt made violins), but here it looks more like a monogram, what is relative unusual.
  20. Can't agree more with this. One could add often a neck reset is needed, not to mention overworking old (failed) repairs so that it's more often necessary to open a 100 years old violin than not. The price for "retail" is IMO, in the most venues, actually significantly more than 1,5 K Dollar (what would be a bit more than 1 K Euro, definitely too low), while I would definitely like the idea to get 12 K, but guess that's an illusion. The good thing is that we have some online pricing to compare, and can tell our customers "It's much cheaper than there".
  21. I would think that it's French, around 1800. Maybe the ribs are set into grooves of the bottom?
  22. And your answer confirmed that you either didn’t understand or didn’t read. For example nobody said, that there’s no structural difference between one chunk and another. The answers were just a bit more complex than you expected.
  23. I gave you exactly this answer before, that the frog must be of good quality because it lasted a very long period without damage, and explained my experiences with different sorts of ebony. Maybe you didn’t read carefully? So maybe I should be offended for being ignored so rudely.
  24. In my eyes your problem is, please excuse the directness, that you obviously can’t accept any opinions being contrary to yours. The open pores ebony frog you posted can be very good quality, also the old French bow makers used high quality woods, but it’s your opinion that these aren’t good enough according to your ideas. Are these ideas only basing on sticks and frogs which are your personal property? Many posters here tried to explain criterias and different aspects of quality, which aren’t irrelevant for those who are willing to listen.
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