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Blank face

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Everything posted by Blank face

  1. It’s somehow funny how fast it can come down from „upgrade advanced to pro“ to „an ok fiddle“.
  2. I rather thought that the bright line isn't at the usual place for a bass bar crack over the f hole and looks more typical for a scratch in this particular brittle varnish. But the main point was the question if this is a fine German master violin and the answer is clearly: No, it's a product of the Vogtlandish/Westbohemian cottage industry featuring an awkward model (inspired by nothing special), ridiculous ff, a very roughly carved scroll and cheap varnish, bearing a faked label. This should make all further reasoning superfluous. BTW it's very easy to find reference examples by Wahl online to see the difference (if one really wants to see): https://violin-leonhardt.de/instrumente-zubehoer/wahl-eugen-karlsruhe-anno-1935-g-354.html https://tarisio.com/cozio-archive/browse-the-archive/makers/maker/?Maker_ID=812
  3. I would also think that the "graft" is just scratched in and that most of wear and tear is artificially antiquing. So the date of making would be around 1900 I'm supposing. These are thoughts of origin, but for "provenance" we can't tell anything without a continuous documentation of ownership.
  4. Looks like a. 1930s or slightly later Schönbach trade with "Bosnian" flamed maple back and sides and the usual fake label. No idea what should indicate oil varnish, looks like the usual commercial spirit/resin coating, possibly sprayed on. Eugen Wahl had a more individual and more refined style of making after Strad and dG models. The damage (if it's just the small crack at the lower edge and open middle seam) isn't a big deal, but in general such violins don't have any significant commercial value. A proper repair would need to remove the belly.
  5. At least I could agree with both (especially the flames of the scroll look different from the body's maple), but one could give the OP some support to negotiate the sale price. Actual political correctness seems to be making the fox lifetime judge about the rights of chicken, so don't worry too much.
  6. It seems to be a good Markneukirchen region violin from roughly the mid of the 19th century. A more exact date is usually not to determine. Condition and setup look well. An LOB of under 350 mm is usually considered to be 7/8. If it fits your daughters liking it might be right, too. Just consider that it could be difficult to resell it one day, more than with a violin of a usual LOB.
  7. It looks like a fractional, maybe half size.
  8. Walter Feige (1909-1956) was a pupil of Otto Möckel, became 1947 Meister and established his own shop in 1949. Though I've only seen signed bridges by him yet I'm strongly assuming that he, like nearly all Möckel students, was a very fine maker. Hard to imagine that OP violin has anything to do with him. BTW his name should be translated as fig (tree), what's in German the same word as cowardish.
  9. To be a dealer in certified bows and a restorer in violins isn't the same qualification as an identifier or appraiser. There are always a lot of features to be considered, but at the photo you posted I see a stick with long and broad white flecks which are pointing with a very high probability to Abeille wood. The adjuster button is very thick in comparison to the stick and has a relative narrow double ring collar, a pin is visible at the lower button ring. The octogonal section of the stick is significantly longer than the winding, the "Tourte" brand is upside down. Frog mountings seem to be nickel. Putting all these features together, one can say with a very high certainity that it is a Mirecourt trade bow, and not a German which shouldn't have all these in combination. A weight of 55 gr. isn't bad for a violin bow with a thread lapping, a metal winding would add another 4-6 gr. If the bow plays head-heavy you would usually want to install a wire lapping for a better balance, but this might depend of personal playing habits. I'm not sure about the eagle currency you're talking about, and retail prices differ much depending of venue and location, but a 2.4 K price appears at least very high for such a bow without any certfication, and also for an anonymous German bow. Note that this is just an opinion based on a single photo and the informations provided. I'm not sure if you have asked for permission to post this all on a public forum, especially when a name (of the shop?) is clearly visible on the sticker.
  10. What’s visible at the rather unfocused photo is frog and handle of a French/Mirecourt Abeille (Brasil) wood bow, not a German pernambuco. To tell more we would need more in focus pictures, especially from the head, too. But it doesn’t shed a good light on the qualification of the shop if they misrepresented it, also if they are offering “Italian bows”, from where only a few historical (and maybe some contemporary) are in existence.
  11. "Authenticated in 1973" as such means less than nothing on it's own. In general it always depends of who authenticated it, if it was a knowledgeable person in South German violins of the period or just someone else. Research in regards of Mittenwald wasn't very advanced during this time, and the names of Mittenwald makers were randomly put in and on millions of trade violins from elsewhere. Real Mittenwalds of this period are very rare, and a Wörnle label was easily photocopied from Lüttgendorff or another book. So the first thing we need to see are significant photos of the instrument it self and the name of the certifier. For comparison, this thread https://maestronet.com/forum/index.php?/topic/330172-wornle/ discussed one of the usual G.Wörnle fakes listed in Ebay and pictured a violin which might be or might be not from this family, but looks at least like an 18th century Mittenwald.
  12. I won't pretend that I'm experienced in old English celli at all, so I cannot find other arguments against this than the particular shape of the saddle, and maybe the pronounced flutings around the edges. Unfortunately the original scroll is missing, which could give more evidence. So I'm curious what the English colleagues might have to add.
  13. I would assume a rather nice Markneukirchen cello from the early 19th century with a later scroll. The half-inlaid saddle is quite typical for some makers of the period like Gütter.
  14. Factually I think that I once superglued a plastic face plate (selfmade from some box) at a fractional bow from the music school, which was more a sort of "for free as a donation" job, What makes it cheap is that soft plastic is fitted fast and easy, but otherwise I don't think that they are useful neither aesthetical nor functional. What I'm using now often is Casein imitation, don't know if this counts as plastic. Looks rather well IMO, is very stable, but difficult to work on, because it splits easily, so time and care is necessary. Therefore I won't say it's cheap work, for the same reason you described. I think it was made clear that both features aren't uncommon in the mass production. I don't think that the bow wouldn't do the job as a player, and the head doesn't look that bad, but probably even the cheapest way to restore it would exceed the value as a violin bow, and could be equal to the costs of a similar viola bow. These are usually (training) projects for repairers getting such stuff for free.
  15. Obviously it’s possible to order a plastic face replacement for a handful of dollars. Or cut it out from some toothpick box or the like.
  16. They used a very distinctive model, also a particular opaque varnich with darkened chst ("moustache") and acid antiquing. Possibly the scroll was even bought in from Schönbach. Also the belly looks like made of one piece. Last but not least it's bearing the quite typical "Stradivarius 1721" label with a certain letter font.
  17. Maybe they ran short of mop.
  18. Meisel (Micelli) bows often have this ferrule shape, but others probably, too.
  19. Abeille wood from roughly the between the wars period in my experience. The weight could make it usable as a viola bow for students, if it's possible to get enough hair into it. Otherwise dustbin.
  20. It looks more like a French "cheap and nasty" sort of Caussin school.
  21. There are different alloys, tombak contains zinc, other sources say it's containing aluminium, but the copper part is very high, around 80%. About the time frame I can just tell from personal experience that I found it usually at bows from ca. the late 19th century onwards. When unpolished it looks simply like brass, otherwise I would suspect that trade bows weren't made using real gold ever. OTOH ivory and whalebone weren't exclusive materials till roughly WW2, therefore they can be found at all grades of bows.
  22. Thanks for the new, much better pics! The white flecks now make the wood appear like Abeille, also the very small head mortice is pointing to a rather tradey bow. You could check the mounts at a jewelery shop, but I would guess that it is Goldin, which contains also copper and polishs up nicely, but looks dull after a while. So it might be one of these experimental bows from the early 20th century from an anonymous workshop, unfortunately without any bigger commercial value.
  23. Are you sure that it’s hexagonal = six facets? I have seen bows with four facets and a flat surfaces at frog and grip making them five-angled there. Most of them were cheapish trade, but one was made of dark pernambuco and had a convincing Nürnberger brand. Your photos are quite dark and the head looks a bit rough (maybe just the photo?), but otherwise it could be Nürnberger style.
  24. In this case you might get an appointment, maybe plane ticket and hotel,too.
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