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Everything posted by Blank face
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V is a rather humble name, some naturalized Americans call their kids even X.
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In my eyes both side views show a long crack, of course with a lot of gunk above, and the view of the face looks as if there’s a damage at the audience side, too.
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The Joachim-Ma Stradivarius c. 1714 Coming to Auction in February
Blank face replied to GeorgeH's topic in The Auction Scroll
Are you implying I was rude, are you? -
The Joachim-Ma Stradivarius c. 1714 Coming to Auction in February
Blank face replied to GeorgeH's topic in The Auction Scroll
Thanks! Just reading the comments below this and thinking "what a safe and warm place Maestronet has become". -
I'll take it, Vienna in the spring is nice. Probably, at a second glance, but difficult to tell by the photos, but definitely not Abeille. Sadly there's a cheek crack at the head, or maybe even at both sides (only the player's side is visible), missing ferule, outer button ring etc., so a lot of work and some devaluation. Both pearl eyes look like replacements, so hard to know if there was a ring in the original state.
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And pernambuco wood. I would like to look into Jacob’s not worth.. box a bit.
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The scroll looks very nice to me, but there’s a wide gap at the button, looks like filled with some ugly glue or the like. The body was vandalized by stripping most of the original varnish except at the outer parts of the belly, not to mention the badly repaired long cracks, so it might be difficult to decide if both parts belonged together from the start. In any case more in focus photos, according to the description in the pinned thread, would be necessary to tell something meaningful.
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Many years ago a customer brought a violin, appearing to me as a well made early 19th century Markneukirchen, bearing an Amati label. At the upper edge of it there was a narrow stripe of another, older label visible, and he asked me if I could try to remove the other. I did my best, soaking and lifting slowly and very carefully the upper, and there it was reading "Antonius Stradivarius Cremonensis". I told him I wasn't sure wether this was the original.
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If you can understand German the Kauert book https://www.amazon.de/-/en/Sächsische-Landesstelle-für-Museumswesen/dp/3865300790 gives a good overview on the economical side (though the price is enormous for a rather thin booklet, and it’s nearly sold out everywhere). Don’t know about the Babbitt books, they seem to be more easily available in America than at this side.
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At least these instruments aren’t showing much of Cremose traditions. If one would bet that a workshop doing serial production during this period, no matter in which country, used Markneukirchen boxes as starting point, there’s a big chance to win.
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Not to my knowledge. The second volume of Zoebisch (post 1850 instruments) has pictures of many for comparison, but not from the lower grades. I guess the topic isn’t of a great interest for a rewarding research. One can make a rough separation between the throughneck/carved bar period before 1890 and the post 1900s with more “modern” approach.
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What do you think that Officina Monteverdis were made from? Their scrolls look often simply“Bohemian“.
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I can’t imagine why anybody would buy a new “Skylark” violin, but many thousands of people have. Such bows were often sold as a set (violin, case, bow) from the catalogues, so there wasn't much of a choice, was it?
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One would need to look at each example on it's own to analyze if it's original or a later addition. Deutsche Bogenmacher shows CW Knopfs, pearl stripe decorated, both with (2 out of 6) and without a stabilizing octogonal end ring, so it is a somehow unclear feature anyway. BTW, the Tarisio example you posted looks to me later than CW Knopf, in case the frog is original post 1850. But they said, too, that they don't trust in expertising on unbranded old German bows by themselve.
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One can find occasionally early 20th century instruments from the Markneukirchen/Schönbach region with this scroll edge, sharp uprolled edges and similar fluted ff-tongues. Obviously such boxes were also used by some Italian shops of the time - I don't recall if it was Monzino or a similar firm. Edit: It was Cavalli/Officina Monteverdi, showing such edgework and ff, but not the scroll feature.
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Wages were much lower on the Bohemian side, so much of the labor intensive rough work was done there and brought over the border for refinement (white boxes f.e., see the interesting picture in the other recent threadhttps://maestronet.com/forum/index.php?/topic/363433-old-markneukirchen-photo-of-old-man/&do=getLastComment Because of this there's a tradition, especially of the Markneukirchen makers, to attribute the more unrefined stuff to Schönbach, what's surely not (always) correct. Periods can be distinguished by a lot of features like models, varnishs, aspects of workmanship and more. But this would be enough to fill a lot of pages here.
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Would you think it’s original? I would think that in this case it’s indeed a repair, both the metal slide and the octagonal end ring. The last makes only sense if the stick is weakend by inlaid mop decorations, which are not present at this bow. Though it could be well that later copyists took such repairs as model for the fancy style.
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Don’t want to be a smartass here, but this style of writing is named Kurrentschrift. Sütterlin is only a relatively new variation, introduced in 1911, later than that inscription.
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3/4 or just small frame? Plus scroll and bow advice
Blank face replied to Chamberlain's topic in The Pegbox
As the violin a mass-product of the cottage industry, made in unbelievable high numbers, so no commercial value in repairing it, making a new headplate etc. Often they had synthetic (celluloide?) faceplates, which became loose easily. Maybe a training object. -
Not really rare indeed. Even these half-circle slides came with a very broad range of diameters, widths and lengths, so that it would be very difficult to produce a "one fits all" repair kit, or adjust it to an individual bow. I'm more inclined to think that the bows had left the shop exactly like this, maybe a far cry of the full-metal bows.
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From a cultural and historical perspective both regions along the border belonged together for a long period, even the language spoken was rather same, therefore it was called either Saxon/Bohemian, Vogtlandish/Westbohemian, Markneukirchen/Schönbach(Luby) or with the shorter term simply Markneukirchen, because this town was the center of merchandising. Building traditions, models and used tools and materials were 100% identical for the most time, even almost all Markneukirchen instruments during the peak of production were made from Schönbach (Bohemian) parts or boxes, so any distinguishing between the parts of the region stylistically doesn’t make much sense from an informed point of view. The importance of any borders is often simply overrated, though certain actors want them to pay on their accounts, with tariffs, walls or other restrictions.
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As it was written before, it’s a bow from the Markneukirchen/Schönbach cottage industry around 1900, imitating a Vuillaume slide with some „ fancy“ features. Because Pernambuco and Brasilwood means in some regions the same species Paubrasilia echinata it’s better to say it is from Bois d‘abeille (French) or beeswood, manilkara bidentata. In German Brasilholz, but the term is misunderstandable in other languages. These bows we’re almost always mounted with nickel/Alpaka/Neusilber/maillechort, which sometimes can be appear black due to dirt or other residues. Its somehow interesting that the head is worked with round chamfers similar to those at French „Tourte“ branded Swanhead bows, but the shape is different, so that there‘s no doubt IMO that it’s German. Also the frog with the exaggerated wide edges is typical for this origin.
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If it’s true that rib joints (assuming that these were meant though it’s written corner blocks) have a center seam, therefore being pinched, this would exclude French, Chinese, Reghin, so there’s not much left.
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It reminds me of „autodidactical efforts“ made from Markneukirchen boxes, especially the varnish.