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Blank face

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Everything posted by Blank face

  1. That's the usual interpretation, but it could be also that other firms tried to get their share from the success of the Roth firm and imitated this style. At least it seems to be so for the "Jacobus Hornsteiner" labels which were discussed recently. One should note that the "script" style is very different from the German Kurrent (or Sütterlin) handwriting at the period and therefore was most probably used for export purpose only. The 1980s Bubenreuth i have in my archive has the Blockschrift, which was regarded here as Art Deco (maybe it's this, maybe not), which would be more edaquate for German prints of the between the wars period.
  2. If you have the violin already opened, it would be helpful to see the internal construction, too. At first sight it looks to me like a sort of German Großstadtgeige, made from a Markneukirchen box, not English, and probably more from the early 20th century than the 19th, but I could be wrong.
  3. Thanks for the link! I remember that the Kaplan making once was discussed in a way that his production from the early 20th century were just imported Markneukirchen/Schönbach violins, but that he later started to build his own instruments. This viola still looks to me like a built on the back from this region, possibly with an elsewhere applied varnish.
  4. These are from the Zoebisch booklet about Hopf, not particularly squarish IMO.
  5. Lüttgendorff’s informations and pictures are outdated; actual state of research, at least what Zoebisch, Seidl and others are writing is that there were several makers to which the David Hopf instruments are ascribed to now, and the pictured example isn’t exactly his model; it looks more like a sort of Friedrich Erdmann Hopf from the actual literature. Some more pictures and considerations are to find here: https://maestronet.com/forum/index.php?/topic/338625-hopf-yet-again/
  6. As I wrote, one can have different approaches for valuation of a particular violin, and as long as the price is in the accepted range for a particular violin or bow, not asking exaggerated sums for an alleged superior tone, there’s not much to complain. The question still remains what might be an acceptable range of pricing. This type of JTL I often saw with Copie de Stainer or Amati labels (some are possibly shown at the Viaducts website, too), so the Sarasate eleve stamp appears to be attached very randomly at very different types in my eyes and can’t be taken much into account for a particular valuation.
  7. That’s an Antonio Loveri labeled Mnk/Schb, which were reportedly sold by an importer firm and might have nothing to do with the Carlo Loveri shop.
  8. There were many violin making factories in Eastern Europe before the fall of the Iron Curtain, even in Yugoslavia and Poland, so it’s difficult to know them all. Could be also a low grade Musima.
  9. Nothing against your teacher friend or any personal approach to valuation, but from the teachers I know (and there are many over the years, not at least that my other job is at a music school) everyone preferred violins which were more or less sounding like their own, and these were very different to each other. These are the usual pitfalls of valuation “on sound”. Alternatively one could evaluate the average price level for similar violins and adjust the pricing accordingly, what might be a lot of effort but a more objective way to go.
  10. This looks to me like a nicely made JTL, and for valuation I won’t give much on it how it was graded in the catalogue once. What’s a bit concerning are the lines at the center, crossing the impressions of the bridge feet. Unfortunately the photos aren’t in focus enough to tell if these are cracks or just symmetrical growth lines?
  11. What is master about it if everyone can see that these are crudely antiqued brandnew products?
  12. Exactly - division of labour existed from early onwards before 1800, wholesalers/Verleger firms were founded around the same time and sold instruments of different qualities per dozen to oversea, very cheap and poorly made, too, as one can see in the many documented shipping papers, inventories etc. Even in the later 19th century fine violins (feine Geigen) were made there, the public just desired masses of the cheaper ones. Even those were usually handmade into the 20th century, if one doesn't count tools like waterpowered saws etc.
  13. There seems often to be a sort of confusion about the special Maestronet terminology: A Markie or "the usual" refers to products of the Vogtlandish/Westbohemian cottage industry which were made in division of labour between different specialised shops, often located in both countries and sold by the Markneukirchen wholesalers. Vogtland in Saxony has villages like Markneukirchen, Klingenthal, Erlbach, Brünndobra and many more, while in the Bohemian part were Schönbach (later Luby), Graslitz and others. Instruments made before ca. 1850/60 are adressed as Saxony only. One could discuss all day and night long if this separation makes much sense or doesn't, but to rely on online dealers giving their products randomly chosen attributions like "Klingenthal" without understanding the production process leads unevitably to bizarre opinions like above. Another funny and nonsensical advertisement I once heard was "This violin is much better than Saxony, it's a Vogtland". For those being able to read German this one should be the standard book/Pflichtlektüre: https://www.amazon.de/Reiße-Weiß-Grün-Vogtländisch-westböhmischer-Jahrhunderten-Entstehung/dp/3865300790
  14. This sort of mechanic would require a completely different fingerboard (resp. no board), so it's very unlikely that the OP violin was part of such a machine. And yes, the I & H example is the only one to find online, but there's also no prove that it's a genuine one. As long as this is possible to say about violins which were sold by a dealing company and could have been supplied by different sources.
  15. Yes, it gives more peace of mind. Austria and Italy definitely were wiser not to take part in this WC . Agree that it looks Saxon/Bohemian at first sight and I would be surprised if the scroll fluting goes to the bitter end.
  16. Loveri was a firm producing mandolins, it’s well possible that they ordered Mittenwald violins, maybe applied their own varnish. A closer look at the inside work could give a clue.
  17. With an anual inflation rate of 10% you could have reached that point within 20 years or so.
  18. Heating costs in Germany are actually extremely high, but maybe not to that extend.
  19. From the photos it looks as if it could be one of these manufactured South Italian violins from this period. They have the particular hard and crackled varnish, are often very heavy and are usually selling in good condition in the low thousands, not at 20 or 36 K, that's fantasy. I have no idea what's the reason for this screws, and before estimating restoration costs it's necessary to know what's going on inside beneath them. If the seller cjaims that "a lot of them" were put into playing machines it should be possible to find more of them with that attachment, what's not the case to my knowledge.
  20. At least the purfling at the back is painted, not inlaid, therefore it's actually a lower grade. I agree that the condition seems to be fair and if there aren't any other techical problems, like a sunken down neck angle f.e, it's a functional student instrument. Not more, but not less.
  21. Here's one Mittenwald dated 1930 featuring this step, though it's not very pronounced. Sometimes it can be more easily spotted at 19th century violins from there, so it's a tradition in Mittenwald since at least 150 years or longer.
  22. At first I wrote "in question", meaning if it's not completely clear what kind of metal we are looking at - here we seem to have both nickel and silver. As second note, the idea of "all as shiny as possible" is to my knowledge disputed since long, actually the restoration efforts are aiming more towards leaving as much original surface structure as possible, at varnish or metal surfaces. High glossy polishing or overcoating with French polish and the like seems to be somehow very old fashioned and destructive. At least by leaving tarnish I didn't think of letting it be as dark and crusty as possible but just leaving some spots while cleaning other parts carefully and more "conservative".
  23. The blocks look to me like later added to a (probably) built on the back construction, as indicated by the widespread glue residues or the convex surface, and the (quite nice) violin more like from ca. 1860-80 than earlier - from the first impressions by the not perfectly focussed photos. To tell about construction method one always needs to examnine the rib joints, wether mitred or pinched together symmetrically. German making in general used all sort of methods, inside mould especially in the South German regions, while Saxony/Vogtland till the early 20th century built on the back (as we discussed here for many times). The Bausch Dessau label was part of the often mentioned commercially produced sheets for labelling violins, so I would not put too much weight on it.
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