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Blank face

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Everything posted by Blank face

  1. In this particular case I would strongly assume that the deep edge fluting (channelling) is the result of using a sort of mill for carving the plates. If this helps.
  2. Beechwood, alder and more homegrown woods, usually colored reddish to imitate tropical woods. Good for peg bushings or all kinds of woodconstructions requiring round sticks or long pins, not only tomato sticks. Yes, Brasilholz means Abeille/Manikara. Also can have a different meaning in English.
  3. That's a bad translation. Taking the original German text it should be "only 4% of the whole lot of bows were pernambuco either nickel, silver or gold mounted", meaning that all of the pernambuco bows had metal mountings.
  4. I guess you want me to post a scan of the page, so here it is. One can also read in the book that at the 1880 period JW Knopf was supposed to work in the Markneukirchen family shop without having developed his later personal style, so it's up to speculation how a JWK of that time has to look like. For me the head shows some remote features of general Knopf style (like thousand other bows), just a bit less refined, while frog and adjuster, especially the very small eye, haven't much if anything to do with them. Generally spoken, an expert who has surely merits should know when it's time to quit writing certificates, especially when he's officially out of business since years.
  5. I'm wondering if you are somehow related to a defunct member named DuffersEdge who liked to act as a sort of Sherlock Holmes. One can look at it from a million different point of views, but it's simply a matter of fact that historically violins were labelled deliberately with misrepresentations since early on, even in old Cremona. Mittenwald 18th were labelled as Stainer or Amati, French accordingly, Guadagnini and others claimed falsely to be Strad pupils on their labels etc etc. It's common knowledge that late 19th/early 20th century trade violins were labelled without any regard to the actual models, and to complain about it or start a sort of criminalistic research is a Don Quixote game. I guess we could start another 20 page thread, too, about everybody's detailed opinion what qualifies a "real copy of something" with all grades and shades.
  6. For which reason you’re assuming that this is a Wilhelm Knopf?
  7. Isn't this what violin restorers (or restorers and dealers of antiques in general) are supposed to do? I think this mustn't mixed together with deliberately altering, "tarting up", faking and misrepresenting. I hope you just made a thoughtless joke and didn't want to sound offensive.
  8. There never was a land named „West Germany“. The right name is/was Bundesrepublik Deutschland/Federal Republik of Germany or simply Germany since 1949, though at some trade labels they wrote West(ern) Germany for the ignorant. Your violin was therefore made at some point after WW II, most probably in Bubenreuth, when many of the formerly Schönbach firms had moved or were expelled from the postwar CSSR. It is absolutely recommended for your „player instrument“ to let the new bridge fitted and adjusted by a professional violin maker, otherwise a DIY first attempt will inevitably damage your violin in the long run and you might end up with higher cost than you’re trying to save now. The playability and tone will suffer, too. For experiments with bridge fitting you could buy some cheap instruments and search Maestronet threads for instructions, which exist a lot.
  9. Maybe old school politeness to say something nice about a customer's violin. "At least it has left enough edge"....
  10. Thanks for the reminder! That's of course the most relevant essay actually available about the 19th century Mittenwald making. So I have to correct me about the date when the N&H firm was established, what happened obviously somehow "before 1815" as it is explained there (exact date unknown). What can't be found during the first half of the century are labels bearing this name. During the first decades all labels were still signed as "Mathias Neuner" in different variations, and the Neuner & Hornsteiner firm name pops up maybe about 1861 (that's mentioned by Lüttgendorf). OTOH I had a violin with an 1862 dated Mathias Neuner label (s.below, imprinted letters). so both seem to have been used simultaneously for a while. At least a label like the pictured from 1812 is an anchronism. In regards of the violin itself isn't much to tell by the unfossed photos, but the purfling looks like the wide dark/narrow white type which would be typical for a Markneukirchen from the end of the 19th century onwards.
  11. I would need to look up the exact date, but the Neuner & Hornsteiner firm was established not earlier than in the 2nd half of the 19th century. Therefore an 1812 date is impossible anyway.
  12. All the grain lines in this area are running out at the top of the stick. As long as all are solid it's not problematic, but if one of them just slightly opens at the upside it will run down through the stick completely
  13. Similar engravings were applied to thousands and more thousands of mostly fancy Markneukirchen and Schönbach bows from late 19th till roughly mid 20th century.
  14. The big question will be if any custom officers or authority will be able to distinguish between different species of bow woods, even to tell apart tropical and non tropical sorts. The actual ivory ban often doesn't work due to similar reasons.
  15. There were a lot of discussions about wood shrinkage, percentual rates etc. here which I didn't followed up or recall completely, but the quintessence of all is IMO and practical experience that all the shrinkage and swelling is to the biggest part compensated by the arching. It means, if the glue joints betwen belly and ribs are stable there's always "much edge" left, because the arching flattens out due to the tension, but the edge still keeps the same. Just when you're opening the violin this tension and flattening will be released and you will notice that the "enough edge" has disappeared at the moment you're going to put it all together again. An assumed wood quality doesn't change anything to this.
  16. Or point to a sunken down arching. Such a single and isolated observation out of other context seems to be meaningless, if not directly misleading.
  17. Ooops, that was what I meant, not at the frog end. Just what happens when being in a hurry. I also missed that numbers 3 and 4 are different bows, because they look so similar. Therefore the Villaume barnded is number 5, but the rest applies the same. Reg. price, this might depend of issues we cannot see at the photos. If there are some hidden damages like cracks, the whole lot could be virtually worthless. Like others said, one can buy a couple of bows like these for one hundred, but also for a multiple (surely not should pay 100 K), depending on a lot of factors, condition, weight and other circumstances.
  18. Numbers 1-3 are more or less unexpensive german student bows, 1 and 3 possibly penambuco, at 2 the wood isn't clear to tell by the photo. Number four is a Mirecourt shop bow, possibly pernambuco. The dark line behind the frog could be a crack, but also not to tell for sure by the unfocussed photo. The diagonal grain lines would make the bow prone to crack in this area. G. Villaume was a dealer, but the brand looks fresh and spurious anyway.
  19. Not a Thir, and the Ebay photos in higher resolution give clear evidence that it's a crudely manipulated artifact of undefinite origin.
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