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Blank face

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Posts posted by Blank face

  1. 11 minutes ago, Mark Caudle said:

    The f holes seem to me clearly to be damaged. A trace of the outside notch is visible on the treble side and one of the notches has been carved away on the bass side.

     

    That's right. I was more reffering to the shape of the wings (cp. below, how they usually look like).

    The treble side seems to be worn out by the unadequate use of the soundpostsetter, and some genius thought it was a good idea to adjust the other. But nothing what's worthwhile to repair here IMO.

    IMG_7262.JPG

  2. Google search provides a lot of speculative and unconfirmed random informations. I guess that this is from the (obscure) German forum at Geige24?

    There was a Volkmann violin maker family in Schönbach mentioned by Lüttgendorff (not by Zoebisch), who possibly were only dealers, but if the Glogau guy was related to them at all is unknown (and unprobable IMO), it's not even clear if Lüttgendorf deciphered the writing correctly, when he wrote that "his repairs look like a violinist's (meaning amateurs) work". Compare: https://maestronet.com/forum/index.php?/topic/328581-old-label-and-bridge-schönbach-transitional/

     

    I would be very reluctant to rely on any of this speculations.

  3. The f holes should be left alone, they are featuring a common Vogtlandish pattern and are original as they are now. I would guess it is something mid-19th century-ish

    The inscription is by a well known repairer, which can be found inside of uncountable violins from this origin. We guessed a lot about the correct speliing of the name, but "Volomann" wasn't within the possible readings yet (and seems to be rather unprobable). https://maestronet.com/forum/index.php?/topic/350843-violin-joseph-paulus/

    Why do you assume that he was the descendant of a violinist's family without even knowing the right spelling?

  4. The Hill stamped bow looks like the usual pernambuco they used. For more help in identification do what Dwight said and give more photos.

    The "repair" at the Pfretzschner is simply an adjuster ring put of the end of the stick, usually the wood was removed partially for this purpose. It's more a sort of vandalizm which was unfortunately done very often in older times and brings a significant and irreversible devaluation. Playability is affected when the crack reopens again and the ring slips off, what happens often. A standard repair would be an internal bushing, sometimes with an also internal ring of carbon or metal, which hasn't much of an impact on the value if done well.

  5. First thing to do would be to post photos being in focus; from the actual I can see only something what could be an average Mirecourt violin behing a sort of veil, without any details. Not that I would pretend to be an expert in identification of Colin-Mezin violins.

    If it's not your's but from a dealer's or auction website you need to ask the owner to do this.

  6. 1 hour ago, AnthonyC said:

    Oh that's very informative, thank you!

    Hmm... Could it be that the original seller was adamant that it was a Giuseppe and as a result, the auctioneers at Christie's were forced reluctantly to list it with the term, 'possibly'? :P

    Otherwise, it would seem that their expert was not convinced one way or the other but as other posters have commented on the forum, it seems more likely to be the former. 

    That's all very speculative, also much of what other posters have written. Of course it appears likely that somebody who bought this violin from Christies for a 37.5 K Dollar sum would have done some research on it afterwards. I'm also wondering why the "complex history" you mentioned didn't include the auction, and what else you have been told about it.

    What I'm seeing is a violin with interesting details like the tiny impressions of a template at the scroll eye, which would point at least to an informed copyist, and OTOH the formerly mentioned over-stiff shaped ff and maybe exeggerated bold scroll and have no idea what to think of it. The label is clearly a much later addition and an inside covered in "dirt" as black as coal would also be a red flag. Some of the wear and scratches could be artificially made, but I'm not really sure of it by the photos. So my advice would be to show it someone knowledgeable in person.

    9 hours ago, Shelbow said:

    Nice detective work :wub:

    A simple Google picture search did it.B)

  7. I cannot claim to be in any way experienced in this Duiffobruggar fiddles. The Markneukirchen trade produced instruments with mosaic inlaid castles at the back from colored woods and some mop edge or fingerboard decorations, but the rest of what I've seen looked different from the OP violin. Also ivory pegs with inlays were made there. OTOH Zoebisch and other authors I have at hand don't mention or picture such a type as being made there.

    The internet is full of similar instruments, some described as Mirecourt made, others as "ascribed to Derazey" (also Maestronet had a few threads on this matter), but the only example from a website I would trust (more or less) has a much less decorated, but in my eyes more neatly made example as made by Derazey for Vuillaume: https://cohenviolins.com/products/gasparo-duiffopruggar-violin-derazey-for-vuillaume-1860-1870

    Another site shows many photos in and outside from a repair process, but the rib joints and details of corner blocks are unfortunately out of focus, too: Nonetheless interesting: http://www.thestringdoctor.com/French Violin Repair.html

  8. At least the violin looks well made and shows Guadagnini features. This forum might not be the right place to confirm the authenticity. You need to ask a respected expert like Blot, Biddulph, Carlson  etc.

  9. 1 hour ago, David Beard said:

    What had evolved culturally as a competition for ultimate quality, now devolved as an economically driven competition for sales and efficient production.  

    Same applies for the development of TV, dish washers, cars and other cultural important devices.B)

  10. Seriously I never found it worth to pay for the informations in Ltgdf III which are today more easily to get from other sources, especially online. Though it might contribute to it that this volume can be found in our public library 5 minutes of footwalk away.;)

    Otherwise the book pops up regulary in auctions for less.

  11. 7 hours ago, MaryS said:

    They're asking $2000. Is that too much? (I thought it might be)

     

    4 hours ago, Al Cramer said:

    That looks a lot like my fiddle, except the arching on mine (both plates) is higher. Also mine is just flamed maple, not birds-eye. I'm really happy with it. But that price sounds awfully high -- I got mine from reverb for 325$. 

    Something I had to do with mine was shim the fingerboard, because the projection had sunk down too much and I don't  have the skills to a neck reset. When you take your measurements, you might want to measure the fingerboard projection.

    Therein is a lot of what's making a price. It's an important difference if you are going to buy a fully restored and well set up violin from a shop (on- or offline) with a warranty, service and later trade in possibilities, or a damaged thing in need of neck reset and other costy operations and being left with it for worse or better, from Reverb or somewhere else.

    One case might justify a 2 000 Dollar pricing, for the other can 300 be too much.

    Having said this, the OP with the ugly repaired crack and broken off volute doesn't look as if somebody should pay that lot for it.

  12. 10 hours ago, Zdenek - Lavuta said:

    Do you think the corner blocks (top, bottom block) were allocated later?

    The violin was made with the ribs installed freely (i.e. without a mould) on the back, what's indicated by the rib joints pinched/clamped long together without a mitre. Using this method, corner blocks are always added after the ribs are glued to the back, and with a certain angle (not flat) to the back, leaving a hollowed space; otherwise it would be very difficult to get a perfect fit at the visible front.

    As we see at the photos, this violin has a completely flat glueing surface at the bottom side, the linings morticed with a point, what's only possible to achieve as long as the back is removed; therefore at a later stage (clear why if one has followed the former description)

  13. 49 minutes ago, jacobsaunders said:

     

    I wonder why the linings are let into the blocks - strange

     

    I would strongly assume that both blocks and mortised linings are the work of a later repairer., who took off the back. Otherwise it’s unlikely that corner blocks at a bob construction could have such a flat surface downside.

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