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Blank face

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Everything posted by Blank face

  1. This might point to an origin from the Netherlands, supported by the very clear and bright yellow varnish. Is the scroll grafted (I suppose so)?
  2. It's not an adjuster with two rings, but one capsula. As I assumed, this might be a replacement.
  3. So it's unlikely that the violin is from the South German/Austrian region, given that everything is original. Could you make some focussed close ups of the rib joints (side view). Also from the lower rib, at the end pin.
  4. Could be Herrman, usually with two n. But it was a vry wide spread family, so the spelling can possibly vary.
  5. Thanks for the efforts. Of course the grain orientation shows that a ring drill was used to cut the groove, other than I assumed in the first moment. During the 20th century there were ring width used with diameters all over the place, so this would be rather wide but not uncommon IMO. Unfortunately this doesn't tell us when, by whom and why the octogonal inlay was inserted. The only thing I can tell is that both stick and frog appear to me like something what could be bought easily from the trade.
  6. It's better to say nothing than "I don't know". I didn't suggest anything but said that the one and only, very unclear photo of the corner block could indicate that it wasn't made with an inside mould (which was the usual construction method for Vienna, Mittenwald and later 18th century Füssen). By the actual photos I wouldn't exclude anything (maybe except Vogtland), nor do I have a particular idea. Unfortunately it's still unclear how the ribs were constructed. For a South German inside work the blocks/linings should look like this, blocks significantly longer in the outer ribs and the linings mortised into the blocks. BTW, I looked into Bletschacher who doesn't show pictures of any violins, so it's not a big help here (though historically most highly interesting).
  7. Thanks for the now much clearer photos, but they are still shot from angles making it difficult to tell much. In particular I'm missing straight flush pictures from the complete front, back, sides and scroll. How they should be is described partially here:https://maestronet.com/forum/index.php?/topic/333119-how-to-photograph-an-instrument-for-identifcation-purposes/#comment-764229 Furthermore views of the underside of the volute would be necessary to tell how deeply the fluting was carved and close ups of the rib joints. At least the view of the corner block seems to indicate that the lining isn't morticed into the block and that they are relative long in the C bout. This would exclude an inside mould construction and also a South German/Viennese origin - maybe it's rather French or from somewhere else. But it's not to tell for sure now.
  8. Agree. Therefore was my suspicion that it was made wider. OTOH there are also rings of that width. As I said, all a matter of a certain speculation without having other bows with this brand to compare.
  9. You're right that it would need more detailed photos of edgework and purfling, especially at the corners. The groove in the neck root looks strange, it could be a later addition, or the belly was cut off at this place during a repair - otherwise it could be difficult to remove the top. But that also speculative.
  10. I don't think that I'm the right person to know and explain this in detail, but as Jacob said the Füssener didn't go out as readily trained makers but as very young learners, so their different local styles were probably a mixture from different sources. To tell more about your violin we would need more, better and focussed photos, from all the details described in the pinned photography thread, measurements of all parts (incld. rib height), and a description, better photos, of the inside work. Actually there isn't much to tell.
  11. These ring pearl eyes were made in two ways. First was to inlay a pearl eye and use a circular drill for the ring groove, the otherto drill a circle into the wood and fit a separate plate of ebony with eye and metal ring into it. The different grain of ebony at your frog, at least it appears to be like that in the photo, seems to indicate that the second method was used here. Anyway, it was probably meant to be made with a usual circular ring, not an octogonal, that was my main point. Three of the adjuster buttons you are showing are just as usual, the outer right "fancy", meaning mass produced. I think it's visible that the button in the middle stands out. For which reason it was done this way and by whom is left to speculation.
  12. In enlargement it's obvious that they are from beech, recognizable at the short and hard figure of medullary rays.. I wondered a certain time, it seems unlikely that a person carving this scroll was unable to make better ff, but OTOH edges and purfling do look so similar that the parts could be well belong together. Differences in the appearance of the varnish at different kinds of wood aren't unusual. To separate this class of makers into professionels and amateurs is a rather modern approach, because this rural makers spent usually half of their time or maybe even more with farming and other professions to survive. One should wonder how they were able to develop their skills to make something halfway acceptable anyway.
  13. I would have thought a bridge to wander across. https://www.zwalk.at/der-wandersteg-ueber-den-strahlbach/
  14. Without having another original stamped bow by Stenger it is not possible to tell if your bow is a copy or not, but that wasn't my point. This is a very clean and professional made frog, and it's very unlikely to assume that whoever produced it had no round drill bit at hand. Just the opposite, the enlargement shows clearly that the inner ebony has a round outline, while the outer octogonal edge is split and therefore most probably done by a different hand. This gives the impression that a bought in frog was altered to make it look more "personal". Adjuster collars are usually milled with two rings (the inner wider than the outer) or a rounded channel, not with several thin grooves like here: that's what makes it different. Given that this is a bow "by" Stenger it looks as if he altered bought in stuff from the trade a bit (the ring and the adjuster) and branded it as his own product. That was a common practice during this period at both sides of the ocean, with violins as well as with bows. Notes in dictionaries or other sources telling somebody "made" something should be very often read as "bought it from elsewhere and sold it with their brand or label".
  15. I'm afraid that the octogonal inlay is a later and rather crude alteration, while the original was the usual round. The idiosyncratic adjuster cap could be an addition by W.C. Stenger, too. Maybe it's getting boring, but the stick looks like a nice product of the usual origin.
  16. I’m not sure to understand your point. JG Thir isn’t Fuessen but Viennese, though different from a Geissenhof. The old thread is here (though the violin looks somehow different there, maybe a matter of photos): https://maestronet.com/forum/index.php?/topic/345629-18th-century-or-not/#comment-884651
  17. My guess is that Füssen, a bit similar to Tyrol, is often used as a sort of synonym for "somehow South German but I have no idea what it is". The scrolls for example are at violins I'm taking as bona fide Füssen makers like Sympert Niggel (the younger) or Stoss rather bold, bolder than average Mittenwald, and the varnish color can be from light orange to deep brown. As Jacob said, there weren't that many at this place, and often confused with the nearby Vils in Tyrol. There seems to be a certain change of style between the early like Ott https://maestronet.com/forum/index.php?/topic/330865-early-füssen-makers-johannes-ott/ and the later like Gedler (known for flamboyant outlines), Niggel II or Stoss working more close to the Mittenwald style. Some are pictured here https://tarisio.com/cozio-archive/cozio-carteggio/fussen-school-part-2/ What makes your violin a particular Fuessen is beyond my understanding. Possibly both the persons you asked were instructed by the same source about what could define Füssen?
  18. This viola is offered since some years now. At a real Pilat I would expect at least a brand, and in my humble opinion the label looks very spurious. So all we have is a revarnished viola and an oath that a rather unknown maker gave an opinion.
  19. There’s not the one definitive book, which would be an immense undertaking, but there are several like Kurt Kauert „Vogtländisch-Westböhmischer Geigenbau (5 centurys): https://www.eurobuch.com/buch/isbn/9783865300799.html as well as the two books by Zoebisch about Vogtland/Markneukirchen making. Obviously nobody found it profitable to translate them yet. Furthermore an informative essay by W. Zunterer about the Mittenwald Verleger industry at the Mittenwald Museum Website (and more about the older generations):https://www.geigenbaumuseum-mittenwald.de/en/the-history-of-violin-making-in-mittenwald/the-history-of-violin-making-in-mittenwald/ I would have no idea how to write systematically about the uncountable amateurs making usually not more than a handful of violins, especially when many of them were relabeled as something more famous.
  20. Yes of course. I couldn’t think of anything other than a Markneukirchen/Schönbach region origin. There’s nothing what I would associate with French making, not even cheap and nasty „Caussin school“.
  21. Here one can find occasionally similar violins made by amateurs from bought in parts, what this is supposed to be, too, in my eyes.
  22. Thanks. The smooth inner surface could indicate that it was hollowed with some machine. So I would assume that it was made in the early 1900s, when they also started to use an outside mould.
  23. Looks like an outside mould construction. Is the bassbar glued or integral.ä?
  24. After having taken apart some old (200 years or more) instruments one will find out that both plates are always distorted. When storing them separate a longer time for restoration it‘s recommended to keep them clamped or even glued to a frame or plate or they won’t fit together again without problems due to continuing distortion. That‘s what Jacob tried to explain, too.
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