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Blank face

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Everything posted by Blank face

  1. From my "digital archive" (unlabeled) Walter's is much nicer, but the pattern, ffs and the style of the pegbox are showing some affinities. And here is the cross which "the Terminator" is referring to .
  2. I would agree with Michael Appleman, because inside under the left f-hole the word "London" is clearly visible! Only the ribs look more like built over an inner mould IMO..
  3. For what it's worth: When I'm asked directly, I would risk to name it a fine Kloz school with an exceptional expressive head. The edgework, purfling and corners are reminding me of a violin from which I sent you some photos a while ago, Jacob. (But we would have too look at the blocks, linings etc., I know) Too expensive? If I was the owner, I would say, just the right price (but I'm not, unfortunately). The other (#54) has the Moenning certificate and this "classical" scroll, which both make the price IMHO.
  4. I can't talk about the value, 'cause I don't know how to define it; but about my experience regarding the sale prices of this kind of violin in my home region, very near to the region of origin. For a well made 1st half 19th century saxon violin in an acceptable, not over-repaired condition (what means, better than the OP) I'm expecting Euro 500-800, some of the "retail" (very expensive) shops are asking about 1 500. Maybe you can add shipping costs and taxes/custom duties. Tarisio, for instance, estimates a "saxon/bohemian violin early 19th century" in a very good condition usually around $ 1 000, as far as I remember. Regarding the sound you could discuss it in threads like "Does old cremonese sound exist?"
  5. IMHO the illegible "scribbled" - gekrakelte - way of writing (in "Kurrentschrift") could be an indication, that somebody was using a very long and thin pencil to add a mysterious message through the f-hole without opening the violin - probably the owner or, of course, a repairer, but not the maker.
  6. As usual I agree with FiddleDoug! You did a very good job untill now, BassClef, and I didn't comment 'cause you were perfectly adviced . Hard to believe that this is your first restoration work and you seem to be a skilled repairman - you'll get the upper block perfectly replaced, I'm sure of! My only comment could be, that a fingerboard heigth of 16-18 mm is usually enough for a small fractional. Other opinions?
  7. Im interested, why you date it around 1800? It's not impossible, but IMO it's more probable that it is later, rather mid 19th, isn't it (while it is almost difficult to tell an exact age for this kind of fiddles)? The scroll looks saxon, but possibly not original to this instrument (looks later, 2nd half of the 19th, no grafting visible).
  8. Maybe my post was a bit "shot from the hip" as a response to some "incidences" around this topic, but not directly relating to this thread; perhaps it was caused by a lack of time and the forced shortness, that I sounded very pointed and sarcastic. But talking about tone, I think, isn't that easy to explain with feelings or opinions, or it gets just random; if you are feeling something, I can feel with you, or even not, that's all. The quality of a particular violin's tone is something different, I'm supposing. At my walls are hanging posters of the big Cremonese, too, and I like them for the beauty of workmanship, their history, their cultural meaning and - of course - for their most beautiful tone, which I love to hear live or from records. I like it very much to read about Cremonese handcrafting at this forum, and I appreciate it most highly, that so many experienced makers are willing to share their knowledge here. But I must admit, that sometimes I really feel unable to distinguish, if an affecting violin tone, just by hearing, is produced by a Cremonese - or a, let's say, Milanese Testore, a Parma/Torino Guadagnini, a Neapolitan Gagliano, a Viennese Thir or a 20th century "somewhere" master violin. I compared the soundclips at the Chimei website and found bright, smooth, serious and lovely tones, but couldn't identify the typical cremonese timbre. Now I'm curious, if this is my fault of being so unfeeling, while others can recognize this "cremonese" tone easily and to learn about it's specific properties. But unfortunately it doesn't help me to hear, if somebody (no one special!) is telling he's believing or not believing in a Cremonese tone or "quirk"; with believing I usually associate religions or myths (and sorry again, don't want to hurt anybody's feelings), and priests, who take care about the doctrine. BTW, some posts in the discussion about the Fritz et al. tests reminded me of an inquisition. Is the Cremonese tone only specific to violins made in Cremona during the 17th and 18th century, or can a Landolfi, a Montagnana or a G.B. Guadagnini sound also Cremonese? Is it possible to describe the feelings while hearing it? This I would accept as a fact. The "hard facts" we heard about here are the contemporary tests, the Fritz et al. and the one, of which Bruce Tai wrote in the Savart journal. Both I found very valuable, because they presented feelings and opinions (of the testing soloists) and comparable datas - the problem is always, how to analyze and interpret them. And they are IMO not so very contrary. I'm sorry, that I have more questions than answers, especially no answer to the OP question (does the sound exist), but perhaps someone may find something more valuable now.
  9. I believe...I don't believe..there seems to be something like a church of Cremonese with high priests, beadles and some heretics. I'm curious and grateful about any fact (which were presented here, some), not faith.
  10. Regarding communication: I liked the courage of her discussing the broadsides at this forum.
  11. Now it works (and looks as if Martin was right)!
  12. The question if grafting or bushing of a pegbox is of any significance was several times discussed here before (please try the "search" function"), in shortness: It's completely insignificant. Schönbach violins of the 19th century very often had a through-neck which was usually converted to a "modern" construction later. If this was necessary or helpful, is another question. I feel sorry that I can't open your photos to take a closer look at your violin, but I would trust the expert members.
  13. Exactly not on the other thread(s) - over there it was always denied (in the pro and contra), that it showed up some simple, widely known facts, which can only provoke them, who want to keep up some old fashioned myths. Appreciated!
  14. I'm asking seriously: Does the study detect anything, what is unfamiliar to anybody, who is in the business? I would have been really surprised, if it has shown, that an average "world class soloist" can discriminate between good new and old in this shortness of time, under the circumstances of stress and this overwhelming mass of instruments. It just feeds the media: "Dog bites man" isn't news, only "Man bites dog" is.
  15. The problem with the zoom function of the browser is, that it doesn't work on some pop-ups like skinner is using: I can only enlarge the background window, put not the pop-up. That's what was Jacob's problem, I suppose. Tarisio has very large and detailed high-resolution photos, but I'm so used now to the advantages of my personal digital picture archive, that I'm hating it to print and store the paper pictures, wasting space and stressing the environment.. OTOH Tarisio have their own archive and want to get paid for it, what is completely legitimate and surely is the reason why they block the download - I think we have to respect it.
  16. Gern geschehen, Jacob! You can make a download of the photo using the right mouse click, save the file and enlarge it with a program like acdsee. Tarisio unfortunately found a way to block this kind of download, I have to ask my computer wizard, if it is possible to hack it... (just a joke, I won't do anything illegal ) Actually too much time is lost by reading the "Fritz...old vs. new" thread, time which is lost for the more relevant issues .
  17. For what it's worth - I've written several times before, that I'm living in a place, where hundreds, if not thousands of this new-made run-out-of-the-mill fiddles from Rumania, finished and antiqued in Hungary, are available, some of better, some of lesser quality, some sounding better, some less. In my very, very humble opinion it's completely useles to wonder about the original "model" of such industrial produced instrument (like looking in the clouds, you'll find always some sheep or horses), because what we see, is made by a worker, who copied a copy of a copy of another copy, just paid to get ready with his work as fast and as cheap as possible, so he is able to make so many tables, bottoms, ribs or scrolls (whatever might be his part in this process) per day as he or she can. Obviously some of this violins may sound "good" - this can happen incidentally or as the result of making thousands of parts over the years and getting used to do a good job, just as many of the older "Dutzendware" from Mark/Schön can sound "good". But from my experience this impression (the "good" sound) lasts only a few weeks or months, as long as it keeps to get used to it, and after this time you may find out, that there is a difference to masterbuilt instruments, and that this kind of violin is just what we are used to call them: cheap violins for students.
  18. Agree, after cleaning neck and fingerboard you could check, if the board can be glued on again in the right heigth and position - if this is ok, you can leave the neck and block alone (although it's hard to call this roughly carved piece of wood an"upper block"). The only problem might be, without removing the neck and the ribs it could be impossible to get rid of the nails. But I'm tending to propose just to let this nails where they are, if they don't stand out and cannot cause pain or hurt to the little player's fingers, it's only a cosmetic flaw - and here we have only an "ultra-amateurish" repair .
  19. If you don't fix the back while soaking and drying again, it will always go back into the former position! I told you before how to fix it with logs and clamps. You may need some (3-5) clamps of this size: just to glue the ribs, block and back together afterwards, too, without holding it with your hands only (what could last two hours or longer). The neck reset should be done, when the lower block is in position again.
  20. It would be cheap to insist now, that you were warned before, but that's what's keeping things going on (for your daughter, who might find another musical toy, and you). Before starting another thread about repairing the pegbox of a worthless violin I'd like to propose, that you could bring it back to the place where it all came from: An EBay auction starting with $1 no reserve "The Genuine Antique Rare Heidegger, restorable, collector's item!". This might close the circle.
  21. Regarding soundpost patches, look here: http://www.maestronet.com/forum/index.php?/topic/326695-critique-on-my-soundpost-patch/?hl=%2Bsoundpost+%2Bpatch
  22. Now we have the chance to buy the CÉ violin in an $1 auction! http://www.ebay.de/itm/A-GENUINE-ITALIAN-MASTER-VIOLIN-BY-GIORGIO-CE-/181369003819?pt=LH_DefaultDomain_0&hash=item2a3a6f5f2b Interesting, that it has moved from Boston to Taipei now .
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