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Blank face

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  1. Blank face

    Violin ID

    Good morning, Jacob vS! My daughter arrived just yesterday in Jo'burg, will stay one month for work (nothing to do with violins, she does geology). I'm expecting interesting reports about the country.
  2. Both have 4 corners... Now we've got the bottom amd the scroll (and I agree, that the lower end of the pegbox looks narrowed by the grafter, but in this case an interesting effect), only the top is missing. I'm curious!
  3. Blank face

    Violin ID

    In addition this overblown verb "erbaut" is usually found on labels of amateurs or, as in the case you mentioned, by dealers or "Schönbach-box-finishers", who put their name into "buildings", which were for the most part made by other hands, just to cover this deception. Dear Brian, don't be indignant by the slightly impatient speech of our professor, but it was clearly worked out before, that the OP violin shows in the construction of the ribs (post#46), and smaller details (form of the button, I could mention the unelegant pegbox with extra large ducktail, too) can only be of a Schönbach/Markneukirchen origin. Also I cannot find a pattern which is similar to any member of the Guarneri family, more the common saxon and bohemian somehow blurred mix between Strad/Guadagnini/Pressenda models.
  4. According to the description the set-up of the Paganini's is by a well known maker.... But what about Venice and dutch schools of violin making? Didn't even Gobetti start as a shoemaker? http://www.amati.com/maker/information-on-gobetti-francesco-violin-maker-in-udine-italy.html Maybe there is an important connection between dutch klompviools and venetian violin making, wooden shoes floating down the river Rhein, crossing the Alps via Tyrol on wheel barrows. Stainer? Albani? All influenced by dutch woodcarver's and cobbler's tools and techniques? Another secret? Roger and Curious1 should start an investigation!
  5. The "Grancino" labelled is quite older as the OP violin here, and styles changed from 18th to 19th century. There were some violin makers in this area, informative about them is Jalovecz's book "Bohemian violin makers", although the photos are b&w and not of the best quality you can get an idea how they used to make their violins. You can find almost a touch of the Füssen school within them, as visible at the scroll of the "Grancino". The wholetrading (Verleger) in Markneukirchen started later in the 19th century, it was more the ruin of this old bohemian instrument making towns, only in Brünn/Brno they survived, but as far as I know they had their own wholetrader, "Lidl" for instance.
  6. That's difficult, I'm tending more to early 19th; it doesn't look like a typical saxon/Schönbach IMO, more like southern Bohemia, compare this one http://www.maestronet.com/forum/index.php?/topic/330189-ebay-grancino/ and also Jacob's comment about it.
  7. I agree completely with this point; I forgot to mention, that the fitiing at all points, especially the corners and end block, has to be checked before starting to glue. But for this purpose it would be enough to fix, for example, the end block with an extra clamp, if you start at the upper bouts, and press down the plate with the fingers to see if it all is fitting, so you need only this one "extra" clamp. For everybody the best way to work is always the way he is used to, and there is no use in arguing about it, if it works. Surely it's the more clamps you have is always the better, and if they can be "home-made", it doesn't make any sense to be grasping . Reg. alcohol I'm very careful, because chemical produced alcohol is always toxic (or more toxic than beer or whisky), and inhalating small lots is much more dangerous than drinking, it will go into your blood and brain immediately, even the skin absorbes it (without gloves). If it's use is necessary, for cleaning or polishing, I do it always with windows wide opened, no children or pets around, and preferably in the evening.
  8. This poor violin was mistreated, stripped, revarnished in a way, that it's now hard to decide, of which origin it once was; the scroll looks decent in some aspects, but that's all what is cognizable at this pictures.
  9. I've seen this spelling several times in very different violins; it wasn't the creation of one individulal genius or faker, but part of the commercial available sheets of "facsimile" labels, which were cut out and glued incidentally into millions of violins. It seems more probably to me, that it was just a confusion between similar looking letters G-Q and J-L (mirror-ed) by a shortsighted typographer, nothing philosophical or sophisticated.
  10. IMO and experience there is no counter-argument against glueing the top step by step: at first from upper block to the upper corners, than to the lower corners, than to the end block. for instance. I did it many times this way, it can give you a better control about the correct fitting of ribs and plate, and if it saves money, the better . You can carefully open the gap with a knife or something else to let the glue drop in. Reg. fingerboard: I can't agree with the linked proposal for the use of alcohol, because that's always dangerous (fire!) and not an advantage for one's health, especially with a child in the flat. Water will do it in the most cases, if it won't solve the glue, it will soak into the wood and soften it, so that even exposy glue will be separated. The nail will probably come out together with the board.
  11. Now it's getting a bit more complicated; I'm assuming, the wood used for the back was too fresh, it dried out more from the unsealed inside back than from the outside and was deformed. Usually, at bigger and "better" violins you should remove the lower ribs and built a form to put it back into the right place. But here you could try to soak the inside back at the lower 5cm with a wet cloth overnight, it will make the inside extent, so that it probably will get straight again (or nearly straight); to keep it right, you can clamp it with a thin log laid over the upside of the ribs, the underside of the clamp at the place of the block (covered with cloth or similar to protect the varnish, or you could use another very short and narrow log as a "form") untill it's dry again, but not too much pressure! To glue the ribs right again at the block you will need an outside form, like I described above, it will get the small crack in the rib in the right position, too.
  12. This looks fine now! The next step would be to reinstall the block. It should fit the ribs and the back without bigger gaps, or you have to make it fitting with a knife, a rasp or a plane. You need some small clamps and a piece of wood (or similar stuff), which follows the slightly swung outline of the ribs as a form. And you could wonder now about removing the fingerboard.
  13. Jeffrey wants to save room here for other topics, that's right! Clean the inside of the box careful with a dry cloth (not too warm or hot, and don't damage the valuable label), the old glue can be soaked by putting a piece of wet cloth on it for about one hour, remove the soaked glue with a knife (carefully!), and repeat the procedere untill it's all clean. The old block can be put into a water cup to soak dirt and glue. And check the table for small hidden cracks, before they might get bigger!
  14. Here we have many of this fiddles, but I would estimate the "assurance value" in a good playing condition without need of repairs around Euro 1 000, the "market value" the half of this - but there could be other opinions or experiences, in both directions.
  15. Congratulations! I was afraid, that you might hurt yourself or the top, but the old glue seems to be got tired and surrendered easily. Before adding something or glueing you should: - check if there are small cracks around the saddle, corners, neck area or somewhere else at the table - clean it and remove old glue by watering, also the ribs and bottom.
  16. The devil and the deep blue sea don't care much about grammar, neither some old violin makers - but "erbaut" is something I don't believe in this case, it's more probable that he put together some parts or finished a box, or only glued in his autograph. But a nice and crackfree fiddle for students with an interesting saddle, which I would more expect in Mittenwald (from where it is not for sure). You should know better, what it's worth in Cape Town than me.
  17. Cheers! Josef Raab is mentioned by Jalovecz in Gossengrün and Schönbach, probably he worked in Markneukirchen, too. Edit: "Raabs" is correct, but this sounds very unusual (beside that he isn't mentioned in my books, but this isn't significant), it could be Genitive. You could ask the Musikinstrumentenmuseum Markneukirchen http://www.museum-markneukirchen.de/kontakt.php
  18. "Erbaut vom Geigenbauer Raab Markneukirchen 1927" - Made by violin maker Raab Markneukirchen 1927.
  19. I don't get it, why you all here are discussing soundposts, peg-sharpening or bridge-fitting, when it isn't clear at all actually, if the Garini will ever get into a state, where such things are needed.... I would propose and advice, to plan step by step, just look at your feet and not at a point 100 miles away. And to keep the track: Repairing the case is a quite different topic and is supposed to be discussed in a different thread, isn't it?
  20. Not one of your points is counting out M/Sch, you should better say goodbye to your stereotypes ....and a stripped and revarnished violin can be altered in nearly each of this features (except the one piece back, and M/Sch produced lots of wonderful flamed one-pieces). The button for instance is surrounded by a later quarter moon, it makes it probable, that the neck and scroll aren't original to the rest. But what are "a few decades earlier" or "1800"? I see it more around 1900.
  21. Unfortunately there are no photos or other significant informations available online, which I could link here; only a violin by his brother Josef Bohumil (b. 1903, trained by Otokar Spidlen), http://paganini.cz/en/violins/violins---after-1920/273-josef-b.-herclik/, who is more reknown than Ladislav (b. 1895) or their father Frantisek (1866-1948). Jalovecz shows two violins by Ladislav in his book about the bohemian makers, but the small b&w photos are not very significant. But typical for this period of the czech violin making, as far as I know, are for instance the sharp and high edges, deep fluting of the table and the ffs and a thick red or orange oil varnish, as visible at the viola you posted. The scroll appears to be a bit weaker, but is in accordance to the scroll pictured in the catalogue. One could wonder, if he used a prefabricated Schönbach box or made all parts by himself, but the finish of the instrument shows IMO opinion good workmanship and personality and gives a good probability, that this instrument is "a real one". Edit: It would need a neck reset, as visible at photo #7, where the fingerboard nearly touches the table - but this is also an evidence, that we see an old instrument, not a new made fake.
  22. Seriously I didn't know exactly who were Dykes (maybe I've read the name one or two times), as well as I wasn't familiar with all the stirps of the Hill dynasty. In Germany an old english expertise sounds always very reliable, just because we here are not well informed about them. But "dumping ground" is convincing in this case; even the lettering of the label could be from the area of the certification.
  23. I could agree with all your points, if you wouldn't start another bet . The greatest reminiscence to Naples has, IMHO, the back with it's slightly greenish ground (and brown touch-up varnish), but more mid 19th, while the belly with it's different purfling stripes looks clearly younger, possibly a (willing?) rude copy of an original Ventapane table. And the scroll could be from 1800, couldn't it? But who were Dykes & sons? (beside that there is no proof, that the unpictured cert has a relation to the violin)
  24. This isn't what I would call a "factory" viola. Ladislav Herclik was, as visible by this instrument, a skilled maker, whose reputation was very unfortunately ruined by the millions of faked labels glued into real factory violins after the opening of the iron curtain.
  25. OMG, I'm afraid, the knife won't do it....more tomorrow, it's really late in the night over here (or has anybody else a proposal?) And don't worry about the last words, as long as you will not start fixing pianos .
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