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Blank face

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Everything posted by Blank face

  1. Of course it's very similar to a Beck Wölfelsdorf/Glatz pattern (although more roughly made), just the straight pegbox without throat would fit. I hope you all had a nice chrismas eve!
  2. Renz: A family of MNK violin and bow makers.
  3. Here is another Thumhart from Corilon, Straubing 1813 http://www.corilon.com/shop/de/produkt1319_1.html and a 1775 Johann T. Ingolstadt (down at the side) http://www.violin.at/verkauf_geige.html A very beautiful 1765 Buchstetter with golden varnish is pictured in the 2003 Strad calendar, which I'm afraid to post here, not wanting to violate someone's copyright, who might read this. Regarding my question, how to separate a Buchstetter from his copyists, I'm more confused as before. Obviously the linked Thumart violins (from different family members) have scrolls, which are very similar to the one I posted. OTH my (former, because it's sold) violin, although minor in workmanship, shows an affinity in wood and varnish to your's, Oringo (which is an exceptional fine and well preserved instrument), what cannot be accidental only - but your's has a certificate and Jacob's affirmation to be (most probable) a Buchstetter.
  4. This was identified by some "connoiseurs" as a J.S.Thumhart/Straubing. Varnish and wood look very similar, don't they? Scroll and (baroque) neck are original. No purfling at the table, assymetric pattern. Unfortunately a long B soundpost crack.
  5. I really don't want to disturb your work, nor to hurry - it's enough hurry now when chrismas gets nearer and nearer. Thanks for posting the viola photos, they give an answer to the question of the rib construction (but it took a while to understand, what the last is showing )
  6. A most interesting topic! If you're writing "Buchste(ä)tter violins are easy to recognise" I understand it as "the Buchstätter pattern is easy to recognise" - of course he was numerously copied by others, especially the "literaly dozens" of Thumharts. I would be interested, how a genuine Buchstetter is to separate from this copies (which can be of a very good quality, too), because I've discussed this point before with friends and customers. The through-neck construction is something I didn't know about before, did he use the "free on the back" construction method, too? The probable Thumhart copies I studied were all built over an inside mould, with one-piece lower rib etc. Another feature is the A-string hole in the pegbox (which I interpreted as influence from Prague) and the much oversized body (what became popular in Mittenwald in the late 18th). But a Salzkammergut origin could explain, why there are so many violins of this school with inked purfling (sometimes at the table only) or painted-on flames.
  7. Regarding the neck, you should consider, that this violin probably still has it's original 18th century neck and bassbar, what means: 1) the neck stop is supposed to be shorter than the modern, possibly something around 125 mm, and 2) the neck angle is very low, what implicates, that the fingerboard needs a wedge to make it playable (or a neck reset, like Brad was proposing, but this will be very complicated. The "through-neck" construction requires to open the violin and to set in an upper block). 3) If it still has the original bassbar, it will be carved out of the table, not glued, and might be smaller and shorter as a modern. This may cause, that it won't work really satisfying with modern high tension strings - it's a so called "baroque violin" in an unaltered condition, built for playing with thin gut strings. For the rest I'm on Jacob's side, finding it very interesting to see such a "rare to find" instrument discovered in the bosnian (?) mountains.
  8. By the photos only I find it hard to decide, if the backseam is out of the center or the button was altered assymetrically (originally very broad and cut only at the left side). The writing on the label looks old, of course, but a piece of parchment instead of the usual paper with irregular edges, glued over old dirt - I cannot believe in it. If somebody would come along telling me, this is a dutch or flemish violin from the Cuypers school, I would trust him....(more than in Panormo)
  9. Thanks for posting the pegbox - there are inside bracings made of beech, of course, the outside is from the usual maple. The label looks like glued upon older stains of dirt, probably not genuine, at least not in this place. Is it parchment?
  10. You posted first a front view of the scroll/pegbox, and it looked as if it was made from beech wood - could you show it again?
  11. Doesn't look french to me, too, but obviously german/bohemian, early 20th century. Other opinions?
  12. Last year I was asked, if I would sell a 2 500 violin for a trade-in violin of 500 and the rest payable monthly for rates of 200 (10 months, what else). I had heard before about this customer, that this was the usual way he was buying, and that he otherwise was a honest guy, and so I agreed. Everything went well, he paid monthly 7 rates, but than suddenly he told me, that his money ran out, and he couldn't pay anymore. As a further agreement he proposed, he would return the violin, I should pay back only the last rate of 200 and keep the violin. I was really perplexed, so I asked him for some days to consider about this proposal. But a few days later he called me again and told me, he had sold the violin to someone else (payment in rates, what else?) and he now could pay as we had agreed in the beginning. And so he did. This summer he bought another violin, I took a trade-in violin, and am getting the payment rates monthly. I'm waiting for the call now.
  13. I shipped some violins by DHL to the russian provinces and all went safe and well. But they were surely not as valuable as Jeffrey's.
  14. I read the name Taliczek, but the lines below his name are really illegible, too - the 2nd word starting "Pr....". Probably not a violin maker, but a dealer or musician?
  15. I cannot find any feature, which would exclude Mittenwald, neither the arching, the ribs nor bodysize (????), but some which exclude Vienna. Typical Mittenwald scroll, arching and varnish. Possibly Möller thought, he could sell it higher as a Thir, but I would be satisfied with a nice Mittenwald violin in a good condition.
  16. It was added after my post, what we can take as a sign, that Tarisio may react to us here (and I'm grateful); but I agree with Jacob about the authenticity (unfortunately, I would like more to see a genuine label in a genuine Reichel).
  17. http://www.maestronet.com/forum/index.php?/topic/327536-is-this-a-j-rocca/page-2
  18. Thanks for your interesting report, but you - sorry - completely missed or misunderstood my point. Strange things always are happening on auctions, and you are surely right with everything regarding your experience or feeling for sound. But it's your personal preference for something, others at other places or at another time might have different preferences. I was aiming at the often heard stereotype "dealers don't care for sound", there are reasons for this.
  19. Dealers (and not only them) might know, that sound is depending on many circumstances like a correct set-up, bridge, soundpost, the room and not at least the player. Many of the "awful sounding" violins probably will sound much better with some small adjustments or repairs. I'm always wondering, how it should be possible to judge the sound in a room full of murmurring, talking, snuffling and scuffling people. And after all - a good sounding violin will buy you a cup of coffee (or tea, cold water, whatever). Sometimes I have the impression, you're thinking that violin dealers are idiots. No reasonable dealer will buy an instrument, which will be unsellable because it sounds awful. They always will buy, what their customers are asking for - and most of the customers are musicians looking for a "good sounding" violin (or should I say, they are believing that's what they are looking for.... ).
  20. Thank you for posting! The pictures may give an answer to all questions regarding the OP violin.
  21. The original Siani viola pictured in the Hamma book was sold at the Bongartz May auction - there were photos in his online catalogue (and in the printed, I suppose), but I forgot to make a download. Did any body else, or bought the catalogue?
  22. Just a few questions: Do the "antique features" like the scratches on the back, the "wear" of the varnish look natural? Does the varnish surface bear any resemblance to classical italian varnishes, even to anything what is old? Is there any "wear or tear" to the edges of the body or scroll indicating a 280 year history? Could there be a place in central Europe known for industrial aging and antiquing of new violins? Is anybody here seriously taking in consideration this could be a Siani or "rare, genuine, antique italian"?
  23. Cheer up Martin, go first, I'm also right behind you , except that I would see it later - possibly a very early JTL.
  24. I've seen such a pin on a very old Ficker and a Schönfelder, both branded and both with a very S-shaped pegbox, which made such a pin reasonable. On other very probable saxon-made the holes for such a pin. Although missing linings, but more on after 1850 saxons. What I was wondering about was the bassbar, too, and the perfectly worked out inside of the table, usually the "cheap" saxons are not well elaborated inside (or it was later improved, but the stains and the "Fliegenschiss" seems to be very old). Also is the yellow-brown-orange varnish similar to the Salzkammergut, but as well found an Hoyer violins - hard to decide. What do you think about the age, more 1800 or later?
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