Jump to content
Maestronet Forums

Blank face

Members
  • Posts

    6189
  • Joined

  • Last visited

Everything posted by Blank face

  1. Of course I won't mind, we will share a computer, too, and will have a lot of fun commenting online violin sales; afterwards possibily enjoy the Pilsener beer of Tyrol... But I was under the impression, that Jacob was excluded of the competition? (I didn't ask for myself, if I was allowed, maybe it was more a quiz for oversea-members?)
  2. What about the prize, I feel like I've won it ??!
  3. Now I'm surprised, that it's your violin visible on the linked website. I hope, it hasn't incommode you. But it demonstrates, that this violins are rare. I once had a very similar looking Beck with it's very dark varnish reminding of Vienna. In addition, the arching of this violins usually are a bit square-edged and high, possibly they worked later in the 19th century after the more "fashionable" flat archings. There were, as described on the website, much more makers (24 known) in this area, and surely they made cheaper "trade violins", when the business became harder, caused by the saxon/bohemian competitors. This one was identified by a "local conoisseur" (not a regular expert) for me as a basic, but typical Wölfelsdorf: I can't guarrantee, that he was right, but it seems to be probable.
  4. I'm not sure, if I understood this the right way: You're seriously claiming that a decent student violin including quality strings (not chinese $ 1), fine-tuning tailpiece, well worked bridge, saddles, soundpost, cleaned and fixed shouldn't be over $ 150? If your work is free for a welfare project, it might be possible, but to expect this price from a luthier seems adventurous. Edit: Clearly spoken, my opinion and experience is, that even with a luthier working for free are $ 150 a minimum for an absolutely basic violin, if you get it for absolutely nothing. The problem is, what you can get for nothing or nearly nothing is the stuff, what is usually called "rubbish" here for the reasons Jacob describes below - sometimes it might be more easy to make a new violin than to repair it to an acceptable condition. Or you have another opinion as me, what is a "very good student violin".
  5. For those who are interested in silesian violins http://www.firma-stark.de/woelfelsdorf.de/05.0802.htm
  6. In fact I thought of the Wölfelsdorf/Glatz region, but not of Böck/Beck, which family worked much better, but of a later workshop in this country. There was a violin production untill the mid of the 19th, using similar patterns and scrolls, but these violins are not so often "cropping up", probably not in Scotland. Now we can count this out, can we?
  7. I have a vague guess, too (hadn't we a private conversation about those origin a longer while back?), but it makes me wonder, when you say "crops up all the time" in what kind of auction? And "Klotz", not "Kloz" school? Are those the auctions, where you need a handbag? Or a hat? And what's the prize? Edit: May be the prize a journey to Tyrol? (2 persons, bed & breakfast)
  8. I agree, that the sheer number of old saxon makers, the big workshops (as you mentioned) with many different collaborators and the long period of similar working manner makes it useless to ascribe an individual instrument to an individual person (except it has a genuin brand or label, although even in this case it might be only the sign of a workshop). The only use is, that an instrument bearing a reknown name shall sell higher as the same instrument without a name (and not only online)! OTH, I find it very interesting (as a kind of sport) to investigate, in which style an old saxon violin was made, and there are significant differences between, for instance, Hopf, Hoyer, Ficker, Hamm, Meinel or Meisel style, albeit it can not be a proof for the person, who built a particular instrument.
  9. I posted the label of this violin before in the "Hamm" thread. It reads Johann Friedrich Meinel, no year. Does it look similar (of course Jacob will tell us, we can't be sure)?
  10. Here we have the proof, that EBay can give you a pleasant surprise! (rarely, but sometimes)
  11. Hi Jacob, you beat me for some seconds!
  12. Wow, this is much better as on the nasty EBay pictures! The varnish under the "over-coating" seems to be the original, and everything in a better condition as I expected. The repairs could be done better, the fingerboard, saddle and so on, but I have to revise a lot of what I thought before. How did the seller manage to produce ugly pictures of a nice violin?
  13. It's ok, Jeffrey, don't take it personally, we understood, that you wanted, in my humble opinion, to express your own thoughts indirectly, pointing at someone we all knew whom. A bit too sophisticated, but we had a laugh.
  14. C'mon, cheer up, let it go, it's what happens on a discussion board!
  15. You're thinking, the only two places in question are Klingenthal and Saxony? Or did I miss something?
  16. This question can only answer the winning bidder him/herself: Did they get, what they wanted to get? Whoelse should tell? My first thought was, here might be somebody speculating on an italian instrument, but deans' opinion sounds also convincing. It's always worth, what a buyer wants to pay.
  17. Do you talk about the very sharp rib joints, partially leading to the end of the corner (cornerblockology method 3)?
  18. I tried to discuss it before, here: http://www.maestronet.com/forum/index.php?/topic/329061-tyrolean-violin-and-viola-at-tarisio/ mainly under the aspect of the controversial "tyrolean" attribution, but nobody seems to be interested. Tyrol may sometimes be located in Florence or Rome, not only in Bohemia. Did you notice the soundpost crack in the back?
  19. Dear Jacob, I was under the impression, that the wear of the typograph looks more fitting to the "Tapetendruck"(lithographic) than to "Buchdruck", but with a big zooming it looks, as if you are right and the letters are pressed deeply into the paper. But here is another label from a Meinel at the "right strad-ish place" from an unopened violin: Ofcourse, it was a bit more in the middle of the back than "the usual".
  20. I would replace the word "foolish" with something like "hazardous" or "tricky". It's more foolish to buy "a cheap factory violin" wherever, expecting to get something for nothing, like Jeffrey once called it. I'm not talking about you, Jacob, or mmp, who probably paid a good price expecting a violin in a good working order (as described in the listing) and is right to be disappointed, but about the many others, wishing to purchase a "ready to play " violin for the price of a budget dinner. It won't work nowhere! If it's really cheap, meaning nearly nothing, you're going to pay the violin maker to make it playable, what might be more expensive as to buy one of his violins, or this work is done before and you have to pay for it within the purchase. The minimum account will always be the equivalent of the wage for more than 1 day handcrafting by an artisan (plus the costs for strings, blank bridge, pegs and so on), don't expect something cheaper.
  21. In addition to Jacobs post, some saxon brands: Übel (interesting banner form, used by Hoier, too) Vogt Ficker (label probably a replica, with "chrismas trees") Schönfelder Hamm
  22. Don't want to kill the joke, but it is pronounced with "ch" like in J.S.Bach. And that's my first guess, too: 1.) -bach The others: 2.) Schön- 3.) MNK I wouldn't be surprised, if this violin will be relisted again after short or long - the same seller listed it under a different name before, as a buy-it-now for something between Euro 2 and 3 k, when my memory is right.
  23. I don't want to become too much pc, but I don't like the word (for I'm working with down syndrom people, and they have more sense for music than many of the sophisticated blokes).
  24. I would agree, it's not the "usual" - an interesting object for a restorer, and in a way similar to Ficker (s. my post #11, circle of....) I won't neither say, it's likely, nor it's unlikely if the violin is made by any member of the Ficker family - it's nearly impossible to decide in this condition. Varnish in original condition can tell us a lot about age and origin, also the edgework, which is probably sanded down while stripping the varnish. Ficker violins of this time usually show a golden-greenish ground, visible at Stonehedge's violin from the other post - here everything is gone. If the scroll is original, we can decide by varnish, too, and style - both hard to see now. If the varnish has a big influence on the sound is a highly controversial question, but if it is very thick applied (like here) it surely won't improve the tone. It isn't a matter of cosmetic only. Furthermore I would be afraid, if the cracks are completely closed and cleated, not to mention bridge and soundpost. The thick wedge under the fingerboard should be removed and the neck angle and projecton adjusted. And so on and on - you see, there is a lot of work to do (or money to spend) before we can talk about sound.
×
×
  • Create New...