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Blank face

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Everything posted by Blank face

  1. I always thought, that the days in Scotland have only 4 hours, but the nights 20, now I've been taught... There was wood ex- and import all over the (known) world since the times of the old Greeks and Romans, probably much earlier. IMO we are allowed to say, a particular region/workshop/maker worked usually with a particular looking wood, they treated the surfaces in a way, which makes it recognizable - but always with the possibility of confusion. A scottish maker could have used a tropical wood, which he had found somewhere in an an attic, church or wherever, another maker might have borrowed some wood from his neighbor, and so on. And thanks for the great post of Lusitano - it shows once more, that the more we know about the small things, we learn to know, that we really don't know (Socrates).
  2. But only maybe... Also the wax seal isn't necessary the makers's one, it could be the sign of an owner or dealer (if the violin was once opened or it was custom-made). About the F-holes: They look very strange to my eyes, too. Possibly they were altered, the edges look very sharp. There've been many ideas to improve the tone, thinning the plates, altering F-holes and more, maybe somebody tried this here.
  3. This video is another argument against the use of rehair jigs (or pliers and pincers) instead of hands....
  4. I would expect this violin to be built around 1900 and being heavy polished or over-coated with this shining finish - it makes violins look "chinese", but neither the scroll nor the edges look chinese to me. Martin saw an east german or czech origin, I would agree, but about 80-90 years older as he suspected. The seal "AM" could mean many makers, Amand Meisel, August Meinel (born in MNK, worked in Basel) and some more. And I am really sorry, but the phrase "sounds better than a (..put in a reknown maker's name), I must know it" doesn't tell you anything about origin, value or if it is a master or serial violin, we discussed it many times before.
  5. Agree, but there's nothing wrong with it. (We talked in another thread about the "Robin Hood" theme, remember?) Agree ditto - it's filibuster.
  6. I could care less about the correct grammar, if it sounds so cool and genuine. Tell me more about it, I should be so lucky! (Thanks for the link!)
  7. I remember, that there is an EBay policy rule, which says, you are not allowed to sell an item as something, you are not sure of... You are implying, that P_H doesn't know, if his violins are that, as which he is describing them in "purple prose", but it doesn't matter, 'cause he is private. That's not a compliment , but if somebody has sold more than1 300 violins, can we call him "private seller" furthermore? But I was aiming at your low understanding of EBay standards, even a really private seller should take care, if he's on the right side with his descriptions.
  8. Errrhmmm....are you supposing, that "EBay standards" are fantasy or fairy tale or " I wish, it would be so, and therefore it is"? That would be insulting for others, who don't act this way. Never mind the OP violin, or if a particular seller is bashed more than others, but even an EBay standard should be a minimum of reliability.
  9. I would not be surprised, if the violin was 100 years younger (or more) as the label indicates. Or the usual "strip, compose and revarnish" work from Hungary. No proof, but the stained varnish, the corrugated table surface, the exaggerated bushing, the brute button.....very strange.
  10. With the same right one could say: "The sound is completely irrelevant, I'm not going to use this decorated artefacts as a common cupboard or cigarette box." Style and period-mixing is very typical for the 2nd half of the 19th century - IMO, the value is more to find in the use as an eyecatcher (and an example for the bad taste of the 19th ct.), it should be framed.
  11. It's not of rosewood nor mauritius ebony, but from the more cheap greyish ebony-like african wood (I don't know the name), which was widely used for budget fittings. Here is the underside: it looks, as if the wire was added to an regular tailpiece. But OTOH, just by coincidence, I found this in an EBay listing: from Austria, the violin seems to be a late 19th bohemian fiddle. Possibly this kind of "wire-tailgut" was produced somewhere in the end of the 19th century as an alternative to the usual, maybe for very old-fashioned customers?
  12. This is from my box of curiosities (more 19th/20th century, I suppose) Ooops, over all the posts reffering to different topics I forgot the viola. It's fine blackbrown late 18th/early 19th varnish. But by only a look at the table, who can tell, what this might be (and if the back is possibly heavily damaged/unoriginal/whatever). From the proportions it looks more like a tall violin than a real viola. Buying this would be buying a pig in a poke.
  13. I'm glad, that you've noticed my identy as "Black, Blanc, Beurre". My only thoughts about the violin (if you're talking about the last bogus "Stadelmann"): Nicely striped by stripping the varnish. Maybe the label and the scroll are of the same origin.
  14. Perhaps we should distinguish between industrial made "copies" of J.B. Vuillaume (including a mass produced label) and master built german violins in the style of Vuillaume. Ludwig Neuner (1840-1897), born in Mittenwald and owner of the Neuner & Hornsteiner firm, was trained in the Vuillaume shop and worked in Berlin during the late 19th century. He had a great influence on the 20th century "Berlin school", which included makers like Dötsch, Möckel brothers, Strobl or Himmer (and many more).
  15. Just what I meant with "fighting" - music starts where fighting with the instrument (or the technique) ends. But perhaps it is vice versa the ambitious instrument, which stands in the way. "Wow! I've got a strad, I must sound divine now", this thought might be choking to a young artist.
  16. Thank you for posting this, now I got rid of any desire to play a Strad - if it's a wild animal, I'm afraid that it would bite me And I feel the more admiration for the tamers. Do you mean the expression of her face, like fighting and struggling with the animal? And where is the Schubert clip gone? One of my favourite songs, too, and it has the closest reference to the topic (Vienna)?
  17. I remember that you mentioned the wax seal in a pegbox thread, and that it was removed without asking you. This "over-polishing" happens everywhere, not only in America, but as a result the instrument can look very strange, if you are used to the wear and tear of old instruments. And it's interesting, that the viennese varnish becomes the more a red appearance, the more it is polished. IMO the 18th century violins from Vienna are usually much undervalued in comparision to other provanences, considering their qualities (workmanship and tone), the reason may be found in the conventions of the market, such as arching, colour of the varnish(!) and sometimes the bodylength of more than 360 mm and the above-mentioned high ribs. So, if you have paid "over the going rate", you did nothing wrong in my eyes. As a further note, I was raised in an environment, where the directness of speech was much appreciated, sometimes I forget, that this behaviour (speaking out thoughts without compromising) can sound harsh to un-accustomed ears. When I wrote about an online research for "baroque setting", it might be possible, that someone will find MeyerFittings for custom made tailpieces. Of course are the commercial so-called baroque set-ups somehow "Disney baroque", but I agree with Jacob, that for a modernized violin an exact copy of an 18th century tailpiece (and pegs) is useless. so BassClef should look for some similar looking modern or "vintage" things. And @Roger H., the bidding won't end that quick, have patience!
  18. Probably the point with the crickets is it - it might be a question of "culture". I'm far away of condemning someone. who is doing things different. Probably I was educated and trained in a "traditional european" environment, where the use of complicated tools and machines is unpopular, and that might be the reason, why I am acquainted with people, which think similar. I'm reading this thread, because I'm curious to learn, how others are working and thinking, not because I want to degrate anything. Maybe I made my point in a way too acrimonious, but only with the intention, to make it understandable. After all it's the most important thing, if you are satisfied with your way of working, and I agree with nicely made tools being a great help in everything.
  19. I posted before (#197) that the few viennese violins of this period which I've seen "live" had an interesting mlticoloured varnish, more dark brown in a dimmed, but in a way redish in the bright light. It's visible in this Orpheon photos: http://www.orpheon.org/oldsite/seiten/Instruments/violine/vl-stadlmann.htm where the colour is red-brown in the first two, but more black-brown in the other pictures. Maybe someone beside me have noticed, that we are running in the second-placed most replied thread now, and it has several different discussion topics side by side, and that's what makes it very interesting. One reason is, IMO, the absence of heavy personal attacks, which poisoned so many former threads. Especially BassClef shows a lot of patience and a good sense of humour, congratulations! Sometimes even an adjective like "idiotic", at the right point, may cause an interesting discussion. In this way, it was also idiotic from me, to ask for a certification for your, Glenn, violin - my intention was, that I was wondering about the varnish and the clean inside wood. Also the pattern wasn't familiar to me with Leidolff violins, now I've got some more informations about it. I was only asking, if this points were discussed somewhere before, not intending to insult your highly interesting violin.
  20. There is a lot of modern copies of this tailpieces and pegs available, in Ebay or other internet shops, only google for "baroque tailpiece" or "baroque setup": cheap versions from China or India and expensive custom made pieces.
  21. Thanks for the good wishes - I didn't earn anything yet with this business, but let's see what the future will bring... But seriously, you asked for the varnish, and I told my first impressions - and never said, that it is not genuine at all and made the reservation being wrong. It is not unusual, that the varnish of the dark viennese violins was altered during 200 or 260 years: http://www.maestronet.com/forum/index.php?/topic/327977-seb-dalinger/?hl=dalinger Your pictures looked as if (by clicking and zooming) the varnish is thick, fresh and stained at the back (the reddish colour), and it could be revarnished, especially because there is not much wear visble - just a few thoughts, not an appraisal. Very high ribs aren't untypical for viennese violins, and the pattern of Glenn's violin isn't untypical for a Leidolff, as I learned meanwhile.
  22. Hi Glenn! Maybe I'm completely mistaken, but your violin looks revarnished (the red colour very "stained"), it looks much different from the usual Leidolff patterns (the corners, C-bouts and F-holes), the date 1755 is hard to believe and the label could be an original one by Leidolff (difficult to decide by the small pic), but looks, as if it was freshly glued in not long ago, maybe after cleaning the inside, but possibly as a "switch-over". Has it a reliable certification?
  23. Within a google research for Phillipus Wurm I found this note: "In his Will of February 17, 1795, Johannes Radeck left 50 violin tables, and other parts, to each of his former luthier friends and colleagues, Philipp Jakob Wurm (1729-1803), Jakob Fux (1753-1819) and Franz Geissenhoff (1753-1821), (see Viennese Stringed Instrument Makers, 1700-1800: Richard Maunder, Journal of the Galpin Society Oxford, Vol.52, April 1999). It is probable that one of these men completed this instrument after Radeck’s death, using the parts, including the original printed labels, inherited from Radeck. Then, it would appear, he altered the date on the label according to the date of completion of the instrument and, perhaps, to distinguish Radeck’s work from his own." http://www.netinstruments.com/violins/violin/18th-century-austrian-violin-johannes-radeck/ 50 violin tables probably used by the other mentioned makers are a lot and don't make things easier - and surely there were some other heritages. Everybody who is bored now, should not wonder why he didn't learn in some years of reading MN.
  24. I have a small collection of old parchment and printed papers, which were used as repair stripes and I'm suspecting, that some of the repairers (or makers) weren't able to read the inscriptions and used it as an otherwise useless stuff. Maybe we will find someday a part of the Magna Charta glued under a table crack? For the quiz, the violin reminded me more of Pressburg, especially the scroll and F's J.G.Leeb ca. 1790 http://www.ries-geigenbau.de/hist_v2.html# but I was very afraid, that I would win the price. It might be probable, that all this named makers (Stadlmann, Wurm, Leeb) once shared the same workshop bench and you need a very subtle look to distinguish them - congratulation to the winner! And at last, I once received a violin similar packed, it survived with only the scroll separated from the neck, but all was fixed with adhesive tape, so no part was lost.
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