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Blank face

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Everything posted by Blank face

  1. It was pointed out, that there isn't only China producing cheap stuff, but also R(o)umania, Hungary, Czech Republic, and it can look very different to each other.
  2. PLEASE!!! Stop this discussion, before it becomes the usual!
  3. In addition, the most (not all) members of the Kretzschmann family used, like many other saxon makers, a three-letter stamp, in this case it would be *I*A*K*. It is usually found in the middle of the inside back (and it can be faked like everything, too). A friend of mine owns a small but nicely made viola with this stamp, it is made in a kind of highly arched Hopf-style, with a very fine grained table, and very different from this violin, which looks more related to the style of the Meinel family, more from the middle than from the early 19th century.
  4. I think, we agree: I never bought a violin for decoration, and jigsaw puzzling is a one of my favourite games, too.
  5. OUUUCH!! I remember some irreplacable fine violins I've seen in a similar condition, it still hurts. And it reminds me of violins forgotten in train overhead bagage bins or restaurant wardrobes - artists seem to be very doltish sometimes. David Garrett smashed his Guadagnini on a stage stairway. Is the dead body for sale (decoration purpose)?
  6. $ 10 K won't buy any italian Cello older than 50 years (in a good condition). And 100 years ago, even $ 500 might be an acceptable sum for a nice MarkneukirchenSchönbach cello (like this one most probably is), but it would have been a most unlikely bargain for a Rocca (especially in a professionel shop).
  7. And it's almost not necessary to be able to walk over the water - the Cello should swim (as long as the glue will stand it).
  8. Also you forgot to mention the lack of the original varnish, probably washed down to the bare wood and completely re-varnished. In this condition it seems nearly impossibly to decide, if the scroll (mittenwaldish IMO) is original to the rest. It could be anything from the south-german or austrian (including Prague or Bratislava) region, even France cannot be excluded. The same about the age.
  9. Here is a Meisel family violin ca. 1800, compare the undisturbed form of the F-holes and the red-brown oil varnish: In opposite to my postings above I decided to put on a modern set-up, because the bassbar was renewed (very tall and heavy) and it had a modern ebony fingerboard - and I had no good quality gut strings in my box.
  10. I don't have a need for another disagreement, and maybe we're talking about slightly different formings. A through-neck-construction has surely a stronger neck-"block" connection, because it isn't glued; the problem is, that most of the saxon violins have a very small "block"-part, it's usually only 1,5 cm wide at the table, what is too less to stand the attraction of modern strings. Subsequently the table will be deformed in this area and the neck moves up, or the wood will break - that is my experience, possibly your's are different. Sometimes, but only sometimes, the "block"-part is more wide (3 cm), in this case you are completely right. The same with the bassbar. Usually those original carved-in bassbars are short and low, in the baroque tradition, and they won't stand the pressure, the table is squeezed down and the sound will get dumb. The other problem is, that a carved bassbar won't prevent breaking along the grain, if the pressure is too big. But if the carved bar is strong, high and heavy, it can be ok and it might take the vibrations better than a glued-in bassbar. In the consequence we agree, that a historic violin should be treated with respect for the circumstances of the time, when it was built, and it shouldn't be pressed into a form, which is popular today.
  11. Congratulations, if you are able to sell a saxon violin from around 1800 for $ 5-50K! I would be a millionaire, if I'd managed to sell one of my Meisels, Meinels, Voigts, Fickers .... for such a fortune. A realistic retail price for such a violin in a "mint" condition might be 2-3 000 Euro, what is less than $ 4 K, usually they sell for much less, something between Euro 1 and 2 K. And here the varnish of the table seems to be stripped, not to mention the cracks. But possibly the US buyers are able to pay more? For sentimental or historic reasons the neck shouldn't be changed, this was done in the last century to make such violins suitable for "modern" playing (the bassbar would have to be changed, too), but today there is a demand for violins in original classical or baroque construction and sound. But be aware, that the setup has to be adequate, gut strings and baroque/classical bridge, sondpost and tailpiece. With modern setup and high tension strings it may sound louder, but dumb and dull. And the through-neck construction is not designed to stand the power of modern strings, it will start to move down after a short time, in the worst case the table will get cracks at the block.
  12. Thank you very much for sharing those pictures! My thought about the "shorter logs" isn't specified about the JTL workshop; I've seen some other bows from different workshops, german or french, which were well made but a bit shorter than the standard of the late 19th or 20th century, and the explanation I've heard from some bow experts (not VIPs), was, that there were logs in the workshops, which were too short, possibly caused by an knothole, but too good for wasting them - I cannot say, if this is correct, but it seems logical. Another explanation would be, this bows were made for small, short-arm persons, but it doesn't sound really convincing. The triangular head shape seems to be a (late) JTL standard for the Vuillaume model, also the "Maline" style frog, the more I look at the pictures, the more similar they appear, and you must be very experienced, to keep them apart - that's not my business, but I do appreciate to learn about. That is in fact, what happens very often, Tarisio sells in the current auction many frogs without stick. If a gifted person makes stick and frog fitting, it can be very difficult, to recognise the composition. But there are people like Raffin, who should be able to do it.
  13. The narrow chamfers would indeed more fit to Ouchard as to Martin, also Martin's heads seem to me more gently rounded and in a way more heavy as this. But I wonder, how old this bow may be? If it is from the 1910s - 20s, it can't be a Martin (died 1910). The shortness may have it's cause in the fact, that it is a JTL workshop bow and they used fernambuco logs, which were too short for the more expensive bows; also the qualitiy (colour and density) of the wood isn't very high. The adjuster doesn't really fit to Martin nor Ouchard, as I know; not only the ebony, also the last small metal ring at the stick is very slim. Perhaps the parts are made by different hands? I've never seen an E. Miquel, are there pictures available? Edit: Now I've found a Miquel at Viaduct, the head is more, but the frog less similar.
  14. Usually it's an evidence for a later added frog, if it touches the leather or the winding - but if there is no gap between frog and stick, the leather could be slipped out of place or was glued on by an amateur. The chamfers of the head are a bit narrow, that's what looks very german, but the shape would fit (in the main) to the JTL Martin head here: MARTIN Jean Joseph I wish you good luck, that it's a real Martin!
  15. I can see something frog-and-adjuster-are-not-original-to-the-stick-ish about it: The very nice french frog cuts the leather, that's strange. On the last picture it looks, as if there is a big gap between frog and stick, or am I mistaken? The head looks more german IMOP.
  16. No, it isn't. As always, one of the most valuable parts of this board are your anecdotes, Jacob, because they are enlightening the real world of violins – thank you very much for this! But you’re missing (or hiding) the punch of this story, which is in my understanding, that we are reading the perfect Ebay seller’s tale: An inheritance, hardly contested, from an old, life-long collector (owning many reference books, too?), including instruments bearing rare names – an estimator, who wants the inheritors to smash them into a skip (why? Because he is planning to take them out by night for his own gain), an austrian notary (schlampert), who doesn’t care about an 100-Euro fee without paying the income taxes – this auctions will end up with many 10 K results.
  17. Typical czech violin by Prokop, compare: http://www.ebay.co.uk/itm/OLD-Prokop-VIOLIN-VINTAGE-ANTIQUE-VIOLON-VIOLINO-/310333549901 Nice student violins, a bit mucked by the ridiculous brand and pins.
  18. Martin, you are a very intelligent person - I think, you are kidding now. If the seller cancels the bid, we see "cancelled" and not "retracted". This means clearly, the bidder and not the seller acted here. It seems, our discussion has effects on this auction, or the bidders had some counseling.
  19. I won't speculate, if this 2 or 3 bidders are really willing to pay - we've seen before, that some violins sell very high and are, strange to say, relisted some weeks later. OTOH, some people use the famous Jedi mind tricks (for the simple minded, you know, remember Machold and the bankers). In the last post I forgot to mention Austria and Britain for the use of an internal mould, and there are surely many more. But actually I'm more interested in finding places, where they made good (and valuable) violins without using such a mould - Jacob pointed out some before, Füssen, Salzkammergut. Fritz Baumgartner mentioned in his Book about Milano a Testore, which had set the ribs directly on the back, but this author is not very reliable.
  20. This is clearly german, ca, 1900. The adjuster has the typical concave "channel" at the stick's end, the head is slim (from the under siede and backside), the chamfers narrow, the sides very flat. It will be very hard, to find a particular maker, because (as pointed out in some older threads) there were some hundreds of bow making persons in Markneukirchen at this time. Very generally spoken, Knopf school again. I like this style, too. The head needs an accurate restoration. What's the wheight now(you can add 8-10 gr. for hair and winding)?
  21. From my knowledge and experience, I'm going to answer in general: Internal moulds were used in many places, in south Germany (Füssen, Mittenwald, Bavaria), in Prague, Bratislava, Wölfelsdorf, the Netherlands, in France, probably in North America,,,,but not in Saxony and Bohemia before around1850. The use of an internal mould doesn't say very much about origin or quality, cheap cottage violins from Mittenwald show this feature, too (also back pins, big scrolls and other "italian" features). Usually not in the original state, but it is possible, that the rib joint came apart and was reglued assymetrically - this would be a "pseudo-overhang". And now special This overhang is only visible at the lower rib joint of the bass C, the other 3 joints, as far as visible, seem to be very sharp without any overhang, therefore the ribs were built without an internal mould, and the other joint was probably reglued. It is suspicious, that the seller usually, as Jacob pointed out, was showing high quality pictures from every side of his instruments, including the ribs, but not here - why not?
  22. Dear Jacob, on our big white sheet of agreement are some small, but the more noticable stains of disagreement. If the usual means, mass produced instruments from Saxony and Bohemia, vulgo Dutzen(d) or Sh...önbach, I remember a dispute some months ago. It's easy, with some experience, to identify the really usual rubbish, it's more difficult with the unusual, which comes from the same places, but it starts to get difficult with the smaller, not widely known schools. We discussed Wölfelsdorff in Silesia (south of Bohemia), you told us something about Austrian violins, and there are others, dutch, scottish or the production of the american continent, usually not known in Europe, and surely more. Very often this violins are offered as italian, and I am sure, it is just this, what is going on here.
  23. BTW, I find it interesting to discuss the question, how we can define the sex of a scroll. Do we search in the blood for some testosteron, analyze the DNA, or do we use some old fashioned, 19th century gender stereotypes?
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