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Blank face

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Everything posted by Blank face

  1. Sorry, but why don't look the corners dutch? Compare an older post about Cuypers: This corner, F-hole and purfling look very similar (except the pointed out purfling joint), also the varnish. I don't have in my mind, that the discussed violin is by Cuypers (Cuypers is much better), but it seems to be more influenced by this maker than by any italian. Possibly a rustic dutch maker from the early 19th.
  2. I am yawning, too, about this groundhog day, but I'm going to answer your question, Martin: There are lots of specific reasons - at first (i) the incoherence of the description mentioned by Flyboy (and it would be more impressive without the specific aggressive undertone and the somehow childish "tit for tat" behaviour). I would like to know something more about this "brescian wood", too (it must be related to Brazil wood). Second (ii) the use of the two different terms of "Storioni school" and "influenced by Storioni". IMO, if there is a Storioni school at all, it starts about 1800 with Ceruti - and the features like sharp and high edges, and the specific varnish are not visible at this instrument. On the other hand "influenced by St." can mean everything and nothing, especially nothing about the land of origin. It's also possible to say "influenced by Guarneri" or "influenced by italian makers" about every box. Those quoted "experts" are acting not reliable, not really. Last (iii) I cannot see many italian features (of which I know, without thinking that I'm an "expert" at all) on this violin, especially the edgework looks rather flat and narrow, the varnish too pale. It seems more probable, that it's a dutch or east austrian (Salzkammergut) wanna-be-italian.
  3. Blank face

    ID help

    Agree, I like this type of varnish. The cheaper Mittenwald instruments wear an ugly dark, water and glue based varnish. This looks like a copy after Landolfi, I found this type sometimes before. Possibly one of the "Verleger" owned a Landolfi violin and let his workers copy this pattern.
  4. Blank face

    ID help

    Please show some more pictures of the outside, table, back and scroll. An average first half of the 19th Mittenwald trade violin in good or acceptable condition should be valuated more than Euro 500; how much more is depending of the quality of the varnish, the wood and the precision of the handcrafting. Generally the Mittenwald "industry" used the traditional inner mould, they needed more time to produce the instruments as the saxon/bohemian producers and had a better quality. JacobS will surely give some more valuable information later, perhaps a good translation of the very informative german newspaper he added before: http://www.spiegel.de/spiegel/print/d-44437259.html .
  5. Blank face

    ID help

    Don't forget the women, it could be Andrea (in Italy male, but in Germany female), or "wife of Andreas".
  6. Blank face

    ID help

    "Ostler" is mentioned by Lüttgendorff, but prename Anton, born 1896; possibly one of his anchestors, working for a trading company like Baader or Neuner; there were many homeworking makers, mentioned nowhere. "Andera" is an interesting form of Andrea(s), more common is "Andersch", or he did the spelling wrong.
  7. Blank face

    ID help

    Dear JacobS., I didn' hear this anecdote before, but stories like this one are a good reason to read MN. I will tell the anecdote to everbody who's interested in bavarian violins and mysteric inscriptions, if it's allowed. But now I need to know, if there were three "pints" for one violin maker, or maybe three workers, and only one beer for each (the first holding the pencil, the second moving the violin and the third telling what to write); did they write "drei" or "iii", and did they drink everytime some beer, when they managed to fit the lining into the blocks with such a deep mortice as seen above?
  8. Yes, I know history, about Napoleons troops having their headquarter in Torino and the Guadagninis selling french master violins as their own...but I'm wondering, if this french looking Marchettis - and the Marchetti instruments shown by Amati.com have a more italian habit - or Rinaldis are made in Torino copying the french style, including edges, scrolls, or bought in white from Mirecourt (or even from other places) and just finished in Italy. Personally I had some violins before which showed a criss-cross style between Torino and Mirecourt and wondered, could this be italian? I decided, they were french and sold it as french, but if I was mistaken, I lost a pretty penny.
  9. I was referring to this post in the Marengo Rinaldi thread: I can't help, but those violins look very french to my eyes (except the varnish), and the Renistos or Monzinos look much more italian (for Martin). Here are some better Marchettis: http://www.amati.com/articles/995-enrico-marchetti-violin-and-viola.html
  10. Thanks for the replies! If somebody would give me the number of this "chinese bloke", I have some stuff or him.... Some years ago Bongartz sold a very good looking Marchetti (Guadagnini copy) from 1880 or so - but this looks like a cheap Mirecourt or a cheap copy of a cheap Mirecourt. The sound with this setup (old steelstrings, rotten bridge) is immaterial, probably it will sound better with a professionell fitting.
  11. It seems everybody is at the siesta on this forum, so wake up and let's hear some opinions about this: http://www.bongartz-auktionen.de/catalogue/157/index.html Is this a cheap Marchetti workshop product, bought in white from Schönbach or Mirecourt? Especially the scroll looks like, not Dutzend-, more Kilo-Arbeit.
  12. Maybe you are confusing Enrico and Giovanni Battista; typical for the Storioni and early Ceruti scrolls is the very narrow, sometimes non-existing throat. Example for a really "savage" scroll: http://orgs.usd.edu/nmm/Violins/Ceruti4900/Cerutiviolin.html The inside pegcase blackened (sic!)
  13. An example for blackening-after-repair: The scroll is grafted and the lower inside part of the pegbox belongs to the new neck. The blackening is cosmetic and added by the grafter, it doesn't rule out any origin.
  14. The condition is not so much bad, there are only some minor cracks, well repaired, at the table and this button graft in progress. If I can risk a wild guess, I would say, school of (or possibly by) G.B.Ceruti.
  15. I f you need an opinion, here is mine: The first one german, probably circle or influence of August Rau, first half of the 20th century, nicely worked, but very light-weighted. Possibily it will be relisted, the seller gives refund, the winning bidder surely will find out, that he hasn't got a Voirin. The second IMO a Mirecourt bow, influenced by Peccatte, but not really "school of" - the sides of the head are very flat, it's a fast made and cheap product. With all the damages (I agree, that the ferrule isn't original and not fitting) it sold very high. But this seller knows what he is doing and I never found a bargain in his listings, but many german bows listed as french.
  16. ....or Humphrey "here's looking at you, kid" (in the german translation he says "look into my eyes") - but with this low-quality pictures (wilful made so, I suppose) we are not near enough to examine the eyes of the maker. But I can see, through fog and mist, a face not similar to the chinese violins I know,but to the hungarian eloborated antique copies. The style of the fittings (tailpiece and pegs, sometimes strings) may be helpful in this cases - and here they look (east) european. Now the original advertising has disappeared, but if it's advertised as Guadagnini it's a fake, if as a good quality copy of G., it would be ok, and it's value corresponding to a western violin of the same quality.
  17. If the violin was listed on a website from Slowakia (.sk), it seems the most probable to me, to look for the origin of the violin in an east european country. Why do you all look so far, far away? There is not only China, there is also Hungary, R(o)umania, Czechia and Slowakia, all this countries have a not widely known, but nevertheless long lasting tradition of violin making, well trained makers (in the art of artificial aging, too) and they all need money. The pegs, for instance, don't look chinese at all, they look hungarian.
  18. All my lifetime I've sung I can get no..., but now I know better, thanks.
  19. According to some experienced members of this forum, a french violin never has (in the original) a pegbox blackened inside, but this one has (if it wasn't painted black later, for instance after the bushing). It looks as if the purfling is inked or scratched, this would be an evidence for a JTL made violin, late 19th century, the edges are very french.
  20. Which part of Germany? Probably it came from a cheap chinese restaurant, located somewhere in the Hamburg area (because of the big harbor).
  21. Now I understand - after drawing some conclusions: First: When I posted some weeks ago, that the scroll was added by the repairer (without mentioning, which member of the Homolka family), I never had in my mind, that he made the scroll, but that he added some Schönbach scroll, which he bought or took from another violin. Sorry for the incomplete formulation, but there never was such a theory. Second: Comparing the Bubenik scroll with the "mystery scroll", it seems possible or probable to me, that it is original to the violin and is from the early 19th century Strnad school. Third: Flyboy had in his mind, I was comparing the "mystery" with a scroll of F.Homolka (and Jacob, too), but I never did, and so I was unable to understand the quiz. Have I got it right?
  22. Thanks, Jacob, it was an amusing time, waiting to be identified by you!
  23. The left one - french or german? Not the scroll Jacob has posted (or I have to consult an analyst).
  24. Hi Jacob, I laid some hot traces and you got it! I just wanted to add another speculation, and that is all we can do without being experienced in this very special handwriting. But regarding it is all speculation, I'm convinced that it is much too fast to call something a bogus understandig only the half of it. After looking at the scroll of your really nice Bubenik for me the glass is three quarter full now (for being a Strnad school violin, whatever this means). I will bother you only with violins of the correct construction.
  25. You are really obstinate - the only point I made was, there is no evidence, that E.A. Homolka won't have written the '1' without a dot - and why shouldn't Beethovens servants be well educated?
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