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Blank face

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Everything posted by Blank face

  1. Experience with dated examples and comparison. Given it is a Carl Christian Hopf, born in 1791, is it probable that he made the violin before celebrating his 9th birthday?
  2. IMO there isn't any mystery about this violin, if one gets to the point to accept that it's very often not possible to tell more than a rough origin and age of an instrument or a bow - .to say more than this means usually randomly name dropping, and some certificate writers of past and present seem to make a good living from such an illusion. From the examples I gave it's clear that there wasn't much a difference between models used by Hopf, Hoyer or other families of the Vogtland/West Bohemia region. As was told often before, they all were close related, apprenticed each other, worked in the same shops and so on, and there was a lot of division of labour very early. Also many labels or even brands just inform about who carried to and sold the instrument at venues like Nürnberg or other bigger cities. It's also not easy resp. not possible to give a definite date. The OP violin I would rather assume to be made in the first half of the 19th century, not before 1800.
  3. For obvious reasons. I doubt that any German authority wants to get these individuals back soon, neither found guilty nor "innocent untill proven".
  4. As far as aesthetics can be defined, for sure they have to do with education and training. Both of them weren't to get for free at any time, and most less affordable by those makers working for an equally poor group of customers, as it was the case in regions like Saxony, Bohemia, Salzkammergut and comparable places. These were made by poor craftspersons for poor musicians. Comparing them with the aesthetical appearance of, let's say, "school of Milan/Testore" in the late 18th or 19th century "Central Italy/Marchi e Abruzzi", which served a similar group of buyers, one could come to the conclusion that the differences in regard of aesthetics aren't that significant, but the actual prices are.
  5. I can’t see how the violin was scraped stripped or revarnished; just the opposite it does look exactly like I would expect for such a violin. Hoyers can come in all very different shapes, it was a large dynasty, too, and some look just like what is usually ascribed to Hopf. Heres another example from Ries, also pictured in Seidl’s book. https://www.ries-geigenbau.de/historische-streichinstrumente/barockbratschen/bratsche-johann-gottlieb-hoyer-quittenbach-ca1790/
  6. Comparing the shaky way thge Cs are scratched it's obvious that these letters weren't imprinted with a stamp or something alike. Usually the brand has also dots between the letters (compare my link) which are missing here, so it's all very questionable.
  7. Almost all these linked articles are "Yellow Press" which I neither like to read and less to translate, the Spiegel is behind a paywall which I want to subscribe neither. At least the initial lines are suggesting that the case has something to do with a scene of German conspiracy believers emigrating to South America for to escape an alleged German "Merkel/Corona dictature". This appears to be quite probable considering the background, and another reason for me not to dig too deeply in this horrible affair.
  8. Of course Zoebisch ascribes these initials to Carl Christian Hopf, but actual researchers don't seem to be so sure about it now. There are different models featuring the mark, and about the last violin with I had bearing this signature the buyer informed me that Ekkehart Seidl thought that it could be a Hoyer, too. Another reservation is that such handscribed letters can be easily added by any faker at any time later. Your's seems to be related to this model https://www.ries-geigenbau.de/historische-streichinstrumente/barockviolinen/violine-c-c-hopf-klingenthal-ende-18jhd/ while Zoebisch and Seidl are picturing instruments looking a bit different. An inked purfling at a violin of this age and origin doesn't mean much, except that it was sold a bit cheaper than "real" purfled. BTW photos of the scroll would be interesting, too.
  9. The progress of craquelature might be a consequence of UV in the natural light and it will be a matter of time when it will occur at the other parts, too. Your customer should be better advised to buy a different violin if he/she doesn’t like the look, instead of looking for somebody willing to vandalize it.
  10. As I wrote, sorry for those coming here honest and open. But for the judgement of the violin it doesn't make any difference, so you might be prepared what to face.
  11. Within the actual German borders, double purfling was used by the Allemannische Schule in the Black Forest 17th century, also at many Saxony made violins in the early 19th before the start of the cottage industry. Below a shipping document from 1839 of Klingenthal, where are listed (2nd from below) 6 dozen doppelt eingelegte (double purfled)(Violinen). Most known are those made by the Lippold family, but others made them this way, too. And a photo of a Hopf model ca 1850 with no regard to any Maggini model as example.
  12. No shame to admit that one needs a new set of glasses. I can see clearly a divided lower rib, the scroll fluting stopping far away from the "bitter end" and rib joints pinched together in the middle. What I don't see are any Mittenwald features in regards of purfling, varnish or model. The spelling at the label is Klotz BTW, which occurs first at the labels of Joseph Kloz/Klotz junior around 1800, while Sebastian and his contemporarys spelled Kloz. The fond of the print as well as the brownish acid containing paper puts the label in the period of ca. 1900/early 20th century, of a Saxon/Bohemian massprinted origin (same applies to the fiddle).
  13. Factually the majority of violins introduced here as family heirloom, personal property, “belonging to a friend “ etc turned out to be offered for sale in EBay, other auctions or online shops. Sorry for those coming here with honesty, but experience taught us something different. The question about the violin was answered immediately BTW.
  14. To tell more about the instrument (violin? Viola?) we would need to see more, the ribs, joints and endpin region, inside work if possible, or description of corner blocks and linings. Nürnberg makers used often walnut for the linings (as well as others did), but never saw or heard of walnut purfling. Does the purfling look similar at other places? From the close up of the button it seems to be rather another replacement without original varnish. The scroll doesn't look original.
  15. Thanks. The red color is present in the inner bendings of the ribs, too.
  16. If you're talking about the dark color between the ff, it's not dirt but antiquing (moustache). You did right to leave it alone.
  17. I'm wondering if it's the original varnish we are looking at. Maybe it's an effect of the photos only, but there seem to be residues of a reddish varnish at some points of the endgrain.
  18. 2nd movement Romance. https://www.youtube.com/watch?v=n1scluzlPz0
  19. It's done for donations, as seen in the informations below the video. Cynism is surely more cheaply to buy as long as you're warm and save.
  20. Citing the author of Peter and the wolf. What might save us. https://www.instagram.com/tv/CavQo-xF4xp/?utm_source=ig_web_copy_link
  21. To try a bit of a second guess, I'm under the impression that the esteemed Mr. TK1 has a very different approach than most of us would have (and he is welcome to correct me if I'm wrong). The kind of clarity he's trying to avoid, no matter what might be the result, would spoil all the fun of theorizing and speculating. Completely understandable.
  22. It depends if the neck might be pulled down a bit when the violin is strung up or if it stays stable. If the board comes more close to the belly the resulting bridge height might become too low. Just check.
  23. Thanks, I forgot to look up what they are writing. So we have a very few instruments by himself, a serie signed "monopolé" made by others for him and from 1913 onwards the Couesnon production bearing his name (which can bear labels like model´d'apres). What he did as a technical director was probably not much more than to look into the factory rooms occasionally and was being paid for the right to use his name. As often it is a matter of personal experience and comparison to distinguish one kind of instrument from the other.
  24. You didn't listen. Leon Bernardel had a shop (possibly selling just "labelled" Mirecourt stuff), closed it and sold the right to use his name as a brand. That was quite common with all sorts of names and brands, like Mangenot, Derazey etc. If you don't believe, it's your problem, not mine.
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