Jump to content
Maestronet Forums

Blank face

  • Posts

  • Joined

  • Last visited

Everything posted by Blank face

  1. Maybe you know that it's called "Uhu" in German? A bit similar like little kids are calling a dog "Wauwau". Dark red-brown on yellowish ground and sometimes a different brand, too. There's also ivory at nut and saddle. Mind the one piece lower rib.
  2. For sure not. I would assume that bottom, ribs and scroll could be from a Mittenwald origin, most probably more early 19th century than earlier (paper or parchment stripes were attached to the bottom seam almost everywhere in the region), but by the actual photos it's hard to tell if the belly belongs at all or if if was just mostly stripped off from it's original varnish. Also the photos don't give much clue if there's a bottom post crack as Strad O'assumed or just a deep scratch.
  3. Yup, and people prove a lot of fantasy just to avoid a very common Action.
  4. This sounds like a broad way to disaster. Beside that you need a lot of skill ( or luck) to get the crack in register with this method the glue might have geled before all towers are in place. A tiny drop might glue your towers to the belly, and there could be more accidents possible when I would think a bit longer about it.
  5. Don't want to disapoint you, but that looks like ordinary and very typical Markneukirchen/Schönbach work from th early 20th century
  6. The rib joints exclude a an outside mould and a Chinese origin, the scroll looks German/Markneukirchen. It doesn't look altered to me, but it could have been sold and stored in the white for a certain period and varnished later. There are many around this way.
  7. I saw such a hollowed button only once before at a 19th century Saxon violin (rather crude) and wondered if it was meant to put the thumb there when playing in high positions, maybe for a person with extraordinary long fingers. But seriously I can't think of any reasonable purpose. I could imagine that your violin also started life in Markneukirchen when looking at the rib joints and the scroll (not what I would call really fluted to the bitter end).
  8. You should take into consideration that it might work well for you, but not for anybody else. That’s why bows and instruments aren’t valued by opinions by excited owners but by origin and condition only. I guess that many would valuate this bow as somewhere between nothing and „just worth a rehair“, so that’s what you can save.
  9. I can see what you mean, though it's hard to spot. Maybe the ferrule was split up because it was stuck backwards onto the frog since a long while.
  10. Maybe it looks this way in the 2nd photo because the soldering is damaged. In the first photo both edges look quite straight/squarish.
  11. So the liner of the pearl slide is real silver, too? From the photo it's not clearly to decide, but often it is nickel even if the rest is silver mounted, probably because nickel is more resistant to wear and corrosion.
  12. That's interesting. The OP bow looks older, especially with the short and rectangular ferrule, so this confirms that the small heel was most probably added later. At your's the small silver plate has a much better fit, too.
  13. This looks to me like a Knopf/Bausch school bow from around 1900 with a dealer's brand. The nickel liner wrapped around the pearl slide is quite common, also that it goes all the way to the rear (usually at trade bows), the small heel plate pinned on the slide is more unusual. Maybe this was done later, such slides are usually only pearl, and the area around the pin there looks somehow battered. The head looks very neatly done, but in the actual repaired state it appears pointless to speculate who might have made it.
  14. Shapes and features of a Strad it has not in my eyes, nor of anything else. These weren't made as "copies" of particular makers. The period I would assume slightly earlier, maybe 1870/80s. Has it a throughneck or is the neck set into a mortice?
  15. The bended sides can be used as a cast for rib repairs.
  16. Fact is that it simply doesn't matter if a built on the back violin (and there are of course many exceptional fine) has no blocks, fake blocks of thin plates or somebody bothered to install "proper" ones. There are other features being much more important. The linked article shows an interesting view into a Markneukirchen shop full of the often discussed Thau machines. Also important that it descibes that there were still some (more or less) skilled and trained craftpersons necessary to finish and assemble the milled parts, just in opposite to the claims of the notorious Mr. Stratton of Leipzig and his naive believers. Ther rest is the usual misinterpretation of Schönbach vs Markneukirchen (in fact most of the roughly carved Schönbach boxes were delievered to the Markneukirchen industry), not to mention the dismissive comments on 16th and 17th century alleged Germanic violin construction methods. As far as I'm informed all violin making is using methods developed basically in the 16th century.
  17. I'm sure that it looked better with the multicolor finish.
  18. "in Vogtlande", typical writing for the period.
  19. The label looks like "Pfretzschner von (Mark?) Neukirchen bei Adorf im Vogtland" or something very similar. Regarding the violin I agree with Jacob, roughly mid or 3rd quarter of the 19th century better cottage industry work.
  20. Either one of the many unknown relatives trying to make a profit from the family reputation as a dealer, or just a made up trade name.
  21. You shouldn't put any weight to a label anyway, but in general you're right. A Stradivari label from Mittenwald would look like this below, the seal is the same like at Neuner & Hornsteiner labels, except the letters. Also Ludwig Neuner of Berlin used a similar. Interestingly it was copied with some small alterations by the Dölling firm, but I think the differences are obvious, also the fond of the lettering.
  22. Good sunday afternoon, Jacob! I guess you were thinking of labels like these.
  23. There were some 18th century printed labels of Amati and Stainer, but I guess that's not what you are talking about. I found at some occasion some very odd labels in !9th century Mittenwalds, one even bearing the name of a medieval pope as maker, but if they are bearing the name of Strad, Guarneri or Stainer they are looking different from the Tapetendruck and are featuring of the sign of the Verleger firm.
  24. Both Georg Tieffenbrunner father and son were (though also apprenticed as violin makers) Zithermacher and dealers in violins made by the Mittenwald homeworkers, similar to Neuner and Hornsteiner and other firms; they had a decorated label and surely never scratched there monogram in an awkward way into the ribs. At a violin of this age one can usually find several layers of polish, shellac or other overcoatings, so some graffiti scratched into it by an owner might often appear to be underneath the varnish, though you might not have noticed this before.
  25. Having seen this now more detailled and with internal work, too, I'm rather supposing that it's a relative newly made instrument by an amateur or autodidact, wanting to make a big baroque viola. The purfling work looks quite identical at bottom and belly, maybe he ran out of purfling at the top, liked this more or what ever reason one might speculate about. There's also no sign of a former different varnish elsewhere.
  • Create New...