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tradfiddle

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About tradfiddle

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  • Gender
    Male
  • Location
    London, UK
  • Interests
    British Violins, Violin History, Bow Making

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  1. I'm afraid a number of us probably circled this one - I know I did as soon as the catalogue came out - so it may well go over estimate. My experience with making ironwood bows (in its varieties), or with old French ones, has been uneven. Sometimes outstanding results, other times disappointing. I will definitely be trying this one out!
  2. Wonderful and fascinating programme with interviews I have never seen before. The sequence in Mirecourt is beautiful - I have never bent a bow over a bowl full of charcoal, but its an idea... Thanks for posting!
  3. There are many grafts that are just the volute alone, or sometimes the volute and the back of the peg box. These can be done quite elegantly and almost invisibly. If you think about it, after a few peg re-bushings and some cracks it can become more desirable to have functioning pegbox walls - so you just preserve the volute.
  4. It depends which one you mean. The Ebay case is missing key bits, is relatively common, and is worth very little. If the Georgian case on the stand has not been attached to the stand, and it has its original interior components, it could be worth around £800-1200.
  5. The one on Ebay is not a Hill case, but a fairly standard mid to late 19th century British case. I was picking these up a decade or two ago at £100 a piece (or less). I have several well preserved ones of this type (including a late 19th c. Hill version of higher spec). The price asked is very, very steep even by today's prices, esp. given the internal condition and missing latches. It would be expensive at $200! The one on live auctioneers is a Georgian British (or Colonial-era American?) case - hopefully not now wedded to that awful stand...
  6. I've never had a problem with my past house prices being on the internet (despite having a tendency to restore and sell-on period properties). The added value has always spoken for itself and the current market does much of the setting of the price. My main concern is the historical aspect of charting information on instruments and makers. And yes, I was one of those people viewing every London sale over the years, catalogue in hand. I have high stacks in my study and boxes full of them in my loft, all annotated (and still used)...
  7. And yet Ingles & Hayday and Tarisio do not follow this practice of private/confidential results... Deleting results makes it more difficult for non-dealers to follow the market. Those who care - such as ourselves - will have all the results anyway. It is important to distinguish between public auctions, private auctions and private sales. It is a bit of a nonsense to give people the opportunity to see the result, but then not only delete the price, but the item along with it. Such things were not possible in the era of the printed catalogue! Its a bit like rubbing people out of photographs
  8. Shelbow - No, its not automatic as many of their lots remain completely viewable and are archived. They have special arrangements with some bidders to immediately list there lots as 'sold' rather than showing the achieved price. I suppose they might also have special arrangements with some sellers. Or as Martin Swan says, you might have accidentally ticked a box when paying.
  9. The auction takes place in a public forum, anyone who wishes to can watch it and observe the prices paid. But we must all shut up afterwards? For whose benefit? Do we owe someone that silence? To be clear: two lots were entirely deleted, not just the prices achieved. Because they are at the bottom of the list there is not even a gap to show that something was once there.
  10. Yes, £576k immediately deleted from the auction listing (along with the ex-Alard Vuillaume) and into internet oblivion a few minutes after they closed - as if lots 237 and 238 had never existed. Bromptons is not that big on transparency...
  11. Blank face - your comment well illustrates why I need to finally buy my own copy of the Grünke volumes, rather than snooping around those of friends. I shall buy myself one for Christmas! That said, there is a long trail of sources as one goes back in time (not the most reliable I know) that posit some original bowmaking by Weichold. Henley (I know, I know...) says that Weichold studied with Pfretzschner and implies that he was more reputed as a bow maker than a violin maker (perhaps for obvious reasons as he was drawing on some exceptional talent). Jalovec (I know, I know...) also has h
  12. Peter Oxley did a great article in The Strad many years ago about post-Tourte bow making traditions that clearly shows a good range of different models. It was in the June 1999 issue. If you can find a copy its a very handy first step to learning the vocabulary.
  13. Here is my 'R Weichold Dresden' violin bow c.1890-1900
  14. No, my bow is not by Voirin, but rather modelled on Voirin's style. In other words there are distinctive bow 'models' created by various makers: 'Tourte model', 'Tubbs model', 'Voirin model' etc which are fairly quickly recognisable. HR Pfretzschner, for example, tended to model his bows on those of FN Voirin or James Tubbs. For information, my R Weichold Dresden violin bow has the name stamp in the pre-1902 fashion, without any additional stamp.
  15. Well, at least according to Tarisio Richard Weichold existed as a real bow maker - and more importantly there are also a few pages about him (and bows stamped Weichold) in the Gruenke book. Its a bit like the Bausch narrative, in that he made his own bows at the outset, but that those stamped R Weichold Dresden were then effectively sold out of his shop and made by other makers such as the Nürnberger family. I have a c1900 R Weichold Dresden stamped violin bow which is a quite elegant Voirin model.
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