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tradfiddle

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  1. tradfiddle

    Bow wood

    Agree with Fiddle Collector - Ironwood.
  2. These are the last of the images of the instrument in question in my old 'sold on ebay' photo file...
  3. It was something I picked up very cheap at an antiques sale and immediately sold on. And the arching was horrific - much as you describe. But the very dusty label in it was believable factory French ('d'apres Guadagnini' or something like that) and had obviously aged inside the fiddle. Another distinctive element is that it looked to have been 'baked' or ammonia aged. I stand by my appraisal that it was of the lowest rung of French production 1880-1920. Its remarkable that anyone would go to so much effort to put fake age into such an instrument. See the images in the next post and notice also the eroded 'non-varnish' on the cheeks of the pegbox and caked substance on the scroll.
  4. tradfiddle

    Kloz ID

    Martin - why add locator pins (the ones top and bottom - not the ones on the button) after the fact? To make it look Italian?
  5. tradfiddle

    Kloz ID

    Square shaped blocks can be many, many things - and even with Mittenwald instruments corner blocks are usually just subtly concave, not glaringly so. And many other areas can also have concave blocks. But I am not a qualified blockologist like some other folk here!
  6. tradfiddle

    Kloz ID

    Longer lengths of 358-360mm tend to be more common on post 1780 in Mittenwald instruments. Earlier ones tend to hit a ceiling around 356mm. Your c bout width (114mm) is on the wide side for anything out of Mittenwald and has a French aspect to it. In my accumulated database your measurements are closest to Joseph Knitl instruments (1777-1791): However, none of Knitl's instruments that I have seen have slab backs or locator pins. I use metric comparisons as an initial guide of 'the possible' from which to then go over to stylistic traits. I suppose its the professional archaeologist in me - it works for all other sorts of material culture. However your problem is that aspects of the technical style - the pins, wood choice for the back - are not very 18th century Mittenwald. This pushes me more in the direction of early to mid 19th century where there is unfortunately less Mittenwald maker instrument documentation.
  7. I did evening bowmaking there with Richard Wilson for about a decade (I live fairly close). Sadly, he has moved up to the Scottish Borders, but I am planning to do the week long bowmaking course there this summer. Melvin Goldsmith is right - there is a great atmosphere.
  8. And here - on the lower left of the image - is another type of 18th century locator notch (or infilled gouge mark) on a Lockey Hill violin. These are most commonly seen (for whatever reason) on instruments stamped Longman and Broderip. Going back in time I have also seen them on Walmsley violins. They are always off to the side like this, and sometimes there is a corresponding one at the top an inch or two from the button. The phenomenon is mentionned in The British Violin pg.85: "a small channel... usually filled with a slip of maple. Its purpose is unclear..."
  9. There is also an 1813 William Smith (Stockport) violin on Tarisio, much in the same style as yours. I see that the best write-up on him is in Harvey. This (combined with the entry in Davidson's the Violin) has him active in London from 1770, then Sheffield (1780?) and then Stockport - to 1820. 18th century British violins are my obsession, yet I had only had him in my peripheral vision until today. I wonder if if all of Smiths instruments have notches? Its not something one usually sees on British instruments. You have those small gouged marks on the backs (like the Longman and Broderip instruments, and some others) but not the single rib locator marks.
  10. This is the sort of thing I was thinking about - I sold it about 15 years ago. It had a French label - 'd'apres' someone or the other...and those I showed it to were pretty unanimous that it was a French trade fiddle c. 1880-1900's. Martin, I suspect that you usually walk in better French violin neighbourhoods than this one came from.
  11. tradfiddle

    Kloz ID

    Well, I'm not saying that... but there are some clear 'dimension groups' for 18th century Mittenwald violins. Some makers were remarkably consistent. And some were a bit rough and ready. But for me its really the locator pins and the one piece slab back that are outside of normal Mittenwald expectations.
  12. That's very interesting. I have something in my collection with a similar short notch, comparable ff's and a dendro date placing it in the 1790s. I will add William Smith to my list of suspects.
  13. That's an English maker I have not seen much of, and am always interested in that topic (18th c. English fiddles)! At the risk of a momentary diversion from the topic - any chance of seeing photos of front and back? What sort of back length is it?
  14. My bet would be French and "d'apres Stainer" sounds about right. The button is not English and the varnish & arching suggests the lowest tier of late 19th century French instruments. I can see that there are some aspects that might make it seem like 3rd quality late 18th c. Thompson-outworker-esque English, but I think the arching is too extreme even for that and I would expect ink 'purfling' in that case.
  15. Wow. Interestingly the notch is broader and less 'spiky' than one normally sees on Mittenwald examples. Which maker?
  16. tradfiddle

    Kloz ID

    The f-holes are not atypical for several Mittenwald makers. If you can give the metrics (back length and the three usual widths), I might be able to suggest a few possibilities. I have accumulated a Mittenwald database over the years... The locator pins on the back (top and bottom) are the unusual thing. They are pretty rare on 18th century Mittenwald instruments - though I have noted them on some instruments by Sebastian, Joseph and George Klotz.
  17. This is a subject (rib locator notches) that I have been trying to accumulate information on over the past few years. I have recorded 'Mittenwald notches', for example, on instruments by Aegedius Kloz, Joseph Thomas Kloz, and Alois Stangel. I have also seen them on Widhalm (Nurnberg) instruments. They are however absent on a number of Kloz instruments , whether originally so or not is often difficult to determine. I have not yet found one on a Hornstainer family instrument, and of course as Jacob says they are not present on Vogtländische instruments. It would be interesting if others could give maker's names for any 'Mittenwald notched' instruments they have seen.
  18. If you like Baroque to Classical transitional period music they are very much worth discovering - especially Benda as he was one of the Austro-Prussian sphere's greatest 18th century violinist-composers. There are many current CDs of his work out there. All were part of the Court of Frederick the Great... , flautist, I know you will have heard of him!
  19. Perhaps not FROM Berlin, but certainly living and composing IN the Berlin area during the 18th century: WF Bach, Franz Benda, and the Graun brothers all spring immediately to my mind.
  20. I would be a little more optimistic about attributing Mittenwald instruments to different makers, or at least circles of makers. See, for example, some individual maker characteristics which are discussed in the book 'Alte Geigen und Bogen'. Also, if you collect measurements from 'known maker instruments' you will see that certain 18th century Mittenwald makers tended to have particular size ranges or ratios. Finally, there are some consistent differences in ff's, edgework and so-forth. So, I think that those who have made a study of it can attribute to (at least the workshops) of certain of the Kloz's and Hornsteiner's. Of course it should be noted that some more obscure Mittenwald makers - like Knitl - were 'Kloz followers' and can be difficult to differentiate from the Kloz familes of their time.
  21. Dominants have a distinctive sound which, for me, cloud the actual characteristics and capabilities of individual fiddles. I hate trying out violins strung with Dominants at auction viewings because I find they have a certain tonal texture which homogenizes things. Yes, Dominants provide a standard - but its a pretty blah standard.
  22. And here is a recording with luteal available for purchase as a CD: https://www.amazon.com/Violin-Sonata-Tzigane-Enescu/dp/B000EQHTAY
  23. "--Some "artists" are prepered to do anything to atract atention.--" So will many musicologists and writers of 'liner notes'... What constitutes "bad taste" is of course a matter of opinion. Rather, I would say, it presses the Gypsy idiom to its limits for effect. There are couple of recordings out there of the Tzigane that use the luteal or the original Cimbalon that the luteal was created to simulate. One of these is a recording on ZigZag Territories with Patrick Bismuth. The other is Kopatchinska's recording of it with her father playing the Cimbalon (he is a professional player of this Gypsy instrument).
  24. I've made them for all of my violins that live in 19th century wooden cases - protects them from the bows which are stored in the top of the cases.
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