BassClef

I did contact Beare violins as you suggested someone do and my response was that extensive research has been done and nothing has come to light.

You could also salvage the endpin and the entire neck/fingerboard,head/pegs.

Louis, can you please post a close-up photo of the button at the back side of the base of the neck?

Edit: after reading the auction scroll and seeing violins OP claimed to have in his shop still on eBay offered by 2 different sellers, I would say the misinformation is at best bad form and at worst breaks some forum rules. Mods take note.

I considered that but the marks seem too sharp in my experience to have come from a bow hitting it.

I, for one, enjoy posts like this no matter what order photos roll in, thanks OP.

If you’re not having fun, there are many other posts you can make unhelpful comments on. If you’ve been following the Azzola thread everyone seems to be in consensus that they don’t know what a 1916 Azzola would look like because of the lack of reference instruments from that period. Thankfully Mr Davide Sora and others are still secure enough in themselves to continue to add value to this thread despite any silliness and jokes that are being made.

Thank you! And the marks on the c bout? Looks the same as the others and not something left by contact with a bow.

Respected forum member https://maestronet.com/forum/index.php?/profile/87385-alexander-james-stew/ was kind enough to share additional images of his violin labeled Azzola 1916. I’m attaching a few more with close crops added. Are these all saw marks? What can be said about this work? Is it showing the hand of the maker? Showing rough work? Mistakes? Thank you in advance for your analysis. I now understand that nobody posting here knows their Pre-Fag. Azz. from their elbow, but maybe you can shed some light on the marks shown here.

You made it clear you wanted to get back to discussing the violin, please let’s not get sidetracked again. I post them as a matter of interest, it’s my signature move, if you will (did you see what I did there?).

To be clear, since you keep bringing me up, haha, I never asked for these photos or anything of the sort. Jeffrey Holmes is asking for them, so while we may all learn something about tool marks as a result, it is his request. But if you do generously honor Jeffrey’s request, please post those on the tool marks thread which keeps getting derailed by discussions about who was Strad’s teacher.

Well since you’re asking me a direct question, I’ll refer you to the tool marks thread where I commented about this a day or two ago, if you were paying attention. my apologies for stirring the pot, in the end I hope you learned something or will learn something from this thread. I stand by what I said about Martin’s comments, they are still there, he is skeptical if the violin is legitimate and is not sure if OP was somehow foolish by purchasing a violin he isn’t convinced is legitimate. You can spin it however you want as well. It goes without saying that you Martin and BF’s input here is, as usual, pretty good. And with that I’m done here for now unless someone else has any direct questions or comments to me.

Then stop focusing on me, my friend and get back to the discussion at hand. I have quoted you and your various opinions about OP so it’s all there in the record unavailable for you to edit, the stench remains. I am also interested to know more about the violin from people truly qualified to comment. Go ahead and get the last word in now, I don’t need it and will not dignify any more disparaging comments coming from you Mr. Swan, you can redirect your discontent to the violin at hand.

So you are “not quite certain” if OP is “a fool” but you stated that he is most likely “not being a fool.” Speaking of effluvium…

I respect your opinions and judgments beyond what I can describe here in this post, my curiosity wasn’t directed at your observations when dealing with photos that were not focused enough. I’ll see myself out now. Cheers.