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  1. http://www.thestrad.com/giovanni-battista-guadagnini-violin-worth-1-5m-stolen-geneva-train/
  2. Dear experts and followers of online auctions, As you have probably read the violin of Pavel Vernikov have been stolen in a Geneva train station. It was a 1747 G.B. Guadagnini violin in a grey GEWA plastified case with 4 bows- Eury, Maire (Gold Mounted), Sartory and Peccatte dedicated to (J. Verdier, Paris 1877 on the silver part of the frog). If it has been a commissioned crime the instrument might not appear - if not it will sooner or later appear on some auction, or on internet. All info can be sent to Pavel Vernikov or Svetlana Makarova via facebook. Thanks for your kind help- look for the articles reassuming the unlucky event on internet
  3. Thanks for the list- i will indeed have a look at the work of each of these makers. A
  4. P. S. If it would go on sale I would pay an expert- who would write something! Thanks once again!
  5. Dear all, thanks for your precious help- yes I was indeed wondering who had made it but it seems extremely improbable to find it out. Strangely enough it sounds rather convincing and this violin was purchased based on sound. There was a beautiful Pawliksovsky to compete with it- wonderfully made, but soundwise a very loud and uninteresting instrument in comparison to this one. So lets just leave the whole discussion at this point, saying that this violin has its own dignity. My daughter is happy with her instrument, so am I, and it sounds fabulous even without a name! In july my project Venice Music Master will restart for the second time- where I will stay for two weeks with folks like Gilles Apap, Vernikov, Gutman and others- and 80 beautiful students! So whatever the fiddle is it will just do its job- it will be played. For the rest - thanks and greetings from Venezia!
  6. Ok - I hope you saw the corner block photo too. I do not expect it to be anything particularly special- if mittenwald remains an option that is ok- i heard vienna too so just wanted to see if there were some more indications
  7. This is the photo of a corner block- the best you can make without breaking the instrument!
  8. Dear Martin Here are several measurements- Length of back- 35,7 cm Maximum width upper bouts back- 16.5cm Maximum width c bouts back- 11,3 cm Maximum width lower bouts back 20,1 or 20,2cm Width between corners upper part 15,5 cm Width corners of lower c bouts - 17.7cm Upper bouts top- 16,3- wood is worn on side C bouts middle -11,3 cm Lower bouts top 20 cm Linings near c bout corners - heigth- 3,7 cm Linings near neck and button 3,5 cm approx Distance between c bout corners - straight - 8,5 top and 8,3 back side. Scroll is approx 10,5-11 cm long Diameter 5cm hotizontally (depth of volute) and 3,5 cm vertically ( heigth of first throw) Narrowest point of development of scoll on top 1,5 cm widest point bottom of volute of scroll looking from front 2,5 cm Width of ears 4 cm approx Inside scroll narrowest point top from front 1,8 low part 2,2 cm approx F holes diagonally from one eye to another left 7 cm approx right 7.2 cm approx Distance between top eyes of ff holes top 4,3 cm Lower part 12,7 cm A lot of measuring- with a soft tape on top of arching!
  9. Dear Martin, thanks. I actually did not tried to be unpleasant with Jacob and he had alteady wrote dome time ago that it looked like german/ austrian work that has been revarnished. In respect to him I will also take away description Tyrolean - which was entirely my misconception and will just describe it as violin of an unknown origin not to do a bad publicity for my luthier colleague and will pay a lot more attention describing anytging that goes online. Several instruments on Mittenwald museum website have a veru similar scrolls- the transitional ones. But once again I can be totally wrong. The length of back is 35,7 or 35,6. I can measure other parts more carefully. Top wood has an extremely narrow grain- what i was told Italians stopped using at this time. Thanks ince again and I was not trying to play expert here which i am not but just give all indications i had found - taking into account Austria and Germany. So Krems was unrellated to Tyrol and tyrol was something that just deviated the whole discussion- will take that away. More info and perhaps 2 photos soon
  10. Thanks- once again based on photos Joseph Hornsteiner Hofschmied example on mittenwaldmuseum website seems very similar- also seen from the back- except the little v detail. I would indeed qbsolutely exclude Cremona - but what about some minor Venetians? Ongaro family or others who worked workshop style? No materials available - apart a book by Stefano Pio. If not mittenwald would be plausible. Did mittenwald makers used to make corner blocks similar to Italians? The luthier who restored it said inside follows italian way of making- which does not mean it is Italian. German is very probable- but more Mittenwald, Vienna/Austria or the forbidden area? France is out of game for the moment!
  11. Dear Martin, thanks - yes this sounds very much in line with what I have gathered as information so far. There are some rather good photos on mittenwald violin making museum website and some look fairly similar. Did Austrian makers used a similar construction method - continuous lower ribs? I will try to describe corner blocks too. I think the top and sides might still have the original varnish- the back has been sadly ruined with what you call in italian polish or shellac applied with tampone. A pity but fact indeed. Mittenwald would mean what Koltz school? Knitl or someone from Hornsteiners? Take a look at the photos http://www.geigenbaumuseum-mittenwald.de/index.php?id=105
  12. Dear Martin, Thanks for your kind message - perhaps this is what I was looking forward to hear. I will inquire regarding the mould issue and the inside built description. For understanding if there are pins etc, I will probably need to find a way to make some photos inside the violin. The neck seems to be original and since it is a transition one (visible in the photos on dropbox i linked previously) it had not be grafted but just angled correctly putting a small piece of maple on top of the original one. So I will inquire on all the details you are mentioning and will then post the answers. What regards the books- indeed expensive and not always available. Will see if the other books are available. To indicate the school would be already great and unless any decipherable inscriptions will not appear I believe it will be impossible to detect the exact author. I will try to understand more in detail by having a look at http://www.roger-hargrave.de/PDF/Book/Chap_02_The_Mould_PRN.pdf
  13. If you like to quiz look at this! It is rather exemplary as I already wrote! https://en.wikipedia.org/wiki/Virgin_of_the_Rocks For which one you vote as original- the one from Paris or London?!!! There are loads of books regarding both! Thanks for all support and information. We have not opened the violin- as it was not necessary to do that. WIll try to look at the corner blocks without opening it and see if there are any inscriptions handwritten things inside- if some restorers will borrow me the endoscopy camera! Perhaps in the end I will prove it is a lost strad that was sent to mars during the cold war!
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