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Everything posted by ABRINKMANIS

  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
  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
  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 hoti
  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 wro
  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- b
  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?
  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 answ
  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 w
  14. Isnt it that a label is the last thing luthier should look at- many luthiers proudly state so. In the arts it is easy to determine at least the school or circle- of course depending on the work. I am ok with anonymity or unlabelled, unsigned work- what disturbs is centuries long tradition of fraud and faking- seen as normal almost. Labels changed printed changed- so having no label is almost a relief!
  15. Well thanks anyway for nice chats! The only thing I have learned is to bevare the magic denomination tyrol! Sadly the knowledge in the west passes mainly through books- once you are not a practitioner.At this point I shall be happy to know the approximate age if dendro exams are attendible and Will have to start studying geography more in detail! Venice has a particular relation in this respect to the Fussen and other locations - and apart more famous names work of many of of minor makers is largely unknown and undocumented. Will keep on gazing at books and fiddles hoping to understand more i
  16. OK. Yet no-one had so far spoken of models - just geography Authors I mentioned were just references - leaving geography apart. Joannes Jais violins or some from Klotz also seem similar as a form, but not exactly their f-holes
  17. So thanks Jakob for being rigorous- it is indeed very important and what is annoying that as "deans" is mentioning - Italy has a rigorous borders for the market, notwithstanding that historically Italian kingdom and republic has a very recent history. Yet everyone in the violin world seems ready to state that any instrument you might have is anything but Italian - and when one has no clues Germany is always mentioned. My colleague luthier says that before expressing any kind of opinion one shall have at least 10 solid points - why a specific object can be attributed to French, Ge
  18. Ok- but if we cannot trust books - if we cannot trust internet - where shall we get the information? From the few experts that issue certificates? I work in the field of arts and apart of course respectability of several experts, there are many other ways to determine at least the style and geographical area of a specific painting. Notwithstanding this entire exhibitions with fake Tizianos are still being brought around all Europe. Museums will indeed do everything to prove that what they have is original - so expertise becomes a tool used for valorization rather than scientific purpose
  19. Dear Jacob, The source was - German and Austrian Violin-makers by Karel Jalovec - it is possible I mixed something up
  20. Ok - two parallel things have overlapped in this discussion. I tried to ask an opinion on model and just spotted out the most similar violins from the book- Austrian and German violin makers. I did not find any other similar examples in the book on Bohemian violin makers. So the book I am referring to puts Austrian and German makers together and I tried to look for similarities based on photos and also approximate timeframe when these makers lived. The whole Tyrol discourse just came in and confused up the waters. I can post the photos from the book firsthand
  21. Ok Jacob- the tourist brochure is the only one that one may find online- and information on Viennese makers is also scarse A market decision? All of these makers would deserve much more- so perhaps you could suggest books or other materials? Austrian makers and those of Fussen have influenced the violin making in Italy- yet anything Germanic seems to be equal to low quality- so perhaps information could be shared to make more clarity regarding these issues
  22. I made the photos - and perhaps just did too much of a photoshop correction. I am helping my luthier colleague/friend with running his website. So perhaps the images or the plugin- which makes the zoom in possible are perhaps distorting something. Images are always tricky. So what about the model- could it be made without a mould since it is a bit asymetric?