J-G

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About J-G

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  1. Welcome, Megan. Sorry to say it looks like Bob hasn't checked in here in over three years. It may be possible to get a message to him through one of the two orchestras he mentions in his second post above. Good luck!
  2. Looks like the OP started a thread on the MNK forum a few months ago but has had no responses there. To the OP: putting the builder's name in your topic title helps to draw the attention of readers who may recognize the name. Also can help with future forum searches. Good luck!
  3. Point taken. Thank you, Blank Face.
  4. It's not clear why an inexpensive German violin is a disappointment next to an inexpensive French one. Were you paying extra for "Frenchness"? How is it as a violin?
  5. Thanks for that, repicheep. A violin labeled Joseph Kriner, apparently from late-19th century Mittenwald, has just turned up on the Geige24 forum: https://www.geige24-streicherforum.de/index.php?thread/5354-ich-brauche-ein-wenig-hilfe-bei-meiner-neuen-geige/ (Discussion focuses so far mainly on what traits identify Mittenwald work.)
  6. George: If you haven't already digested the information on Stephen Marvin's site, that might be a good place to start. He is a long-time professional early music orchestra player and bow maker. There is such a range of historical bow models and materials to consider, as well as decisions to be made about instrument, strings, repertoire, and so on. Good luck and keep us posted! https://www.historicalbows.com/
  7. Above should read "Just a dumb thought."
  8. Had an idea here, but it was just a thought. How did the auction turn out?
  9. It's nice how often descendants of early 20th century makers find their way to Maestronet, sometimes seeking information like our OP, sometimes offering interesting background on makers who are almost entirely undocumented elsewhere. A year or so ago we heard from a great-grandson and a granddaughter of the obscure Ohio maker of my violin. No living family member had known the builder, and they had never seen one of his violins. The contact resulted in the granddaughter managing to purchase one of his instruments, probably one of very few surviving violins. So this kind of story can have a
  10. Maybe? bar 1: 3-1-1 and continue in third pos. bar 2: 1-4-3 1-2-1 and continue in sixth, ending with 4-3-4, then 4 (harmonic)
  11. J-G

    Id

    Wow! Sounds like an early example of the Jackson-Guldan method. Then again, I seem to recall that some early Spanish guitars (and viols?) were made by carving the whole body cavity from one piece. Like carving a canoe.