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Posts posted by J-G

  1. Interesting.  I have a bow (nickel-mounted, 59g, plays well) with the same brand, but with HOMA stamped above the frog on the same facet.  On the other side of the stick there is another stamp:  D.R.S.M. 870255 (or 670255?).  I gather HOMA was a Hoyer brand name and the DRSM number is a corporate registration number, but don't know in what period that brand and number were in use.  Any info would be appreciated. 

  2. Interesting question.  Albert Augustine began marketing nylon guitar strings in 1948.  Complete sets were out by that date, I believe, though we're told the wound bass strings took longer to develop than the plain trebles.  Plain synthetic trebles (irrelevant for violin) were apparently in use from about 1944.  It seems surprising that synthetic violin strings came along so much later.  There must have been a long period of development and experimentation, but it doesn't seem to have left many traces.  

    If Eudoxa was the most widely used string before the synthetics came along, can one guess that Synoxa was the first Pirastro synthetic?

  3. John, I don't think many of us amateur adult players paying under $2000 for a violin care much about who made it, or expect to resell it at a profit.  In that price range all that really matters is sound and set-up.  And like Jeff, I'm more drawn to old trade fiddles that are in good playing condition than to the shiny new stuff.  There's so many available, and they are often great bargains.  (I know though that there is a segment in the market that wants shine.)

  4. 1 hour ago, martin swan said:

    I'm not sure what's written below his name, but it seems to be a correction to the typed "Mirecourt" underneath, yet Dieudonné established his own business in Mirecourt in 1920. All a bit strange.


    Martin, it looks to me as though what we're seeing written above and over Mirecourt on the OP's label is Dieudonné's signature, or an attempt at it. 

  5. 43 minutes ago, C.B.Fiddler said:

    I did a little research and found an article dated 1901 from a Roseburg, Oregon newspaper advertising the Roseburg Orchestra performing a pops program under the baton of former concertmaster, Professor Appelhoff.

    Strangely, a fancy conductor's baton (ivory?) engraved with a conductor's name and "Roseburg Orchestra" was advertised on Craig's List here in Vancouver a few years ago.  If I remember right it was a gift presented by the orchestra members.  The ad is gone now, but it was likely the same maestro (and engraver).

    Beautiful bow!

  6. On 6/30/2017 at 4:13 PM, JGViolin said:

    I recently aquired a 4/4 violin with a label in it: Imported German Violin, Regraduated and Adjusted, V.C. Squire, Battle Creek MI, 1897.




    If you're quoting the label accurately, this information from Wikipedia may be relevant:

    Modern two-letter abbreviated codes for the states and territories originated in October 1963, with the issuance of Publication 59: Abbreviations for Use with ZIP Code, three months after the Post Office introduced ZIP codes in July 1963. 

  7. 5 hours ago, Gillam said:

    The inscription on the back certainly is somewhat cryptic.  The "par mercier" is unusual in that you would expect the m to be capitalized, assuming its a proper name?

    The second line I make out as "du Bourg H(?) andeol", "from the town of ...andeol".  There is a present day St. Andiol southeast of Avignon.  That "H"-like symbol my be a short form for saint?


    Good work.  Looks like the present name of the town is in fact Bourg-Saint-Andéol, just as written on the label.  And it seems this writer simply doesn't use capitals, and so there's no problem with his name being Mercier.

    I think we're all understanding the first word as "racomodé"?  Proper spelling raccommodé, "re-accommodated".

  8. I thought surely someone here would be familiar with this type of scroll, and also with the strange construction of the violin body itself.  Looks like this must be a real rarity.  I've located another photo and a brief description in the guide book to the current exposition of the Mirecourt Museum (downloadable).

    There we find (pp. 48-9) the museum's own l'Idéal.  A photo shows the sliding panel on the back of the peghead that gives access to the mechanism within.  From the brief biography of the inventor, it looks as though this geared scroll was his only contribution to French lutherie.

    The museum's violin, like my Craig's List example, has its own label inside:

    "Ce violon, acquis par le musée en 2015, porte une première étiquette imprimée à l’encre qui indique « Thiery à Paris ». Selon l’avis de deux luthiers            experts,  il  est  très vraisemblablement fabriqué à Mirecourt au tout début du XXe siècle chez Thibouville Lamy. L’étiquette est donc mensongère, comme cela arrive parfois...."

    (Parfois, indeed!)  So probably Pechenart took existing violins and simply replaced their scrolls.  But then what sort of violin was the one in the OP?  Apart from its scroll, the museum's  l'Idéal looks to be built like any violin;  but this one seems to have the front and back plates sloping to join each other except in the C bout, where there is a real maple rib.   The effect reminds me a little of the wide tulipwood body binding we sometimes see on old mandolins.  The ad text says nothing about this feature (nor about the tuners), and seems to assume the violin is a genuine Chanot.


    Has anyone seen this kind of construction before?  Was it another innovation that went nowhere?  Or maybe a more recent modification? 

  9. "Very rare and fascinating scroll."  This oddity has turned up for sale in my town (link below).  I can't see that the model has been discussed here before.  Another one of those evolutionary deadends, perhaps, a great idea that never quite caught on?  Or just an extremely ugly contraption?   

    It has a Georges Chanot label dated 1856, plus the L'idéal label shown.  The L'idéal label includes the name Paul Pechenart à Braux, and says "adapted in 1902".  I'm not sure if we're to think an existing violin got a new scroll plus body modifications, or not.

    Because it's for sale, I'm putting this in the Auction Scroll.  I have no desire to go see it or play it, just a morbid curiosity about such odd design experiments.  The idea of geared machine tuners for guitar goes well back into the 19th century;  and placing all the tuners on the "player's side" appeared early among certain builders.  But one might have hoped for a more elegant solution than this for violin.  And what's with those edges and rims?

    Google shows a US Patent granted in 1902 for the mechanism.  But I don't see any other examples of violins like this. 

    Has anyone here seen this model before?  Any insights to offer?