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jandepora

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  1. What I understood of the Myrna article is that if it has the form of viola and the back flat, is a pardessus de viole 5 strings. And if it has the back with arching like violin, even having form and f holes like viola then, is a Quinton. And that the Quinton was play over the leg and not on the shoulder. Both instruments had the same tuning but it's differences were about its form and it's sound projection; the Quinton was invent to play the violin parts for viol musician and the pardessus a 5 cordes was an adaptation of the pardessus a 6 cordes to play the same but it projection, due the flat back, was inferior than the Quinton. The examples you have post must be pardessus de viole a cinq cordes. This is a Quinton in violin form https://mimo-international.com/MIMO/search.aspx?SC=DEFAULT&QUERY=quinton+#/Detail/(query:(Id:'5_OFFSET_0',Index:6,NBResults:44,PageRange:3,SearchQuery:(ForceSearch:!f,Page:0,PageRange:3,QueryString:quinton,ResultSize:15,ScenarioCode:DEFAULT,ScenarioDisplayMode:display-mosaic,SearchLabel:'',SearchTerms:quinton,SortField:Author_sort,SortOrder:0,TemplateParams:(Scenario:'',Scope:'',Size:!n,Source:'',Support:'')))) This is a Quinton in viol form https://mimo-international.com/MIMO/doc/IFD/OAI_CIMU_ALOES_0130560 Both examples are quintons from Chappuy, both with arched back, first in violin form and second with viol form.
  2. I am not at home but I remember around 15/16 cm to the end of the neck, not the ribs.
  3. It seems that originally in the past there were examples that could match with mine... I assume, of course, mine being not as old. In Myrna Herzog article about Quinton: "We find instruments by Gilbert and Salomon, made in the 1750s, viol-shaped with an arched back and modified f-holes, with ribs of intermediate height." And other characteristic mine has like a Quinton is the longer neck length compare with usual violin necks. Like M. Herzog point the expert restorer Fred Lindeman of Amsterdam told her: “while the bellies had violin-length (sometimes even a bit on the short side), the necks, in relation to them, were slightly on the long side according to today’s standard, but fitting with the French violin-necks of that period.”
  4. But the Quinton is played like a Gamba. An the type of tailpiece in mine is the one you find in a Gamba and not in a braccio/shoulder instrument. Then I don't know if the tailpiece in mine is comfortable to play like a violin.
  5. I have 2 viola d'amore and I acquired this one thinking more in a 5 strings viola/violin, even a possible Quinton. But with the width of the neck it has I think the only possibility is a 5 string violin/viola. With only 25mm in the neck near the nut is not possible to play as a Quinton.
  6. How it could be a shoulder instrument with this kind of tailpiece attaching system? If finally I want it like a 5 string viola/violin, what must I will do with this tailpiece to make it playable over the shoulder?
  7. I agree that it looks more or less recent work, but it has some use marks. The strings that comes with it looks like a Quinton tuning with the GDaeg' gauges. The body originally must not be of viola d'amore because in the bottom ribs there is not signal of the nail for the resonant strings.
  8. Hello, This time I have this specimen. For me it looks like a Quinton but the width of the neck in the nut is around 25cm, a bit shorter for a 5 string viol. The tailpiece is attached like a viol, without hole in the ribs. The lenght of the back without the button is around 36 cm. The string vibrating length around 35cm. What is your opinion? Any idea about age or origin?
  9. Maybe this is the one you are looking for. He make all kind of electric violin designs at request of the client. https://www.sacrilegiousdesigns.com/en
  10. I think the lady blunt was sold for $15.9M
  11. I know this means nothing but I was searching for scrolls with the same template than mine and I only found these in Jombar and L'humbert... a one from Emile Laurent 1936 has the same feature. L'Humbert 1906 ---Jombar 1925 -------Mine---------Jombar 1914---------Jombar 1914------Emile Laurent 1936
  12. Sorry, I am just trying to learn. When I post the pictures and you and the others members write about what you see, I and many others are learning how and what to see. I thought that maybe images from violindocs about Jombar could shed some more light.
  13. Well, this one on the right, a Jombar from 1914 from violindocs.com Here the 1914 Jombar from violindocs on the left Now, again, the Jombar on the right But the Jombar from 1914 in violindocs has a different insidematerial for the corner blocks and linnings.
  14. Tarisio: https://tarisio.com/cozio-archive/browse-the-archive/property/?ID=33372
  15. Then Valot were in 136 Rue du Faubourg Poissonnière at the same time Paul Jombar was in the same street, 27 Rue du Faubourg Poissonnière. Viaduct.com: "27 rue Faubourg Poissonière (he was there in 1912 (2)) and in 1913 " Paul Jombar was there at least till 1932. Valot was until his wedding in 1920 at least and Jombar not later than 1932. The time he was acquiring violins from L'Humbert, as Frederic B. said is from 1921 to 1926. Maybe in this time, around 1921 Valot acquired the violin to Jombar (if it is finally a L'Humbert that passed for the Jombar hands) Here a comparation with a Jombar 1925 scroll, back and f-holes
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