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zhiyi_zhang617

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Everything posted by zhiyi_zhang617

  1. Is this a typical through neck? It is interesting seeing the combination of such an unsophisticatedly constructed neck with a deeply cut scroll, almost (but not quite) a Juzek MA one.
  2. Not so sure your sister has ever played this instrument with that set up.
  3. Regardless of the signature, there might be some other telltale signs in the pictures. Do the rib joints at the corners appear to be clamped? Are the corners not as squarish/abrupt as one would expect? Is the purfling somewhat narrower and closer to the edge? and do workshop CMs have cleats on the center joint of the two-piece back as for a "typical" commercial French of that time?
  4. A few questions: (a) Is the very short throat of scroll indicative of any making school? (b) why are the strings strung with such a high clearance above the fingerboard? I understood the gut strings tend to be soft under the fingers, but this bridge is really tall, and (c) was the pegbox blacken? It, in the last picture, appears to be, with the dye being dispersed.
  5. Are there cleats on the central seam inside the violin?
  6. Probably my mistake, I am not sure two pieces were played, though equally delightfully, on the same instrument.
  7. Some additional photos (taken by myself). Hope to hear some comments on the quality of the bow. IMHO, it is delightfully played overall, with the combination of agreeable feel and clean and sweet tone it produces.
  8. Haha, we all knew what referred is the Markies with a fake JB Schweitzer label, although I do wish to have a genuine JB Schweitzer myself.
  9. If serious for a functional, often good-sounding and good-looking player in or slightly above your price range, your just get a JB Schweitzer or one of Caussin school in good playing condition. They are mass-produced German and French, respectively. However, they will not go terribly wrong, especially Schweitzers.
  10. A genuine Joannes Maria Valenzano is truly a work of art to me. http://harrisonfrankfoundation.com/16-valenzano/
  11. I am a noivce. However, to my eyes that have being trained by the experts at MN, this is truly one of very high quanlity modern violins I have ever seen. Thank you, Jacob, for the excellent work and for sharing the photos!
  12. Hope to learn a little more for the quality (e.g., pernambuco or something else) and workmanship. Octagonal stick, silver mounted, weighed at 60 g. Appreciate comments in advance.
  13. https://www.violinstringreview.com/ Passiones are low tension, and great strings, the best of both worlds (synthetic and gut).
  14. The treble side C-bout rib joints appear to be clamped togher with the joint lines in the center. Based on what I learned from MN, could this be indicative for built-on-back for such an instrument?
  15. Just would hope to learn the German ID, without the information for cornerblockology.
  16. Beautiful and classy, I think this is one of his laterest. Never come across an instrument from him, however, I do have a fine bridge cut by him.
  17. I think such a box design was initially used for the highly priased Bogaro & Clemente rosins. Now there are many followers.
  18. Not sure one has to visit Vatelot or Koestler:https://reverb.com/item/29255921-andrea-castagneri-fine-french-italian-violin Anyhow, it might still be good enough as a player nonetheless...
  19. Interestingly, have we all forgottten the famous checklist?
  20. Since it is clearly old, but highly unlikely a Markie, and unlikely a South German, I just can not help to wonder it might just possibly be an Italian, especially from one of the areas with connection to Fussen?! At least, I am not so sure we are able to rule out such a possibility.
  21. Searched online, and found some similarities with those of Albani school.
  22. Of course, I am at best a novice, knowing virtually nothing about violin-making. That is the reason I am here for your insights. BTW, attached a few new ones (Did I take too many unnecessary photos) Once again, thank you for all insights from you and others, I learnt quite a bit.
  23. Here you go; Thanks a lot, BF. Two of the photos indicate that the rib joints were mortised.
  24. Tried very hard, and believe to have some new info to provide: the corner blocks do appear to be significantly longer in the outer ribs than those in the C-bouts (I could see but would not be able to take photos to show due to the awkard angle, apologies). However, the linings, as BF already commented, stopped at as opposed to mortise into the blocks, which you can see in photos attached. Once again it is perplexing. Welcome all to comment.
  25. Thanks again to the comments and opinions from BF and Jacob. Now, it has been suggested it is neither a Fussen, a Viennese, or a Mittenwald. This fiddle appears to be somewhat peculiar, doesn't it? To my untrained eyes, it has a look of an old South German. Did the measurements with additional photos provide any clue for ID, or what it could be?
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