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Everything posted by zhiyi_zhang617

  1. 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.
  2. I think such a box design was initially used for the highly priased Bogaro & Clemente rosins. Now there are many followers.
  3. 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...
  4. Interestingly, have we all forgottten the famous checklist?
  5. 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.
  6. Searched online, and found some similarities with those of Albani school.
  7. 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.
  8. Here you go; Thanks a lot, BF. Two of the photos indicate that the rib joints were mortised.
  9. 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.
  10. 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?
  11. Thank you, BF. Hope the following info helps (I changed the measurements in mm): 355 mm back (without the button) 201 mm width between lower bouts 165 mm width between upper bouts 108 mm width between C-bouts 29.5 mm (upper bout rib near button) and 33 mm (lower bout rib near endpin) (measurements between the table plate and back plate). The scroll fluting clearly went to the bit end (as shown in one of the photos). Also, the violin is quite old (peg bushings, grafted scroll, and repairs, etc.), and felt light in one's hands.
  12. Corners (front and back) are blocked (dust built up around the blocks and too difficult for me to take clear inside photos), The measurements are as follows: 23.2 in total length 14.0 in back 7.9 in lower bout 6.5 in upper bout 4.3 in C-bout, 1.2 in (front) -1.3 in (back) rib (between the table plate and back plate)
  13. The very same violin; all changes during the past two years are the strings and the tailpiece, as you would be able to see. Are (the typical) Vienneses thought to evolve or derive from the eralier Fussens? Both you and Jacob would be the right ones to educate us.
  14. Yes, I asked a similar question two years ago for the same violin. You generously provided your opinion as it could possibly be a Thir (a Fussen): The following is the conversation two years ago. Highly appreciate your insight! Posted April 4, 2020 I asked: Thank you, Jacob; is this also a Thir (or maybe better than a Thir)? Your replied: a bit similar, but I would need far more Information than that to form an opinion
  15. Thanks a lot, BF and Jacob! Very helpful, apparently the differetiation is irrelevant to the bridge with a stemp of a named luthier in NYC! To simplify and be explicit, would we be able to unambiguously differentiate a Klotz ca 1800 from a Geissenhof? Best.
  16. Appreciated, Jocob. Your reply is informative and helpful for us to understand the differences in evolution of the two centers. However, if someone has a violin ca. 1780 with the typical characteristics of Mittenwald (e.g., scroll fluting gone to the bit end, or simply very Klotz-ish in general). Would we be able to tell it is indeed a Fussen, not a Mittenwald? I guess my confusion is the typical structure/making method (e.g., slightly small but very deeply cut Fussen-ish scroll with fluting to the bit end), varnish (e.g., dark reddish brown), and appearance (e.g., both tend to have fine grain spruce top, hooky low f-wing, one-piece bottom rib or the bottom rib with ebony replacement in the middle over the endpin, etc.) in some if not the majority from both schools are too similar for a novice like me to tell them apart. The violin I have had the fore-described features (pls. see the photos attached). However, both local luthiers I visited believed it is a Fussen. Therefore, I just wonder how they would be able to conclude? Hope it is not because of the bridge on the violin!
  17. While believe a connection between two schools, although Fussen violins tend to be rare and older, I, as a novice, is very confused, stylistically in particular. There are differences, probably apparent for an expert. An instrument of mine, probably ca 1800 or a little ealier, was believed to be a Fussen. Clearly, luthiers who are the experts in German violin-making could tell Fussen and Mittenwald apart, couldn't they? Hope Jocob or others would generously comment.
  18. Hey, while OP's violin appears to be factory, the case is a decent Gordge...
  19. Apparently a French. with an one-piece top.
  20. I have a very similar experience. My 2nd best player bow is a GA Pfretzschner. It was the most brilliant, powerful, dynamic, and agile I have ever played. However, the head was broken during a practice. I had it repaired with a spline (see the photos). The repair (with rehairing) was, as you know, not free, and safe to say, costed more than 30% of the value of bow before broken. Today, it might be slightly less bright or agile as it was, due in part to weight increase (61.6 g now vs. 61.0 g before). However, it is still my go-to, powerful, easy-to-play, and probably slightly suppler than it was.
  21. He will send you nothing if any of your Markies has the scroll as follows.
  22. Hmmm.... Retail vs. auction, good condition vs. repair required. Notwithstanding, Philip's Juzek beat all EH Roths in that T2 auction
  23. All those bidders had that damage report. Evidently, they were much more enthusiastic than we were!
  24. There appear more Juzek aficionados and amateur enthusiasts than you and me alone, respectively.... BTW, several EH Roths were also sold in T2 auction today if interested.
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