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  1. Has anyone ever seen?

    He must have made many, back in France, for e.g.Bossard-Bonnel and others, but indeed, it's unlikely that he got to label them, back then. Must have been weird to be a star luthier with actually nothing to show?
  2. Has anyone ever seen?

    Good afternoon! Has anyone ever seen a violin or viola made (not repaired) by Rene Morel? Photos? Thanks in advance
  3. Help identifying violin

    True indeed! And often enough, fractionals as well. My son plays a red 3/4 Medio Fino at the moment and I wouldn't challenge him to change, even as there are many better looking ones at hand...
  4. Help identifying violin

    What did you pay for it? And don't remove the label, its a genuine JTL "mi-fin" that cost about 8-9 French francs a piece, in early 20C If it were a Medio Fino, the accordingly label would have been placed where the JTL label currently is - probably! They of course used many ways to label them over the years. It is not completely worthless - many shops ask 800...1200 euro for a 3/4 mi-fin or Medio Fino if it is in OK shape and makes a decent noise, so it all depends, what your luthier will charge for his work.
  5. Help identifying violin

    Mi-fin, non-filete, I am afraid. And a lot of work ahead.
  6. Another ID

    I have to check whether I have Karneol at hand, but it might be a good idea. No, I did not mean TOO much power, just something was not yet quite right, incl. bridge that is too narrow. And it seems to me that Pirazzi alone wouldn't perhaps power up just anything, specially Gold, they are milder in tension than regular (green) one. Even several older ones (late18 early 19c) seem to like them.
  7. Another ID

    Thank you AD and MS for feedback! Hitting the sweet spot of the setup will be the next challenge. It currently has Pirazzi Gold medium strings (with gold G), perhaps you have good alternatives, now knowing the school and kind?
  8. Another ID

    The source is Viaduct Violins Paris. They say in general about A Dieudonne: ................................................................................. Biography Career Son of Albert DIEUDONNÉ, a violin maker, Amédée DIEUDONNE started his apprenticeship at the age of fourteen under Gustave BAZIN. He left BAZIN’s workshop at nineteen to join DARCHE’s workshop in Brussels. In 1910 he joined GERMAIN’s workshop in Paris for few months before returning to Brussels. Workshop DIEUDONNE established his own workshop in Mirecourt in 1920 on Rue G. Clemenceau with three craftsmen. In 1939 he moved to 5, Rue Canon and in 1945 to 5, place Thierry. A. DIEUDONNÉ ended his activity definitively in 1957. Collaborators DIEUDONNE’s workshop was generally composed of two or three craftsmen and two apprentices. During his professional life he trained twenty apprentices among whom there were several very good craftsman he eventually employed: - BAZIN René. - CLAUDOT Pierre. - EULRY Jean, from 1923 to 1956 - GUINOT Eugène. - MAUCOTEL Eugène , from 1927 to 1932 - STRIEBIG Jean - THOMASSIN Marcel, from 1921 to 1956 - VOIRIN Marcel. - Etienne VATELOT, Bernard MILLANT, René QUENOIL, - Bill MOENNING and René MOREL are among other makers who served a part of their apprenticeship in DIEUDONNE’s workshop. Collaboration with Charles Enel During the 1920’s DIEUDONNE furnished the well-known Parisian maker, Charles ENEL, with fine violins made in his workshop. These instruments, although slightly different from his average production, bear the typical features of DIEUDONNE’s work and were crafted with particular attention. They were labelled as follows: « Fait par A Dieudonné Fils luthier. Revu et mis au point par Ch Enel à Paris 19.. » Labels and Brands Instruments produced in DIEUDONNÉ'S workshop bear a label. Beside the label, which can be signed or not, instruments made by Amédée DIEUDONNÉ are signed and dated, generally in blue-purple ink, to the inside back and top. Among others, one can find his production under the labels of : - BOURGUIGNON Claude - CLAUDOT Charles - COIFFIER G (see #1611 in Archives Gallery) - DELOGET Marcel - HEL Pierre (see #2052 in Archives Gallery) - MANGENOT Amati - NADEGINI Leonidas - POUZOL Emile (see #2475 in Archives Gallery) - SCHMIDT Lucien (see #2121 in Archives Gallery) - VAUTRIN Pol-Amati or trade names such as AVENIO inside his instruments. Music World A violinist himself, DIEUDONNE was involved in the music world of his time. He played and conducted an orchestra in Mirecourt for several years, which included the violinist Louis JEANDEL, chairman of AUBERT Bridges. DIEUDONNE’s workshop furnished many of the violin makers and dealers of his time with instruments. ................................................................................. I forgot to say that label in the OP instrument is not signed, but it has two ink stamps DIEUDONNE inside, on the back; one above the label (towards the center) that is in its usual place, as well as on the other side, to be seen from the treble f.
  9. Another ID

    Well, part of the answer is in the last reply; it claims to be a Dieudonne. Label is not frequent, but also not unseen: « Fait par A Dieudonné Fils luthier. Revu et mis au point par Ch Enel à Paris 1927» I have no idea whether the label is authentic, but such label actually exists and Dieudonne and Enel had some kind of cooperation in (at least) 1920s. So yes, my question was - is it? It looks shinier than it actually is, due to the flash; but true, I cleaned it from dust and this left a little oily look. Sound is rather powerful but setup is not optimal, hard yet to say. Not my favorite at the moment, but well, could be.
  10. Another ID

    Dear all, Please let me know, what do you think of this violin. Photos are not good but as good as I can get... Center is cleated.
  11. village fiddle homeland

    My interest is not merely a brain exercise. I got it restored; it makes decent sound with a set of Zyex. Has been standing idle for years or decades, so it keeps further evolving. A is particularly good already now. A folk fiddler tried and liked it too; besides the sound, it blends in nicely due to its rustic look. So I might be giving it out to be played, hence the question.
  12. village fiddle homeland

    Thanks, Addie! Don Noon once posted a link to Ford's muuseum: The scroll (or where it should have been) is quite similar, the rest perhaps less. The luthier said the back seems also to be spruce, could it be?
  13. village fiddle homeland

    Really?? Nothing??
  14. village fiddle homeland

    Hi everyone, I left up a question some time ago in the "ugliest scroll" (or smth) thread, but nobody seemed to pick it up, so I come again: could you identify the wood of this fiddle (back and ribs) and perhaps guess, from which country could it be from. There is no reason to try to guess which Otto or Pierre or John could have made it, but perhaps country/region could be determined, with some certainty, as it is not likely that such a village fiddle would travel far. Or could it? I got it from UK. What else? BOB, through neck as you see, and normal bass-bar, earlier (weird) repairs. Thanks!
  15. CONTEST: Worst scroll ever

    Not really ! It is all back, in both pictures, from inside and outside. Can't take ones of belly right now, it is not at hand. F-holes are rough, but recognisable. Bassbar was weird but present. Not integral version. I thought that may be the scroll would ring some bell.