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Everything posted by antero

  1. Not very helpful at all! Unless you know, with whom to associate all and every one of these features! But really; it would not be fair to ask an expert to reveal all the tricks of his trade... some of them are not...
  2. Oh, and for what is it worth: the lower saddle (incl its extension into the saddle) is horizontal on the bottom edge. Who would be the likely (good) copyists of the last 20...40 years?
  3. Thank you Martin! and best of luck with the ongoing holiday season, by the way... Lower saddle is let into the lower rib: ca 3...4 mm. I have asked that before - who was doing that? Or who was definitely NOT...? Lob is 353 mm. Yes well, I believe it to be a modern copy, but it is indeed rather well made: so I thought, - perhaps someone recognizes some specific features of the actual maker.
  4. Thank you! Was Enrico also labelled as Jo Baptista? It would not be unusual to stick to the name/label of a famous first maker.
  5. I did not look at the label before I wrote. Partly because as I remember, also violin literature has referred to this name in both ways; correct or not, no idea. With 18c German makers names this could be almost rule rather than exception. But you were right, it reads Ceruti inside.
  6. Please, ladies and gentlemen, floor is yours. Inner work: symmetrical, slightly concave shape blocks, trapezoid cleats on the center seam. Lower bout in two pieces: the same piece of wood, nicely mirroring tha pattern to both sides. Lower saddle let into the rib ca 3 mm. Scroll fluting goes to the very end. And yes, Cerruti label (1817).
  7. antero

    Hart and Son

    a very nice case, indeed!
  8. antero

    Unusual VSO

    Having the saddle let 3..4 mm into the bout has often been discussed one of the Mittenwald features. Was it also done elsewhere?
  9. antero

    Unusual VSO

    So Hamm's saddle is mainly (always) bone? Let into bout few mm-s?
  10. antero

    Unusual VSO

    One piece lower bout?
  11. Thank you, good point! And thanks to everybody else.
  12. Agreed, please tell me more!
  13. Probably yes, in violin making. Perhaps not so, in political terms. In every empire, you look either up or down. So the welch and scotch...
  14. And more , maybe somebody wishes to comment on lower saddle originaal design - the convex inlet into the lower rib.
  15. Well, there is a Mr Zyka senior, too, but I agree: if it goes that far as 1850 - no this connection, most likely. But please refer to my original question. If you put Shönbach and rest of the XIX ct Bohemia in the same box, I rest my case. If not, I would ask further. Prague was always a wannabe Wien. Wha about Brünn? Is it a bob?
  16. Jacob, you kind of keep on pedalling the obviously ponitless Jaura label, I was curious to learn, whether it was probaly by Mr Zyka himself. Of Brünn.
  17. I do not attach any significance to this "Jaura" label. I have not even studied Jaura labels' design, because the print of it seems so rastered and fake to me. Mr Jaura did not own his kind of printer, I am afraid. There is a tiny possibility, however, that who ever inserted the Jaura label, actually thought it was Jaura's...
  18. Hi there, This violin bears a bad copy of W T Jaura label and F Zyka jun (Brno) repair label and inscription from 1970s. Could it be that it never actually left Brno or does it show more Schönbach marks? Some of you might think that it does not matter anyhow, but I would gladly learn more. Violin shows intensive use marks but it is still pity that Mr Zyka decided to retouch it so massively that it looks more or less over-varnished. I think it is BOB, although not completely sure. Sorry for bad photos, as usual.
  19. Very good, indeed! Hope to see more...
  20. Still interesting. I wonder if anyone has an example (photo?) of what came out of the milling machine, before any further work?
  21. But still, would the different arching pattern (belly vs back) exclude the machine?
  22. Was it Josef Müller, by any chance? Is this one, too, machined? They must have had then different cutting profiles for bellies and backs?
  23. Thank you! I have this kind of insert/replacement in one of my violins, but mine is not Rogeri, rather something Bohemian...
  24. Somebody posted on previous page an example, where saddle is let 6...8 mm into lower rib as an ebony curve or semicircle - do you know where does this fashion come from?
  25. So you are confident that prancing costumed performers on electric strings won't take eventually over Beethoven, Brahms and Bruch? I have seen one doing Barber and Paganini, not yet on electric, though. But I generally agree - the mainstream classical lot is way too conservative to go this way anytime soon.