Guido

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About Guido

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  1. Just for fun - violin ID

    Re bump: maybe the violin was rather thick and someone re-graduated it but didn't want to lose the label, or intentionally left it thick in the centre?
  2. Show stopper - the brick

    I'm otherwise tempted to bid on this violin. Is the button repair known as "the brick" an absolute no-go (i.e. the violin is ruined end of story); or would an otherwise nice violin still be interesting provided it could be had for cheap?
  3. Neat 7/8 violin for ID

    Thanks BF. Funny you should say that. My first (and very short lived) impression was French. And it does have a fake French label
  4. Neat 7/8 violin for ID

    Bohemia 20th century = Schonbach trade? Rather than Prague?
  5. Neat 7/8 violin for ID

    Yes, the longitudinal arch is really strange. It remains flat for a long time and then produces a fair bit of a pump in the centre, both back and front.
  6. Neat 7/8 violin for ID

    This neat little violin (LOB 34.8 over arch) makes me curious. Varnish looks a little more towards red in real life. Any ideas would be much appreciated.
  7. "Vuillaume a Paris" Violin ID?

    If you proportionally scale down a violin, angles stay the same. That may or may not apply perfectly, but will be pretty close. Projection comes down by 2 mm to 25 mm in Strobels measurements.
  8. Original Baroque Fingerboards

    I have a ca. 1820-30 Hopf violin (dendro 1810) in stunning original condition with original unaltered neck and apparently still the original saddle. It looks like the violin was never played much - the pegs are not bushed, the holes not even reamed much bigger (if at all) from the original. I did think I had a replaced fingerboard though. Now I'm not so sure anymore. Could this be original (maybe the core blackened later)?
  9. Dilworth has: Voigt, Wilhelm Johannes. Born 1899. Son of William Albin, below. Pupil of R. B. Krauss. Good professional work. Willy John Voigt / Markneukirchen. Here is mine from 1947. Just 70 years young this year. Any others out there? I'd love to see them.
  10. 20th Century Italian violin makers

    Popular with French makers. With Italiens, Poggi comes to mind (not all) and I’m sure there were others.
  11. Is the label on this violin legit?

    After the first couple of pages on Bass Clef's thread on the fractional violin I grew tiered of "Bass Clef threads". I did really enjoy the plunge thread though! I just went and had a look at those new instruments now. WOW! One would hope that none of these are from China or Reghi though. Regarding the OP fiddle, my guess would have been Vogtland between WW1 and WW2. Even then, the high arch is a little bit unusual.
  12. Is the label on this violin legit?

    I would think the arching makes a new-ish instrument (China or Reghi) somewhat unlikely.
  13. Ferdinand Goth - Schonbach?

    After making contact with Bubenreutheum.de I was given a reference in the "Schoenbacher Heimatbuch" which was published 1969 in Bubenreuth: Ferdinand Goth was born 1883 in Schoenbach and established his own workshop there in 1910. His brother Peter, also violinmaker, moved to Bubenreuth in 1950 where he died 1967. It is not known if Ferdinand moved to Bubenreuth after the war, so I would assume it was not the case.
  14. Markie Id

    ...translates to 'big city violin making"'; i.e. Munich, Berlin, Hamburg and others. Or in other words not Markneukirnchen or Mittenwald. These city makers could have bought-in white parts or finished violins from different sources; or they could have been artisan makers with influences from anywhere (a little bit like today), which is near impossible to keep apart. On the other hand, looking through Zoebisch Vol2 the 'typical' mass-production Markie style isn't really evident with the better makers featured in the book anyways. Quite a few could be confused for Italians IMHO. I think the OP violin may well have an authentic label. Herbert was only 20 yrs old when he made this fiddle well before he left his home town to establish independently elsewhere. That would fit with the hand written label, too.
  15. Ideas about my new friend please?

    I would focus on playability and otherwise minimise investment. Reducing your string angle seems to be the priority. The modern equation of higher sting angle/ higher tension/ louder instrument is not always true and less tension seems to work well with some instruments.