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Everything posted by Guido

  1. I don't have the violin, can't check anything over, or take more photos. If a discussion of those pics alone isn't going anywhere then that's fine, too. Just thought this style of Stainer model looks rather Klotz-ish, incl. the ffs, the head, and maybe even the varnish/ wear. Narrow pegbox at the a-peg another feature visible here...?
  2. Does this look like a good Mittenwald violin from the 18th century? This is a purely academic question for me.
  3. Looks like the neck was screwed on from the outside diagonally down from the finger board gluing surface, and the screw would have been hidden when the fingerboard was glued on. This feature was discussed on this forum before and associated with some English makers if I remember correctly. Can't recall further particulars, maybe someone else can.
  4. Tarisio (and T2) are very professional. probably what some would consider the industry standard. At tarisio, items are often sold as "by" with the auction house' reputation on the line - they are very careful, and very reputable. Buying there is in many ways close to or better than retail (minus the after-sales service). T2 does not make attribution. Generally items offered are speculative in nature, or need (sometimes extensive) restoration. It is meant to be a platform for the trade where knowledgeable buyers/ dealers get their stock. Labels are mostly to be disregarded, and condition issues are often underestimated. If you think every violin with a Roth label is a Roth you should not shop at t2. Or if you ask if t2 is not as reputable it shows that you shouldn't shop there.
  5. I've got a surprisingly similar looking thing (violin) currently sitting in the scrap wood box (but not yet cut up). In terms of origin, mine doesn't fit with anything I know. Any chance you got cleats on the back centre seam? Yours has just like mine a super shallow neck mortice in the upper block. Maybe someone can put a region and time to that practice?
  6. You have been showing a huge amount of interest anyways for someone who doesn't buy anything at T2 and has sworn them off. Your bow may have a credibility issue :-) Looks like it could well be a Pfretzschner, but as BF said the head doesn't look like anything in the book (did you manage to get a copy?) Also, I thought most would be stamped and not many if any would have been sold incognito (or lived on without any other stamp put on if they were supplied for that purpose). Was Pfretzschner actually supplying unbranded bows for other shops at all? One hears a lot about Nurnberger (and many other) doing that, but I never heard of Pfretzschner as a supplier to other shops? Anyone aware of examples?
  7. Guido

    Violin ID

    P.S. on balance I'd vote French, too
  8. Guido

    Violin ID

    Is this a dark grain line running across the back and through the sound post area?
  9. Take 3mm or 4mm chisel and make square (or rectangle) with slight undercut at the hair exit and parallel opposite wall. The hardest bit is to hold the frog w/o risking damage. I have made a frog holder which supports the frog while mounted to it's stick. The adjuster is poking out a hole in the back (not visible).
  10. Thanks BF, that is the sort of thing I was hoping to hear. Of course there will be exceptions and it will be the same as violins that one can't go by one feature...
  11. Thanks Brad, I should have been more clear. What I find in many bows I have rehaired recently (mostly German trade), is that the mortices are cut at or close to 90 degree angles and the frog mortice taking the shape of a rectangle, maybe with a very subtle "undercut" at the hair exit. I'm aware that the "textbook" mortice is supposed to look more like a parallelogram with more of an "undercut" at the hair exit to provide proper mechanics for the so-cut wedges to not come out. The frog mortice in the bow I have just rehaired had very pronounced parallelogram shape with angles deviating from 90 degree by a lot, quite extreme, so I was wondering. It would be interesting to learn more about differently shaped mortices and how this may be associated with different schools. Maybe someone else can chime in? P.S.: I had a Bubenreuth bow with a useful stick recently that I thought worth rehairing, and found the frog mortice to be perfectly round from a drill bit, not just back and front walls with a straight section in between but the whole mortice just being one single drill hole. It's now a serviceable bow :-)
  12. Just wondering.... I have been rehairing lots of bows recently, most of low value, and the mortice cuts mostly left wanting, in particular I don't usually see pronounced angles at the front/back. I just now have a bow with rather extreme angles (in particular the frog mortice) and also a nice curve in the sides of the head mortice (rather than just straight). I'm wondering if these features are a general sign of quality or more readily found with one school rather than another?
  13. Hate to say, but it's pretty clearly a write-off. The proper repair for this type of crack involves a plaster cast and quite an involved (expensive) procedure that does not stand in relation to the value of the violin after repair. I have a couple of beyond-repair violins in my scrap wood bin and they are slowly being cut up for various purposes... but I wouldn't pay $20 to add another.
  14. Forgive me. Maybe not as funny as I thought ;-)
  15. Bows affect sound. A "stronger" sound is more likely to have a buzz appear that is otherwise not activated. For example, I did a sound adjustment recently which made the violin much louder and it started to buzz when played on the g-string. Turns out the a-string nut groove was worn a little low so the open a-string would buzz against the fingerboard in resonance when playing on the g-string. That was never an issue before the violin got to work a bit harder. Similarly some bows produce a stronger/ louder sound than others; and one may speculate that when they change/ filter sound in a different ways, certain frequencies are stronger/ weaker causing a resonance buzz somewhere. I'm surprised though because plastic bows usually have a dampening effect. Whatever it is, I'd say having the buzz is a good development in terms of getting a bit more energy flowing. Now you just have to find and fix it.
  16. That's funny! Makes sense. It looks like following the line of the f plus the kerf of a saw. On close examination it also looks like it's cut on an angle in a way that it wouldn't be visible from the inside. I guess the ffs could have been cut by someone facing the inside surface of the plate. Odd, as it is indeed a reasonably nice fiddle.
  17. Funny you should say that. I have a violin with back centre cleats and a black peg box :-) At the same time I wouldn't be surprised if people could tell a JTL from a Laberte by looking at the cleats...
  18. P.S.: I know this spot can buzz or fuse with dirt if too tight... but the gap here is generous already so I don't think that was the motivation.
  19. This violin has some extra f-notches as marked in the pic. They are consistent in all four locations. Initially, I thought it to obviously be a slip of the knife, but there are four of them in a rather consistent manner and the cuts for these are actually not in extension of any of the (current) f-lines. Can this possibly be an intentional feature?
  20. Thanks all. I was just referencing the inlayed cleats as an example of the variety one encounters, but was hoping more to have a discussion on back centre cleats in general as one feature to interpret for ID purposes. Of course they can be a repair or later addition, but I was wondering if there is much that can be learned from presumably original cleats about a possible origin of the violin? For me there is only one attribute when there are cleats: French. So, questions are: 1. How good is the rule, cleats = French? 2. Is there a more refined level relating to size, shape and number of those cleats pointing to different times/ schools?
  21. Is there anything that can be learned from the type and number of centre seam cleats? Of course we like to see them on French violins... or maybe they are a result of a repair... anything else? and what about their number? I think it’s six I see in most French trade violins, but I’ve seen four or even just three. Any significance? and then some are just creats, others seem to be inlaid. Any significance? I attach an example of one of three inlaid cleats perfectly flush with the back surface... still a French thing?
  22. I'm quite aware and sorry, I didn't mean to sound defensive.
  23. I find Czech makers are generally very professional and often rather "clean", and more recent generations seem to have no shortage of professional tuition to continue the tradition. My violin on the other hand is actually quite idiosyncratic for lack of a better word. I was thinking towards Budapest, where expression seems a bit more free; but I lack any meaningful experience with that corner of the world.
  24. I note that probably upwards of 99% of all violins posted on MN recently have been stripped and revarnished. This one here, I would argue, has not been altered and is simply the makers attempt at some shading.
  25. I agree that any construction method can be made to look like another type, but at some point I have to wonder: the easiest way to fake an inside mould construction would certainly be to simply construct the violin on an inside mould. But of course then we might call it a fake outside mould, coz, hey, its got to be fake somehow, right?
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