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Everything posted by Guido

  1. Thanks again Brad! The link took me through to your Hoyer frog copy which was inspirational to see! However, I dare to speculate, that while Vuillaume may have started with a design idea in mind, the Hoyer (and comparable) ferrules have slightly rounded edges because of the working method, rather than making them that way to achieve rounded corners. A reverse logic. Sill hoping for some clues on the timeline, if any exist.
  2. Thanks Brad, for spelling out what I was trying to show in the picture ;-) This is not a Vuillaume style bow with rounded ferrule; and it is nickel, just cleaned it a little. One of my reference books points out such a one piece (or top soldered) ferrule at a Nuernberger-Suess bow, but doesn't give any background regarding the practice of making ferrules in this way. It seems to be a pretty rare feature and I wonder if it has ever been a more common approach in German bow making, maybe early on (say 1850 or earlier), and then may have remained with some lines of makers until it disappeared altogether. Pure speculation. Would be good if someone knows and could share.
  3. From a German bow. Can anything be said regarding how the ferrule is soldered? (And if it’s made of one or two pieces?) Is this an “older” working method?
  4. Thanks, I have no doubt the violin is "the usual". I would think Amati is a model designation though (and it is clearly recognisable as such), but maybe you are right.
  5. Anyone know which company is behind this trade mark? No, not Amati, the logo on the left :-)
  6. Guido

    David Hopf ?

    I would say the violin was made 1800-1850 in Kingenthal, likely by one of the dozens of Hopf family members, but quite possibly also by a maker with a different name as the "model" was widely used across town not just by people with a particular family name. As for violins which one finds somewhat seriously ascribed to David Hopf (not even distinguishing between father and son), they tend to be very fine instruments and yours isn't quite in this category. Here are a comparable f in a Hopf of average merit, certainly no David :-)
  7. ... old German bow with metal face - one central pin below mortice caused crack between mortice and back of head. What's the usual approach? CA glue and a less tight fit for the pin? Or something more involved with an insert to the back of the mortice?
  8. Thanks for the input. Yes, it’s a nickel mounted cello bow. Quite old, quite short, quite light, but French. how did your fill job hold up in terms of wear? I’d think the lower facet is still fully supported as is. I haven’t made up my mind yet but leaning towards a fill job.
  9. Try and fill with black CA glue and ebony dust/ shavings, or remove liner and graft on a new piece of wood?
  10. The tool marks in your first new picture of the head look like a poorly implemented afterthought, or probably a later addition. I guess that’s just the tip of the iceberg with this one Still an interesting instrument. I hope you like how it plays?
  11. Interesting. Family name in the middle: J. O. Szymanski Berlin 1951 (currently at Tarisio Berlin). But in the OP case I can't turn up anything with F.K.J. either
  12. Yes, 352 is full size. Yes, its most likely from Saxony and I'd place it into the early 1800s. There is a very slim chance for late 1700s, but that's probably pushing it a bit, and may have been something a motivated seller said about it. Yes, the repairs are horrible and value accordingly low. If it plays well you should enjoy it while it lasts
  13. And yes, the violin appears to be a nice Markie from between the wars. It is made with some effort, fluted f-wings, scroll carved to the bitter end. The pegbox is blackened though and the overall appearance rather clean. I don't have much doubt about origin or quality of the violin itself, but it would have been nice to have a name for it. I would think a monogram like this takes a bit of effort to design (I thinks its rather well done actually), and the violin certainly doesn't look like the owner of the monogram only made a few.
  14. That's new to me, but I shell go a flip some pages in the books accordingly.
  15. This is pretty much exactly where I got to, minus Kretschmer. I have rules out Koch, but couldn't clarify if FJ Klier may or may not have used a brand.
  16. P.S. the brand is quite small, maybe the size of a shirt button, and positioned in good sight just above where a label would be.
  17. I have a take on what it actually reads but have been unsuccessful turning up a meaningful match in the literature. Hence I'll hold back on what I think it reads. Best would be someone has actually seen it before and can tell me who is behind it.
  18. Open centre seem and low fingerboard projection not worth repairing; less than nothing.
  19. Ten years ago you mentioned you had the 2002 catalogue. Would you be able to share the bow pages? I’m sure someone would have told them to drop the OR Pfretchner line as that was just a bit too funny. But maybe they kept the Hoyer and other lines all along?
  20. Thanks @GeorgeH. Very informative, albeit not exactly what I had hoped to see. Does anyone know how they faired during and after the war and when/how they resumed trade with Germany. Maybe any catalogues from the 1950s/60s around?
  21. Would be interested specifically in their cello bows both Nürnberger and “Robert Hoyer” (trade name).
  22. Would anyone have any old catalogs from the Juzek company as pdf and would be willing to share? Maybe PM. Or someone can post some pages here, I’m just after their bow offerings really.
  23. That is a really good analogy. I’m not familiar with this though, and would guess that the water swells the wood as an important part of the procedure? Also, did they heat (dry) the wooden wheel or just the iron tyre?
  24. I don’t think you get a noticeable expansion in the metal, the wood is what you want to change. And it is not so much the heat (which expand everything incl wood), but the moisture content that is reduced in the wood to make it shrink.
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