Jump to content
Maestronet Forums


  • Posts

  • Joined

  • Last visited

Everything posted by Guido

  1. Looks like a nice silver mounted French bow, definitely worth pursuing. I'd be hopeful it can be identified and certified proper.
  2. Guido

    Violin cover

    Yes, but consider in these old cases the violin usually IS loose. No need for the bow to come loose.
  3. Yes, looks like frog and stick are not happy together and might file for divorce at any time.
  4. No, this is a shape often found at better French bows, going back to FX Tourte.
  5. There are "Teller" bridges (cheap) and there are "Josef Teller" bridges (more expensive). In terms of price, the Josef Teller * starts 50% above where the Teller *** ends. A while ago I bought a large number of Teller *** and was very lucky. I visually graded them into three categories and the better ones are among the nicest bridges I have. On the other hand, the more expensive Josef Teller have always been a little disappointing, even in the *** version. With Aubert, I find the spread is more pronounced and maybe more consistent. The lower end ones are really crap, the higher end ones really nice.
  6. It's guaranteed to be grade #37 no less!
  7. It's from the book on the Stainer exhibition at Castle Ambras (2003).
  8. P.S. If you can read the German text, it says that Ebner stained the maple before varnishing to make the flames appear more intense. This also seems to be the case with your violin.
  9. I’d go with Salzkammergut. Not very likely someone somewhere else had the same idea about the lion. Note, the violin referenced also has the inked purpling.
  10. Seen many of these shrunk slides, which I assume are of some composite. The eyes on this frog appear to be of the same material. I see them on old Mirecourt student bows. Questions: Can they be a clue to a certain time frame? Is this material a clue to a certain factory, or was it used across many/ all workshops for the cheaper bows?
  11. It’s a basic student instrument. If there is no hidden damage it’s probably worth the investment of setting it up properly. Did you buy it to play it?
  12. The most important thing for your situation is the quality of the set-up. The violin itself is a secondary consideration. The way you are approaching this suggest you may not be familiar with what’s involved. Best to seek advice from your local luthier. Also, if you get a decent outfit you may be able to recoup a good bit of it come resale.
  13. Guido

    Very light bow

    I would keep it at the intended balance (which is arguably more important than weight). If you add weight at the handle end, the shift in balance may even create a perception of lighter weight when playing.
  14. K.H.S. could be Karl Hofner Schoenbach then.
  15. K.H.S. trade mark thingy. Anyone know the company name?
  16. I know shops which don't get excited about getting anything on commission, when margins on their owned stock are much higher than a commission would be. However, if they get to do an expensive restauration in the process that would be a more attractive proposition for the shop.
  17. What's the convention for measuring string heights? See pic. A (straight down) or B (shortest distance) wouldn't make much difference on a violin, but on a cello C string the difference can be a couple of mm.
  18. Not a Stainer but a decent violin worthy of some professional attention. Good bows, too.
  19. I wouldn't say that. He was a student of Thomas Jacobsen in Copenhagen, whose workshop he eventually took over. He travelled, as you do, probably as a journeyman (!), and had unspecified time in Germany and with Vuillaume (or in his workshop). While good for the CV, it would be inappropriate to just declare him a student of Vuillaume. But that doesn't really matter at all for finding a home for you fiddle. If the repair label is relevant; and if there are no better ideas; I'd start by looking at some Copenhagen makers, progressively widening the circle. There is a slim chance that the violin didn't travel very far in it's early life before 1865, that's all.
  20. At $15k it seems obvious to me that the seller KNOWS it is not a Bellafontana. At the same time $15k for an unattributed modern fiddle with a fake label seems a lot. At this price point you are spoilt for choice. You don't need to go bargain hunting, or take any risks.
  21. I don't see neither Markneukirchen nor Mittenwald, no matter how many features one may call modified. My first rabbit hole to jump into would be to look into Danish makers active before 1865. That is, after a good hard look at the repair label.
  22. Inventory numbers from the A.E. Smith shop look like this.
  23. Might the violin have been in Sydney a hundred years ago?
  24. A country of origin seems to be stamped into the lower facet at the butt end. The weight would be considered much too light by many and reduces severely the marketability/ price. The replaced face is done so badly that it is a liability rather than anything else. Would want to walk around with that face! Can’t tell from the photos if it is actually silver mounted or just polished nickel.
  • Create New...