Guido

This is an extreme case of nail damage - it is unusually deep. It can and should be filled by a competent bow restorer.

This blonde bow is stamped on the butt end to have originated from a three letter acronym. What is visible of those letters does not match any of the usual suspects for me. Any ideas?

Yes, flat, or rather square. Wide spaced, too, and at quite an angle (giving lots of movement per turn). Have you seen it before?

The bow looks cheap and new(ish). I guess someone who shouldn't replace faces has done so on this bow. Get your first violin first, acquire some experience, then look for a bow. Ebay is a trash dump for the most part, be aware.

This Mirecourt bow has a rather strange adjuster on it, which may be a replacement, not sure. Anyone seen anything like it? The metal has behaved/ oxidised rather differently from the nickel mounts on the frog. From a distance it looks more like aluminium, but it has the proper weight (4.3g). The even stranger thing is the thread on the screw - have a close look!

I don't see anything pointing to any Panormo, but I am no expert. The violin is certainly interesting though as the few things we have established so far don't really go together all that well. You should try and take better pictures of the linings at the blocks or tell us if you can see it clearly. While I think they may be let in, it is but a vision in the fog, and not supernatural eyesight on my behalf. The most interesting bit will be the neck attachment, as it is most likely original. There is no cut-out in the top plate. The shape of the heel and the thickness of the neck towards the heel are also rather "different". I wouldn't die of shock if it had a screw under the fingerboard, but that is certainly against the odds.

The linings appear to be let in, with some uncertainty as to the quality of the photos. This is obviously consistent with the one piece lower rib and notch and points strongly to an inside mould construction. The one rib joint you show (lower bass) seems to be mitred the wrong way though. how do the others look? blank face makes a good point about the neck attachment as it looks like you either have a through neck or might be looking at a nail or screw through the upper block. Failing either there could still be a screw driven in diagonally down from the fingerboard glueing surface (which you can only see when the fingerboard is removed.

I was also wondering about the role of e-string fine tuner types in this regard, i.e. English vs extending out in front of the tailpiece.

This one seems to give the shorter afterlength to the lower strings. Mmmm

Well done. So what's the plan of attack to get it into playing condition?

This is an inconsequential question about the business model and supply chain structure in this particular incidence, not a question about the violin. It's a question of corporate boundaries and statutory accounting vs internal cost accounting. These business models existed in all permutations in parallel at the time. I can wholeheartedly recommend Brickley/ Smith/ Zimmerman "Managerial Economics & Organizational Architecture" if that is your interest.

Why fake stamp? It would be consistent with „the usual“. Do you see how little it matters?

Ditto. The OP label was the one used very early and before serial numbers were introduced. If you have a look through the Cozio archive, you'll see a 1924 Guarnerius with the same label and w/o serial number. The first violin with a serial number in the Cozio archive dates to 1925; the OP violin may have been the last one without serial number. P.S.: The 1924 example in the Cozio archive with the later label and serial number is a mistake - it's a 1927.

Thanks. Looks like at the time of this publication he was no longer involved. Do you know the date of this reference?

Quite a nice Markie. Zoebisch has no entry, so I assume it’s not a maker. Anybody know if it’s a dealer or just a random made-up name?

cleaned...

Of course nothing will change, but for what it's worth, maybe moderators (@Shelbow) take note. There is a logical structure along the three major lines of activity in our industry: making; restoring/repairing; and dealing. Sure, many do all of that but most would have a more or less pronounced focus on one of those areas or gravitate to one of them as a preference. Dealing is the close relative of identification and valuation; and the majority of people asking for ID of their treasure on this forum do so with the $-signs in their eyes. Buying, selling, ID and valuation could turn the Auction Scoll into the "Dealer Forum" whereas the Pegbox could be the "Maker/ Restorer Forum".

I had a couple of (assumed) Bubenreuth instruments recently with 1:25, they may have been 50ies.

This Saxon box of no particular distinction has started to grow a moustache. Would you be in: camp (A) saying this is dirt, remove while you still can; or camp (B) saying this is lovely patina and so desirable that it is sometimes even imitated when antiquing new violins.

The cleat grain may be off by only a few degrees (as you would with a patch), which would probably still be ok. I would not worry about it too much and take some confidence from the fact that it has already lasted 20 years

You can also try to place the bridge slightly off centre to get the bass foot closer to the bar.

Ditto. Noting this is better quality than the first two; and these sometimes play rather well.

I think cellist sometimes use a clear film of sorts on some parts to protect the varnish. I don’t know details but maybe you can check it out.

Those are all octagonal. Having done some searching myself, there are plenty of people who can’t count beyond 6. There is apparently one modern, artisan bow maker using hexagonal sticks, but I haven’t found any in commercial production.