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Everything posted by Guido

  1. Violins with plenty of character and Italian flair, can sound excellent, ... The one you have pictured looks authentic/ typical; BUT it is being offered with a horrible set-up that casts significant doubt on the seller. This will need to be done all over again by someone competent. Also, I would worry less about the wood used, than about the neck not being straight ;-) If you look for a violin to play, that's what you need to do. Rather pay more than buy something online that will just give you many headaches down the road and may not meet your expectations after all.
  2. Maybe they thought the back was oppio :-) Also, this type of back seam failure is not often encountered with mass production (where they have quality standards and know what they are doing); but rather where the artisan works with urgency and spontaneity. And after all, every violin is Italian, since Amati is generally credited with bringing it about in its current form. There you go, three good reasons why it surely is Italian.
  3. You think they'll let me get away with it?
  4. somewhere on ebay currently
  5. Thanks Blank face. Got the book on the Scheinleins :-), doesn't compare. The outline looks a lot like my Havelka and my Frank, but of course it is usually not possible to name a maker with these Fuessen diaspora instruments.
  6. A recent acquisition, so far only seen from ca 14,300 km away, with limited photos available. Main reason for posting: Does anyone recognise the "S" brand under the button? I feel like I recognise it (i.e. have seen it before), but have not retained any relevant info around it. Done some flicking in various books w/o success. Just can't remember where I've seen it.
  7. I'm afraid neither Edgar nor Luiz have made it onto the Google Top10 list of violin brands to buy in 2023.
  8. It's a bit of a reflex on this forum to not believe it when people say a "fine" violin by a "reputable maker" of the "first half of the 18th century" with "paperwork and certification"; and then default to their own universe of ebay and facebook marketplace. In fairness to them, this usually turns out to be appropriate. If you are looking to optimise the money you receive, a sale on commission is the best option; and if one shop doesn't sell it for 5 years, you can try finding a better one, e.g. see spongebob post above. You may also resign to a lower asking price with the current or another shop to help things along. If you want to sell sooner rather than later, you can commission the violin with one of the auction houses, for instance Tarisio. This may also provide a bit of a reality check, sorry, reflex. If you get into a sale with Tarisio proper (rather than T2) the violin may sell close to retail anyways these days. But the auction house will in all likelihood take a larger cut considering seller fees and buyer premiums.
  9. I hope you have the dust bin in mind and not trying to sell it to anyone in this condition.
  10. New shop, time to hang up some strad posters… Stupid question for people in the metric world… is there a standard frame size that works? I see A1 is too small in one dimension and B1 has rather large margins in one dimension. Am I missing something? What do people do (short of custom frames)?
  11. Sorry for not putting a name out there, customer instrument. Yes, full size. No, not copy style. Straight forward Mirecourt work bordering on being consider a better trade quality. Fuchs Taxe has the maker/shop at 8-15k for orientation. It would not have occurred to me in a million years that this might be anything but outside mould construction like all Mirecourt work of the time, right? Just a bit of a head scratcher and paradigm questioner for me I thought worth sharing.
  12. That's why I posted it. Definitely Mirecourt with a slam dunk ID as labelled, but unexpected for me (and probably many others) to see this construction. Yes, all the rib joints are mitred as they would with internal mould construction; and the linings are let into the corner blocks. Of course it can still be outside mould construction pretending to be something it is not. If I was to do something like this and would want to keep it as easy as possible, I'd just build it on an inside mould, then soak it all apart and reassemble again against an outside mould. Voila. But on a more serious note, I understand the block asymmetries are always observed with the Mittenwald/ Vienna/ Prague/ etc schools, but I think you can well build on an inside mould with symmetrical blocks if you just position your cut-outs on the mould slightly more towards the c-bouts. As an example, some Hungarian violins in Benedek's book look like that.
  13. Just thought I share this as it was a bit unexpected for me to see on a 1920s Mirecourt violin.
  14. Thanks everyone. Perfect. I really need to do something about humidity control, i.e. at least get a humidifier. My relative humidity can drop into the twenties and go up into the eighties. Bow hair length is the other pita with that. And I always hope it isn’t too dry on a day when someone is coming to look at instruments, as they generally sound much worse in very dry conditions.
  15. To get the obvious out of the way; despite well adjusted pegs... Sometimes I open a case that has been stored away for a while and the pegs may have all popped lose, or the opposite, they are seized to a point where I can barely break them free (and I suppose this is one way you get peg box cracks). Many of you may never have experienced this as I suspect it takes quite a swing from one extreme to another; but unfortunately where I live I get huge differences weather and building standards are tent-like, so it isn't always easy to control conditions. The question is within the permutations of climate conditions (warm, cool, humid, dry), going from which combination to which combination may result in either lose or seized pegs?
  16. Maybe you try reading the label on the top block for a starting hypothesis.
  17. I actually agree the OP is probably Saxon... (although maybe not as clearly as it seems to be for you and Jacob). Just thought this was interesting as we discussed this feature in this thread. Don't want to split hairs, but there are three cellos out of six with this feature in the cozio archive.
  18. ... and there are already three more cellos by this maker in the cozio archive featuring a back of the pegbox like this. This is a scandal of epic proportions :-)
  19. Talking about features :-) https://tarisio.com/auctions/auction/lot/?csid=2199830528&cpid=3872899072
  20. If you are purely after the money you could sell the case and the bow for $20 each (assuming they are usable as is), but the violin w/o set-up will be a liability to anyone.
  21. Quite possibly the head doesn’t belong as it seems to have had a darker varnish before. I still have a bit of a dutch feeling about this one, the purfling in particular, but also ffs and varnish.
  22. The odds are in favour of Saxony (and it fits quite well); but would Dutch be a remote possibility?
  23. It's a professional level cello made from solid wood with genuine inlaid purfling. Does it have a bow with real horse hair? Jokes aside, high/low quality means different things to different people. And while there are many exceptions either way, fluted f-wings are usually a good sign in my book.
  24. ... just like little Will did on the Kreisler Del Gesu head during high school orchestra rehearsal.
  25. You may have better luck at specialist auctions (i.e. tarisio proper) which is taking increasing aim at retail customers. At T2, the violins are without any attribution, some are as labelled, some are questionable, some are fake, some are "dangerously" trying to deceive. Same for condition. Some are ready to play, many need work, some are for restoration. Most people will grossly underestimate the effort/ cost associated with getting a violin in actual proper playing condition, even though it may have looked good. Finally, if you can't try the violins, the odds at auction will be against you. Especially the ones that are in retail condition and could just hang in a shop - because chances are: this is what they just did, and were deemed difficult to sell. You don't need to be a genius to understand that shops/ dealer weed out difficult to sell instruments from time to time by giving them to auction, where most bidders don't get a chance to try them.
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