Guido

A basic German trade violin early 20th century. Labels in these are mostly random, or maybe according to the day of the week it was manufactured.

Never seen anything like it. Possibly particular to the maker of your instrument. See if you can find other examples there. Looking at the overhang of the back plate in your photo: maybe a creative amateur/self-taught maker?

If you have a thin walled steel tube with the inside diameter to fit the screw, and the screw hole in the stick has some wear so you get the steel tube in there, you could form one end into a cutter, which might last long enough to cut away the soft brass eyelet. Alternatively, you could use a drill bit coming in from the back. Put some tape around it to protect the screw hole in the stick. I don’t think you can drill out the screw tip this way; but on a slow turn the drill bit might catch and give rotation to the broken off screw piece.

These are interesting questions. Maybe somewhat related: We take it for granted that Tarsio has rights to the photos and info in the archive, especially where they took the photos themselves. But wouldn't or shouldn't the current owner of an instrument have a say? I.e. could a current owner of an instrument request all info (or at least photos) to be removed from public access?

I was hoping to generalise (as one never can) for Mittenwald and related (or I should have said Fuessen diaspora), which would include Vienna. In fact my first example with the point is a Geissenhof. I'm aware the square end to the linings (like in my second pic) is how Stradivarius and many other would have done it, but in my few dozen observations on Fuessen diaspora in the wider sense, I've only ever seen points, hence the idea, which @Blank face shattered.

As we know, Mittenwald (and other related schools) let the linings into the blocks with a point. I'm curious about the point. Can one go as far as excluding Mittenwald (and related) if the tips are let in, but left square? The two cases illustrated. First one a rather neat point; second one some taper but essentially square at the end.

Look new and Chinese. Nice, but. The photocopied label may have tried to upgrade it to an old trade instrument. Could at least have used a Guarneri label.

The flame around the end pin also looks sus. And very different from everywhere else. Best to clarify the neck attachment…

You‘d want to have a look through the endpin hole and see if the original neck is nailed on, or if there is a surprise. I‘m not certain the lower rib is one piece or just joined very well. I note the notch in the backplate!

As long as you can close the case... It seems to be more common to encounter a lower projection on old high arch instruments, but I don't know if that makes it right. One guess would be the higher arch is less resistant against sideway forces and bulges outward, probably in the area under the fingerboard as the projection drops.

Here is another French trade Stainer "model" of similar ilk. Dated on an importer label 1933. Some better materials. I guess most major workshops would have had a model like this in the catalogue for a few decades.

Good thing, too, that there is nothing democratic about it.

My vote is French. Stainer "model", as labelled. I had a couple of these before.

No, you are wrong. It is standing in a generous bed of rather strong hide glue.

Presumably rigid French polish over presumably soft varnish will often lead to crackling.

Exactly that. Answer complete.

Top removal can go super easy to totally annoying depending on how it was last glued on. This one was particularly firmly glued. Maybe 1 in 20 bad, or worse. One trick that works well (which I didn’t bother doing here), is to run drops of alcohol down the blade into the joint as you work. It makes the glue crack more easily. Obviously, care is required to not damage the varnish.

P.S.: A good place to sell a bow like this would be some online auction where savvy online shoppers will pay a premium to feel smart. But maybe a shift in balance closer to the handle will help. I have done this with a heavy French bow. Now it’s a couple of grams heavier but feels more agile (lighter).

Taking wood off the stick seams outrageous. You can try and use a silver wire instead of the tinsel to change the balance and make it feel lighter. Else, sell it and get a bow you like.

Of course a straight bow with a good camber is worth achieving and the better outcome compared to a stick that isn't straight or has insufficient or inappropriate camber. The point of concern rather seems to be a physical degradation of the wood on a cellular level caused by repeated heating (and bending). Any effect would be small (each time) and the improved camber would outweigh any perceived effect. So it's easy to dismiss based on experience... However, It would be great to hear some counter arguments at a material science level for these wood cells/ fibres/ lignins.

Prague is where I'd start my search. It also had a couple of pegbox modifications that were more popular in Prague than elsewhere.

I'd also disagree with his sentiment. Not a cheap and nasty violin. Well worth setting up. I can't exclude the varnish being partially stripped (especially with more darker vanish on the head). However, my guess would be it was part of the original antiquing effort.

I'd say it's in excellent condition and looks just about like it did the day it was made. Caussin school inspired antiquing, German trade violin of average merit.

Heard it a number of times now. Maybe it's a local myth :-)