Amateur Dieudonne

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About Amateur Dieudonne

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  1. Is this authentic Ch.J.B. Collin-Mezin violin ?

    'Yeah,wot he said........' I think the corners are the biggest tell - wrong shape(not square enough in outline),too much sting and the c-bout rib corners look to have a, shall we say, more 'german' position relative to tables?
  2. Another ID

    Firstly, I must say to Martin that I think I made a mistake about Bailly becoming a Laberte label........I know I read something that surprised me though - I might have been thinking of Paul Mangenot;if I remember what I am trying to bring to mind I will post it up. Antero, you say the violin is powerful.......isn't that what those strings are renowned for? I have seen Martin recommend Warchal Karneol and we are currently using them on a better Laberte to good effect. You may want to experiment with a Warchal Amber E on any set you try as our experience is it can work wonders (although not guaranteed). I think Obligatos are essentially an earlier version of your Evah's and might power it down a bit; they are said to darken the sound too. We have a set on an unidentified instrument which responded just like the reviews tell you to expect, they are the higher tension version. When I have some time I hope to post it up for opinions. I wonder if Martin would be so kind as to generalise one or two descriptive words for this class of instrument? He has test results for stacks on his website
  3. Another ID

    https://www.bromptons.co/reference/results/details/violin-by-amadae-dieudonna-1923.html http://www.viaductviolins.com/maker-detail.php?maker=4
  4. Another ID

    Ahh, made by a 37 yr old Dieudonne and "reviewed" by Charles Enel(ten years the senior), perhaps......."point" can mean "trading stamp" in some translations. I saw one of these in an online auction,dated '27 I think, a couple of months ago-perhaps you were the buyer Antero and I have seen those pegs on other supposedly Dieudonne work (I always figured he bought a job lot of pegs from Laberte ). He, well his workshop, must have been very prolific as he is credited at times with supplying Amati Mangenot, Lucien Schmitt and J.Lavest to mention the first three that spring to mind.; he also exported to Wurlitzer in the US. Enel was known to supply violins in different grades with proportionate pricing. Is it true to label? I vote yay - as Martin suggests, it looks like it was made in France in '27 but probably not by either of the names on the label. Scroll is quite fine but button is a little less than,so my call is mid range Dieudonne workshop by unknown hands(who may well have gone on to become better known hands) labelled and sold at the Enel establishment in Paris. Nice. Solid and potentially quite rewarding sound wise if you could hit the setup sweet spot. Are those Virtuoso or Obligato strings?
  5. Another ID

    Laberte factory often fitted those pegs inlaid with metal eye-gold or silver colours, especially toward the upper end. I have read that Charles Bailly became one of their brands(later anyway) and I believe it was, however labels were usually hand signed(again later - probably not by him) and didn't say "a' Paris" in 1927, did they Mr. Swan? More "maitre luthier" wasn't it? Jenny Bailly had "a' Paris" according to Henley....but then so did lots of other makers. I have a Thiery a' Paris from about 1895 - for instance but that is a JTL(pencilled on neck block) It looks to also have the super shiny gloss varnish on the back which seems characteristic of a lot of Laberte. I'm guessing the OP has bought it but so far only has these pictures and we will have to wait to know the maker. If that supposition is incorrect, post the maker - tout suite, s'il vous plait and tell us,how does it sound?
  6. Violin ID and Restoration Tips?

    Did you notice the similarity of your neck/top block construction with the violin I recently posted on this thread? https://maestronet.com/forum/index.php?/topic/338721-salzkammergut-specimen/&tab=comments#comment-771378 The rough lining(lower only),lack of corner blocks and crude lower block are also reminiscent..........OK,pretty much identical. OTOH you appear to have 'real' purfling while mine has inked. We both mention red too. I am not suggesting they are the same type, merely that there are some shared characteristics you may be interested to compare.
  7. Opinions/ID on this Violin?

    Did you notice lower treble F-hole is missing a chunk? Repairing that should give some 'practice'. It should say Germany somewhere if it is early 20th century I believe. I have one stamped under the tail pin and one with a paper label still attached.
  8. Salzkammergut specimen?

    Continued. Thank you Mr Saunders. The bass bar is incredibly short(about 13 cms) and badly fitted - I hesitate to even use the word 'fitted'.For some reason a rather intense scarlet varnish spill made me initially wonder if was actually an early Asian product. The red colouration is more intense than the photo shows -must remind me of Japanese lacquer work I think. Lots of glue splashed on everywhere inside too. The only mark inside was this pencil like scribble and this picture below shows the variation in rib thickness and rib/corner non-alignment. Is this what ribs look like that are are fitted free form with no internal or external mould used(I have read that this was employed as a building method but I have no idea what tradition or era that represents)? The scroll continues the 'hacked out in a hurry' theme but again like the f- holes has some kind of intrinsic flair(well they tickle my fancy) as if marked out with panache and then given to a ten year old to finish;I wouldn't be surprised if this may actually be close to the truth. And now what I believe may be the most telling part of the construction and why I have used the term Salzkammergut. The neck and the top block are one piece,held in by the wedges which are like large match sticks jammed in against the ribs. The finger board is not ebony but I assume a stained fruit wood. Anyhoo,I glued it all back together as you do,thinking I would be lucky if I got a squeak and a whistle out of it - I thought it would end up hanging on the wall - as an example of how not to make a fine violin. As I said earlier, tiny soundpost fitted loose so as not stress the poor thing,quicky re-cut some old bridge that was close already (ended up at 33 mm high)slapped the original super small lightweight ebony tail piece on fitted up with some old Warchal Brilliant vintage to keep the tension low and couldn't believe what we were hearing. Obviously we are not talking the 'Soil' here but it was a pleasure to listen to, nice tone, some volume, sweet E ,dark chocolate G a bit of scratch when you dig in. The only let down was the D-string was largely missing in action;I kept it strung up for about three months and it coped really well. I have taken it down to fit a tighter soundpost properly and cut a bridge in an effort to help the D find a voice;I figure it is in there somewhere. Most particularly keen to find out what sort of age we might be looking at? I figure 19th century but how early? Secondly, can anyone tell me what the little grooves are on each(very)end of the saddle? They almost look like tailgut wear don't they? Is it the remnant of some unusual set up? (footsteps as Elvis leaves the building).
  9. Salzkammergut specimen?

    What looks like cracks in the back are actually just features of the wood-no separation occuring at all......... you should see the top if you like cracks.The parallel whiter marks on the treble top are just scratches but the table was in two pieces along the line through the sound post location before repair - plus wing cracks bottom and top of bass F hole and lower bottom treble side had split. The F-holes are very narrow-had to slim the sound post dowel to around 5.2 mm to slide it in.They have a "je ne sais quoi" gracefulness about them although very roughly cut; like someone with a real eye for it was told "you have to complete them in ten minutes.Go." The top also has another interesting feature I have found difficult to obtain images of - any links to inked on purfling pics anyone? These were originally absolutely invisible under mountains of dirt ;they are also just visible next to the saddle(ribs joined below saddle BTW) . More to follow........
  10. Salzkammergut specimen?

    As I have just signed up to MN I will try posting up a couple of pictures to start and see if I have the sizing and uploading happening; this instrument has some very crude features but also has a certain gracefulness in some aspects. Very 'standard' measures 356,130/195. I will follow up with more detail/piccys soon when I have viewed the appearance of this trial run and tell why I think Salzkammergut.........?