Tigsol

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About Tigsol

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  1. Thank you! I will give a try at the next opportunity.
  2. I know haha. Wouldn't that be nice though? Someone was telling me that they found a Kittel stick for a Kittel frog recently.
  3. Yes, it was said to be a Nicolas Maline frog by the owner. This was found in a container marked Nicolas Maline. (shop owner passed away and shop was liquidated mostly). Here is a photo of the pins? Let me know if there is any other detail I can highlight for examination.
  4. Anyone have a clue as to what stick this guy belongs to?
  5. Tigsol

    Nicolas Maline

    So how can one join in the S4F and F4S network? Where would one post for this sort of matching? On this website somewhere?
  6. Tigsol

    Nicolas Maline

    Yes, it does have the underslide. It was in a separate container with a note from the luthier who ran the now shuttered shop emphasizing that this was indeed a Nicolas Maline frog.
  7. Tigsol

    Nicolas Maline

    Nicolas Maline frog in pristine condition, looking for the rest Is there any possibility of finding something like that in the instrument world? I am open to a legitimate pairing of sorts for a mutual increase in value. Contact please.
  8. I wonder what region or time period these corner blocks are more typical (German/Italian?) Please advise, if you have some info about this type of construction. I am a student and my friend thinks his violin is a Tononi.
  9. Tigsol

    Carved violin

    I spoke to the man who sold this to me. It turns out that the scroll is from a "viola piccolo" around 1791/Paris. It is therefore a little larger on this violin. Somewhere in the world a French viola piccolo is missing its scroll or it is missing in action altogether.
  10. Tigsol

    Carved violin

    I agree that this violin is possibly a composite based on Martin Swan's and others' analyses as well as my own up-close observations. (Also, I can't figure out how a violin made as a composite can still sound so great. I still feel pretty lucky that the unremarkable table and the overly remarkable back and scroll found each other somehow and are working their magic) It is a violinist's violin and not a specimen for any collector. Kudos to some luthier out there. I am still wondering why the original varnish on all parts of the composite violin (table, back, scroll) do not glow purple, while the touched up parts do glow? What does that say about the age of the varnishes used on different parts of this violin? Someone commented to me once, but I can't really remember what that means specifically....??
  11. Tigsol

    Carved violin

    The pictures should still be part of the thread somewhere a few entries above this one.
  12. Tigsol

    Carved violin

    Long time. I examined this violin under blacklight recently at the suggestion of some on the forum and some shops. It is obvious that the violin has been touched up with varnish where one would suspect. This appears as darker brown areas. The 18th century scroll was also touched up with the same color varnish to match the instrument. There are some untouched patches of original varnish remaining that do not shine out. I believe the luthier who did the touch up did this to better match the scroll to the instrument so the scroll would better match the body. (The scroll is not original to the violin). A consistent thin-line around the ornate carvings on the back also shined out but the carvings did not have the glow themselves. Perhaps someone touched up the edges so that the carving stands out. I summary, I do believe that the original and base varnish on the scroll and violin do not glow under black light but there are areas that shows signs of later touch-up varnish. So my question is, what does this possibly say about the age of the instrument itself (if anything)? Refer to previous pictures please.
  13. Tigsol

    Carved violin

    Thanks for the insights! I value the thoughtful opinions you each have shared. Does anyone know of any experts in Mittenwald, German violins, unless of course you are one? FYI: I am frequently in the major hubs of LA and San Francisco Area so that would be an easy visit in person. H. Weisshaar's has the main German guy in LA (Georg Eittinger) whom I will hopefully speak with. I can find plenty of Italian violin experts but the Germanic ones seem to be hard to find. I do speak enough German to craft an email on Google translate to contact the German shops . I am deeply interested in the origin of this violin because the tone bespeaks someone who knew what they were doing while creating some elaboration....maybe this maker just got lucky? And of course tone is subjective, so I could be biased.
  14. Tigsol

    Carved violin

    The back and table have similar tooling (punctures) but maybe different purfling. The varnish differences seen below are mostly camera induced. The violin is usually much browner looking in person than the reddish picture seen below. How does one inspect the bottom and table for evidence of differences. There may be varnish touch-ups too a seen in the varnish below the bridge. 29
  15. Tigsol

    Carved violin

    Well he did what he could from the pictures. He was unwilling to state his opinion on the violin without examination in person, although he did try. He noted that the polishing that has been done and in some case possible touch up with varnish could be misleading from the pictures. The scroll was more of an easy ID for him. I believe ornate scrolls are a specific area of research and interest. The Brompton's auctioneer had told the previous owner the same thing in generalities but I had understood he meant the whole violin and not just the scroll I guess he was just attributing to scroll to being French 18th century and not the rest of the instrument.