ChicagoDogs

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  1. Ah, ok - thanks! Was just curious about the process that could lead to that outline. I do find it interesting that quilted slab-cut maple seems to be much more prevalent in mandolins than violin-family instruments. I wonder if that's due to geographical differences in wood supply (North American maple vs. European?) or differences in structural requirements and aesthetic expectations of the different instruments. Would be interested in any thoughts from Hogo or others with a foot in the Loar-style mandolin world.
  2. Don - the outline of your plate in the lower block area looks... interesting... is that the result of using some compass arcs, tracing a single-sided template, or something else? Thanks as always for the great posts and information!
  3. In the spirit of the original question... my violin teacher growing up had a beautiful and great-sounding fiddle from the Caressa & Francais shop around 1910. I would love to be able to play that again and see how my memory of it from many years ago compares to its present-day sound and feel. At the time, it was the ideal of tone and sound... Now, I expect that I might be a little disappointed, but the sentimental value and connection to the past would be more significant to me than, say, playing a super-rare instrument that I would just be constantly afraid of dropping or maiming.
  4. Some nice sharp corners on that... must be from Cremona or France
  5. Apologies if this has been asked and answered before... tried to search the archives but didn't see anything directly responsive. When did the later del Gesu instruments begin to become a popular pattern to copy? Would that have been with Nemessanyi or perhaps someone else? I'm wondering when the characteristic ffs associated with the Cannone or Ole Bull instruments, and also possibly different body dimensions, might have transitioned from something odd, or idiosyncratic, to something that inspired imitation. Thanks in advance for any thoughts!
  6. Nice looking for a fractional instrument, to my eyes at least. Do those pegs suggest that it might have spent some time in Britain, or are they generic/common enough to be non-specific? Also, Garth - very interesting vintage newspaper reprints (I assume) on the table!
  7. I don't know how accurate or widespread this is, but I had read that the popularity of live-edge tables was a contributing factor to some unscrupulous forestry -- "tree poaching" or something similar. Here is the article I'm thinking of -- https://www.theatlantic.com/science/archive/2019/06/stolen-timber-funding-british-columbias-opioid-fix/590476/. Certainly wouldn't want to implicate an ethical, high-end shop like Nakashima in anything like this, but the popularity of that style and associated knock-offs by other manufacturers seems like it may have an impact. Would be interested in
  8. Apologies if this is an uninformed question, but... Is it possible that the purfling corners used to look quite a bit better, and then the sanding (and possibly scraping?) removed the outer portion that had been more carefully finished and completed, leaving only a lower part of the grooves without well-executed miters? I could see this happening if the bee stings were placed in a groove growing increasingly shallow as it extends out, or if someone just sanded down the plate corners more heavily than other areas. The purfling lines seem overall to follow the plate outlines fairly nicely
  9. The bow looks like the garden-variety "Fancy" or "Vuillaume" bow, with a real ivory frog and possibly button, unless I am mis-reading the appearance of "grain" lines on the frog. Pretty crudely cut around the heel (scroll?) and makes you wonder if someone was sawing up ivory frogs by the dozen on some early scroll saw or band saw. The violin looks like it was a nice instrument at the start of its life, like BF said, but now manages to achieve a surprising level of visual dissonance. I can't quite put my finger on what is the issue in looking at the straight-on photo of the top, but it loo
  10. I think this is something that's touched on tangentially in a lot of the posts above, but as somebody with a foot in both the guitar world and violin world, I figured I would add one observation -- A key point in the valuation of classes of instruments, assuming they're workable/desirable as instruments and/or collectibles, is the scarcity of them relative to the demand. There are not a lot of gold-top 50s LPs or Korina Flying Vs/Explorers out there, nor are there old Italian instruments. There are literally millions of German trade violins around, and while they're perfectly serviceab
  11. There was an interesting discussion of this in this thread. Although it got sidetracked a bit by discussion of smaller pins in the pegbox, the scroll photos and peg bushings certainly raise some questions.
  12. Thanks Dwight - very interesting regarding Flesch and his story.
  13. Apologies if this has been covered previously -- the search function didn't turn up much in the way of answers. A question that has been on my mind a while: where do the customary names for common chinrest models originate? A few are fairly easy to guess at (the Flesch model for example, which I assume was Carl Flesch's creation), but the origin of names like Guarneri, Dresden, Stuber, etc. are more mysterious, at least to me. Did those terms get standardized by a well-known shop like the Hills, and spread from there? Or via an influential catalog?
  14. Thanks Doug. I wasn't trying to say that those features were diagnostic of trade instruments from a certain area, but instead was looking to explore why those features may have come about, and test my tentative thoughts on that front. Sorry if that wasn't clear.
  15. Hi all, The last few years I've been thinking about the large number of consistent, but somewhat odd, visual attributes that can be found on older Markneukirchen-area trade violins (and perhaps others), including: An un-fluted patch on the back of the scroll with "Conservatory Violin" or similar text carved in The typical exaggerated bulbous arching on so-called "Stainer" models The gradually evolving and mutating "Hopf" model, reaching increasing extremes of outline over the years The "Ole Bull" brand near the button on a wide variety of models The "fancy