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  1. For the same price you pay on ebay, you can get a decent fiddle at Tarisio auction right now
  2. One thing i learned recently is that you have to evaluate each violin independently. I think buying a violin is very similar to buying a house. Sure, house located in certain zip code (analogous to which violin maker) will automatically set a range of price for that house, but you also have to look at the size, condition, layout, etc of the house. The only question mark i have is, why there is a huge difference between the highest sold Strad vs. the rest. Is the Lady Blunt really that much more superior than others? Maybe the fact that it was sold for charity garnered more bidding and therefore higher hammered price.
  3. Just curious, what would be the price for a fine early 1720's Strad, with fine repaired condition ( excellent repaired works by the way, can barely see the repaired area) be worth today? I looked up auction record in Tarisio, there's a big drop from the highest sold ever at $15 million Lady Blunt (sold in 2011), to the next highest $3.6 mill in 2010. Why almost $12 million difference?
  4. The length is about 357 mm, upper bout is 165 mm, middle bout is 113 mm, and lower bout is 203 mm. The varnish seems to be oil, and with medium brown over yellow color. The top is probably spruce, and and two-piece back of maple. Based on the varnish, it did resemble French, but i am not the expert.
  5. In your opinion, what did this fiddle remind you of?
  6. Just saw this, according to Tarisio’s biography on Scarampella, in 1919, he took on his only official apprentice, the young Gaetano Gadda. Therefore, if the fiddle is attributed to the workshop, it must be a collaborative work between Scarampella and Gadda, since he had no other apprentice, and he was too poor to hire more staffs.
  7. I just came across this fiddle at a local estate sale. To my untrained eyes, it looked to be old (over 100 years old) and with decent workmanship. There was no label inside. Would like your opinion on identifying the origin, and perhaps even narrow it down to possible maker, of this fiddle. Based on my humble opinion, i thought it could be a 18th or 19th century Italian violin?
  8. It all worked out afterall. Workshop of Scarampella, sold at the price of a Gadda
  9. So i wonder what the experts from Tarisio were thinking, gave such a high estimate in the auction, but only sold below the low estimate.
  10. Maybe it is impossible to tell them apart, but how can you tell if the violin was done only by Scarampella, or with help from Gadda? You certainly can’t tell based on label and the year made. Maybe a comprehensive DNA test. Would a dendro help?
  11. Then how is that different than attributi “a violin wth label Scarampella”?
  12. If the auction house believes the violin was made from Scarampella’s workshop, what evidence do they have to prove that Scarampella didn’t make the violin himself?
  13. How big of a workshop that Scarampella had when he was active? How many apprentices did he have?
  14. Just curious on the attribution of a recently sold violin in Tarisio February sale, lot 159. Is it fair to say that, by describing this fiddle as the workshop of Scarampella, one can assume that this violin was possibly the product of collaborative work with Gaetano Gadda, since Gadda took over Scarampella's workshop later on and carried his violin making tradition. Or it was simply done by some unknown apprentice who made the violin?