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  1. That’s the way a violin shop should look!
  2. Not sure about cellos, but if you ever see one of his violins come up for sale, please pass the word along. I have no idea what his violin prices were/are though.
  3. Which auction are you more likely to find an exceptional value when purchasing blind without playing the instrument or bow first? Tarisio Fine Instruments; Amati Specialist; Bromptons; Skinner; Other??? I know Tarisio and Amati have lower tier auctions also, but I’m not talking about those (although I suppose value can be found there also). Which has the most reliable Condition Reports?
  4. Which modern Italian makers in the $10-$20k range build their violins 100% with their own hands vs having certain components built elsewhere (other than bridges, pegs, tailpieces, etc)?
  5. The difficult part of this exercise is guessing which makers will appreciate in value (especially since there are so many in Cremona). Also, do they have to be in Cremona proper or do the surrounding cities or any other city in Italy count?
  6. I’m not sure what OP’s definition is. But it seems to me that in the current environment, if you can just find something that will break even when you sell, you would be doing well. With most contemporary makers, it seems that you can find used violins for 75% or less of original cost. So the “investment” opportunity may come in at ownership transfer #2 or #3 as opposed to original purchase (and that is for most contemporary Cremona makers or otherwise).
  7. That seems very reasonable (low) for all of that. When you say varnish was redone, do you mean touch-up or complete revarnishing?
  8. Looks very nice. What is the approx cost of a restoration like that?
  9. So does the Delta = Saxon and no Delta = French?
  10. Why is Markneukirchen on the label when it has a 1949 date? I though they moved the shop and the label changed to Bubenreuh or Erlangen in the mid1930s
  11. Do ebony, boxwood, rosewood, etc. tailpieces have certain common tonal effects on most violins, or is it like bows where one may sound good on a particular instrument, but not another? Also, how much impact does the material chosen for the tail gut have?
  12. This question doesn't just apply to Juzek, but I just happen to see grafted peg boxes on some pre-war Juzeks frequently. Isn't it just easier in the original build to do the neck, peg box and scroll in one piece, or is there some efficiency in grafting it on? I'm talking about intentionally grafted peg boxes in the original build and not because of some later repair.
  13. I've seen a lot of discussion on MN and other sites re: why whalebone winding/lapping cannot be used anymore. However, I have not been able to find the approximate time period when the practice ceased. When did it stop? Also, when it was allowed to be used, was it only used in premium maker's bows, or was it also used in common workshop bows? Thanks.