Josep J. Ruiz

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About Josep J. Ruiz

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  1. Following the suggestion of you experts, I sent the instrument to a luthier. Here's the final result of the restoration and setup of the violin. The scroll is not photographed because is untouched (see first photos if you want), also the old rude repair of the upper buttom (it's very solid and its repair don't worth). I hope you like it! Best regards.
  2. I understand perfectly when you advertise me about search in google. As a paleontologist, many times I have received requests from amateur fossil collectors asking me about their identification on some particular fossil compared with google images. My response is always recommend to read (not only see photos) scientific papers about the same group/ geographic zone/geologic formation of the specimen before do determinations because the internet information are commonly not very reliable. On the other hand, as a beginner in the world of old violins I have to admit I have no good references with graphic contents (apart of this forum) to compare a particular instrument, and most of diagnostic features of the violins are still a mystery to me. I'll try to photograph the zones pointed by Jacobs once the instrument is restored. I hope you understand me when I see google and think finally I found the maker of my violin, with a wrong results as you detected. Anyway, if is impossible to identify a particular maker of the instrument I always have the 'School of Klotz' wildcard used by some people Tnanks for the link. Seeing days ago this web page I started to know about Georg Klotz violins.
  3. I have to admit I have no idea about who and why is attribued to Hoffmann. I found on the internet and I assumed it's a Hoffmann (I had no knowledge about this maker). Whatever is it I think the outline and purfling are extraordinarily similar to my violin. Have you any idea about which maker/gruop of makers can be linked in my case? I found also this Georg Klotz from Martin Swan shop, which is obviously more well done than my violin but similar also in outline. Nonetheless I don't think the instrument amb asking for identification have nothing to do with any Klotz member because seems they made the violins with more accuracy. https://www.martinswanviolins.com/georg-kloz-violin-mittenwald-1772/
  4. Here's a link showing several images of the violin. Also there is another example attribued to Ignaz Hoffmann the young on Bonhams, with a similar outline. https://www.google.com/search?rlz=1C1GCEA_enES785ES785&biw=1600&bih=740&tbm=isch&sa=1&ei=M8shXY2_DYqo1fAPsd60oA0&q=hoffmann+ignaz+geige&oq=hoffmann+igna&gs_l=img.3.0.35i39.53952.56467..57805...0.0..0.88.1074.13......0....1..gws-wiz-img.......0j0i67j0i8i30j0i30j0i5i30.ahp_f_x3I7w#imgrc=DzzqvANWM3rUrM: The violins present in the discussion that you have shared are clearly different to my violin, much more elongated. I suspect the example I found in google is simply a Mittenwald one from end of XVIII century. In any case I find both of them really similar in purfling and outline, more than any other violin of which I have seen.
  5. Yes but this particular maker comes from Wölfersdorf, far from Mittenwald. Surely you have the reason when you say the outline is typical from this last zone but I was surprised because I checked decens of mittenwald violins (most of them similar to my one as expected) from decens of makers and for the moment this violin is the only one I found with an equivalent outline. In the source of the photo is mentioned the instrument is 'attribued to', so perhaps is simply from Mittenwald. In any case, is possible to have access to images of more violins from this maker or locate the (probable) workshop of origin based in the back and scroll? I know the commercial value of the violin is not so high due is a composition but would be very good to me know more about the violin I purchased. If the result of the restoration is good I have the intention to play it.
  6. Following the Martin Swan suggestion I left the violin in the hands of a luthier to reconstruct the varnish and make the setup. Definitely this is not a restoration project to me. After an exam, he confirmed is a composite violin, with a later belly. A pity but still ok if the sound is nice. During these days I was trying to identify the maker/school of origin of the violin, of course ignoring the belly in my proposition. At first I was comparing with some Klotz and 'Klotz-like' instruments but they did not convinced me because in my violin the corners are relatively wide despite the similarities of the scroll. After check lots of violins from different Mittenwald makers from 1750 to 1850 I found one from another zone which seems really similar: Ignaz Hoffmann 'the young'. What do you think seeing the photo for comparison of the back? I see both of them almost identical...
  7. A view of a corner to compare top and back.
  8. Thanks to all for the answers again. Completely logic when you say the tops are usually more glossy than the backs because they can be cleaned and they don't accumulate so much dirt but this is not the case in my opinion. A pity that I can't show you clearly how the belly looks in this case because I do no dare to open the instrument but I can assure you the colour of the back and ribs are dark not only by the dirt. The wood looks much more ancient and darkened until the upper edges (with restorations in the back and ribs) but suddently the top is exceptionally well preserved and without damages. In my opinion the violin was old when the top was made. Another think: There is a label from italian maker from XVIII century. You can imagine why I didn't take a photo of it
  9. Thanks for the answer! In fact I bought as an original violin from early XIX century, or at least this was my first impression seeing in photos. Once arrived the parcel with the violin I detected the big different preservation of the brown varnish, as you have noticed also. With a better exam I concluded there are two different layers of varnish (obviating the green I told previously) on the back but just one on the top. Also I found some differences at the corners (in the top are more flattened than the back but ith almost not worn). Then I started to think in a composition and when I saw inside I observed a really strong preservation of the wood between the top and the rest (I tried to photograph this but not possible to take good images): the wood of the top is almost perfect, with no restorations and no big damages, old but with a good light brown. The rest of the violin inside is almost black, with some important old restorations, also darkened. This difference is too big to be natural. For these reasons I'm pretty sure is a composition but as you told me both sides fit very well, so I guess is because the top was carved starting from the measures of the damaged older violin. The condition of the instrument is close to being playable, so I tested its sound with a G string, which seems very powerfull and deep. Perhaps (I'm just speculating) an old violinist wanted to preserve his own instrument after an accident because it was appreciated for its sound and charge its reconstruction.
  10. Hello all, To make my first restoration attempt I bought this old composite violin. In the state it arrived to my hands part of the back and scroll was partially covered by a green (!!!) varnish but after remove it the violin looks better. Unfortunately to me was impossible to recover all the original varnish... In my humble opinion, the scroll, ribs and back reminds me of some XVIII century 'tyrolean' (I don't know if this name is appropiate) instruments. On the other hand, I thought the top is from some german workshop but this F holes are similar to some Mirecourt from middle XIX century. Obviously this piece was fit with the incomplete violin with no historical criteria but it has similar contour and purfling to the back and some of the same brown varnish still present on the ribs ( and were also some remains near the upper botton). For this reason I think the top was made ex novo during the XIX century to replace the original top after a traumatic accident. Anyone of you experts can tell me if I'm in the correct way in my considerations? Do you think is possible to know some more concrete data with the photos? Do you think I removed acceptably the modern varnish? Please, don't say 'you ruined the violin so throw it in the bin'...It's only my first attempt to restoration and I would like to learn more about this field Thank you all in advance!
  11. Thanks for all your answers! Yes, seems someone non-expert totally ruined the violin....a pity. I paid about 40 euros for it thinking about a possible restoration but when I had in my hands I saw unfortunately its state is the worst (honestly I trusted to much the poor photos of the Ebay seller...). However as I said I think time ago the violin was decent and has an accurate restoration in the inner back. Because this reason and after a decade ignoring the instrument I want to know about its origin and age if is possible to determine. I don't know yet which is the best way for this unlucky violin but I suspect this are not like the wine, which improves with age
  12. Hi everyone! Ordering my storage room I found this violin purchased cheap about 10-12 years ago. As you can see its state is shaby, a pity. There are many cracks (restored and not) and seems re-varnished for decoration...Probably the scroll and neck is from another instrument, I don't know. Most probably a restoration don't worth. However I think in the past was a good violin due its manufacture (the back seems particularly handsome). Would be great know your opinion about its age and origin. A french or german Strad copy from mid to late XIX century perhaps? Thanks a lot in advance!
  13. Never heard about any of this names. In the first answers the experts explained me some things about this kind of violins but no particular mention to back profile. I hope someone provide information on this too.
  14. Hi everyone! Months after my post about this violin I decide to give to a luthier to know if a setup worth or not. Fortunately all the cracks were restored time ago and the whole instrument are still stable so with a simple setup was enought to turn playable the instrument. I upload some photos to show the current aspect of the violin. A pity if is not possible to do accurate estimates on its age as you the experts told me but anyway I'm happy because the sound is powerful and good Thanks to all for helping me when I tought mistakenly it was a Vogler!
  15. There is no valid opinion about the sound of a violin before listening. I do not believe in Santa either. Best regards.