Josep J. Ruiz

Members
  • Content Count

    40
  • Joined

  • Last visited

Everything posted by Josep J. Ruiz

  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.
  16. Thanks again for the replies! Well, so now seems clear I have a german-bohemian violin from late 19th century made imitating older instruments. Matheu, of course my opinion about the good sound and yours are different: I listen the instrument before giving an opinion and you do not.
  17. Oh, don't worry! My first tought was the violin is german so... I'm not really a good violin collector but as an acceptable violinist I can say the sound of my instrument is very good, and to me thats the most important. Thanks for your suggestion!!
  18. Thanks again for the replies. I really appreciate your suggestions and patience. A pity if my purchasing looks now more modern than I tought but anyway I'm learning with each message so to me this is very possitive. I examined again the violin and I think I found the proves of the rather modern purfling you told me: the thin edges without the proper thickness to carve the purfling , the atypical corners and some big cracks with the purfling intact. These cracks are repaired so I think the purfling is made after the restoration of the instrument. (photos 1 and 2). Also I taked some more pictures showing the rests of original varnish. Seems the wear is not natural but removed with abrasive. I don't know is this dark colour is original or was more dark. Seems redish brown (photos 3 and 4). Finally I taked some (bad, sorry) views of the interior (photos 5 and 6). I guess the harmonic bar is also changed but I'm not sure. Thinking about these kind of instruments didn't has purfling and the scroll is only partially carved...Is possible this makers try to imitate the Testore style? Of course I'm not suggesting the quality of both instruments is comparable but just remembering there are some Carlo Antonio Testore examples with very elongate sound box like mine, also with large and curved f-holes. I heard some of this kind of instruments without purfling are called 'fake Testores'. I guess the violin historians have investigated this topic but I'm curious if there is any relation with the Salzkammergut makers and Testore violins.
  19. Many thanks for the info. I understand the dendro is for potentially high quality/historical instruments because the price of the analysis is not cheap. I don't really think my violin is included in these categories so I guess unfortunately dentro does not work in this case. I checked the post in which the photos of previous violin Blank face showed me are originally posted. According to Jacob, this kind of Salzkammergut violins decreases the quality during the first half if 19th century because the industrialization. Mine looks more accurately made in the scroll and the sound box than the other but I guess that indicates not necessarily a concrete age but just the accuracy. Also, I found this old saxony violin: https://www.bromptons.co/auction/5th-october-2009/lots/119-a-violin-saxony-circa-1700.html Obviusly is very different than mine but the scroll seems very similar. If there is original from the violin, it could be suggest an older age for my instrument but as is previously said this kind of reasonements are just speculative. Seems I have to admit the experts told me everything is possible to know about this instrument! My intention was send to restore a single re-opened crack and setup to play but after all the information I received I have serious doubts if it's worth it...Is almost playable but perhaps this is not enought to invest more money in it.
  20. Well, I didn't ask to guarantie a 18th century age. Rather I asked about the possibility of a 18th century versus a sure 19th century age. As you said, if the violin is modified and the style of production was more or less the same during this whole period the age is only speculative. I supone I will never know the concrete age if the real experts like you can't tell but anyway many thanks for your clarifications. Now I know a little bit more about old violins and this is always good
  21. Ok, so we the Füssen mid. 18th century way is deffinitely rejected. I taked two photos of the label but without open the sound box and without a good camera is quite hard to me photograph it. Seems was removed from the original possition and broken in several parts before glue again. I didn't tought about the possibility of reinsert the label from the original instrument to random violin but I know sometimes the unknown makers sign its violins as known author to 'upload the quality' of their production. Perhaps the label don't come from Vogler but from a german old maker who wanted to put a known name on his violin. It's possible? Glad to see some other scroll with this kind of finishing! I'm seeing yours is not grafted to a neck. In my case is grafted and with modified peg holes. Is this important to determine its age with more accuracy? I tell this because I heard from some luthiers the presence of grafting usually separe (more or less) the violins from 18th to 19th centuries. I supose this is not a fixed rule but I'm asking this (sorry if I'm insisting with my questions) just to know if the features indicate clearly the 19th century or there is the possibility of a 1780-1800 period. When I purchased for this violin I noticed the repairs, revarnishing and the suspicious label. I don't care if I don't have a Vogler, saxon is good to me also, but I have to recognize the intention to acquire just a genuine 18th century violin. Because this reason I want to know if there is a possibility of an older age or I have to accept deffinitely I was wrong purchasing for it.
  22. Thanks for your replies! Yes, I noted the repairs and one of the images of the upper bout is taked to show the rests of the original varnish under the revarnishing layer. That's not the question for me but now inevitably I'm asking why is a label from 18th century in a 19th century violin? As is said, I initially tought seeing a single bad photo is the typical reprinted label put on an old instrument to simulate was made by a known maker but after examine with detail I'm quite sure the label is original or at least from 18th century (19th in no case). I was working during years in an antiquarian bookshop and I have an acceptable knowledge about old books and typography, and to me the label looks correct for the period. Is obvious than tha paper was reglued but considering its age I suposed is because the restoration (or one of the restorations) suffered the instrument. This is the reason I started thinking the violin corresponds wth the label. Of course I'm not rejecting opinion because you have much more knowledge about old violins than me (evident...). I'm only saying is very strange to get a saxon violin from early 19th century with non original but older scroll from the same origin and even older label. Seems a very convoluted hypothesis, perhaps with more simple explanation (a saxon one from 18th century?). Agree if I take more photos or measures if is possible to clarify more about the instrument? In this case, which parts showld be photographed/measured? Absolutely no idea about this 'brescian' specimen. Just shared to compare the scroll. Could be good if I can see some photo. Only if you are able to take it. I don't want to disturb you.
  23. I found this similar scroll on a italian violin. The description says is not original from the sound box but is also very old. Is obvious the spiral of both looks different but the partial carving seems equivalent. Assuming the scroll of my violin is not from Vogler, could be from another region than Saxony and/or different date or in your opinion it could not? I'm curious to know which features can determine the origin and age of this scrolls. http://www.orpheon.org/OldSite/Seiten/Instruments/violine/Vl-brescian16.htm
  24. Yes, this is the kind of response I wanted. Sorry if I not explained well my doubt. To me is very strange this kind of scroll so I asked because I didn't know if could be from Füssen school or not. A pity if not but I like the violin anyway. Sounds very well a regret of the cracks. Best regards!
  25. Dear members, Month ago I purchased for the violin of the photos. My first tought (before see in my hands) was the label is fake because the gluing, preservation and atypical calligraphy of the '44' in the year. Once examined with detail I change my opinion: the label is original, with contemporany paper and ink, surely re-glued after a restoration. Also I compared the instrument with this Vogler posted years ago. Althought mine is more elongated (feature typical of the maker), the f holes and the ribs and the end button looks similar, so I assume is original. My doubt now is about the strange partially carved scroll with not usual grafting, which I saw is called 'archaic' (no idea about its correct designation). Do you know any Füssen violin with this kind of scrolls? I saw some in photos of Testores and 'bohemian' violins but honestly I have to admit I know nothing of this kind of carving. Who could clarify something on the subject? Another thing: Is the '546' written near the button a number from a collection? perhaps from an auction? As always, many thanks in advance!