WartimeConsigliere

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  1. Thank you both. Let's just say - question answered. I appreciate your insight and time.
  2. I am considering a French bow by a “famous maker” that includes a certificate from an American “expert.” This maker is supposedly one of the most copied makers as well so I have reason to be careful. Bow is worth about $30K based on Tarisio price history although other examples have sold for far in excess of this value My problem is that I don’t have a sense of whether this certificate is worth anything. I know Raffin, Rampal, etc. are the best for old French bows, but are there any American certificates worth more than the paper they are written on? Given the nature of my question, private messages may be appropriate. Thank you.
  3. Thank you Mr. Swan. I completely agree that the prices alone leave (too) much to the imagination.
  4. This is slightly off-topic, but I'm researching French bows and noticed that continental auction houses seem to bring dramatically higher prices for certain makers. For example, looking at E.A. Ouchard violin bows over the last few years, those that sold at Vichy are nearly double the price of American and other auctions. I realize the sample size is small, but I find it hard to believe that a single auction house has all the most outstanding examples by this, and other, makers. Any insight? https://tarisio.com/cozio-archive/price-history/?Maker_ID=505
  5. I wonder if Wallfisch's opinion of Elgar is colored by the fact that the Elgar is virtually "owned" by du Pre. Every performance invokes her memory first and invites a comparison with her interpretation that is, for better or worse, nearly infallible in the eyes of the public.
  6. Thank you VDA. Unfortunately, it will take me some time before I can get more photos. The violin was supposedly played in community orchestra and has been hanging in a local shop (hence the peg strap) in the middle of nowhere. I'm glad my eye for these is getting better. Any rough idea of value? It has a newish set of Dominants on and sounded pretty good. It almost certainly needs new fittings, bridge, sound post adjust, etc. Sanctus Seraphin label!
  7. Any ideas on this? My guess is Saxon, circa 1800-1850. If I'm correct, do these have much value? It plays well, the top plate is in pretty good shape, but the scrollwork... Thanks in advance.
  8. Is that a one or two-piece bottom rib? I can't tell if the seam is an actual seam or just a scratch. I thought the Mittenwald notch was just an alignment device on the back plate.
  9. Perhaps it the microphone, but I thought the Grancino seemed flat (not intonation wise) and somewhat boring, even despite the cellist's great energy and skill.
  10. Another question I have regards value. Even with old strings, hopeless bridge, and probable sound post misalignment, this violin had a nice sound. I bought it for $400 because it was clean, had no table cracks, and I half suspected the guy selling it needed food money. I probably overpaid - live and learn. Anyhow, the violin needs a new bridge, chin rest, strings, and sound post alignment. It would probably benefit from a new tailpiece and pegs. By the time my (very expensive) local luthier is done, I will be into this violin for as much as $1500. Is it stupid to put this much money on such a violin? I'm new to posting here but I've been reading for years - I know these trade violins are accorded about the same amount of respect as last week's bread.
  11. Thank you - I enjoyed that. I've had the luck to try a D. Pecatte (on a Tecchler cello, no less) and I can guarantee you it did nothing for my bowing!
  12. Thank you Mr. Saunders. Is it common to see Saxon violins with "French" features? I wonder if it is possible that this violin body was made in Saxony but finished (scroll)/varnish in Mirecourt. The varnish on this violin seems to match other L&H violins of the era that I can find on MN. Aside from the pencil "L&H 1916" there is a small parchment label, only a few millimeters long, that says "France". Thank you for your time.
  13. Thank you Sospiri and Mr. Saunders. Please see attached pic. This was the best I could do on treble lower corner block. To my untrained eye it looks like spruce/pine. I have no idea about the linings - they have no discernible grain pattern. The rib corners definitely meet in the middle to form a seam. I'm very curious to hear your thinking.
  14. Any thoughts appreciated. Thanks for looking. Scroll fluting stops around 7:00 I can see lower corner blocks with rib linings that abut Back seam has small cleats Bass bar is glued on Yes, I know the bridge is out-of-place - the violin needs adjustment by luthier. No label, but in cursive pencil "Lyon & Healy, 1916"