WartimeConsigliere

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  1. I’ve played that Fracassi and found it underwhelming. Just my opinion. You have a healthy budget. Take your time and cast a wide net. You need to remember that price and sound quality don’t correlate, at least not in this price range. Don’t get hung up on Italian instruments per se. I think Mr Swan is spot on to suggest 19/20th cent French.
  2. Would anyone care to opine on the shape of the f-holes and body of this violin? I'm curious if there is any clear inspiration drawn from an old master - if so, who? Thanks
  3. To be clear, the damage was disclosed in a condition report. I probably would have picked up the repair with an magnifying lens. I’m not sure if an °ethical° repair, while I appreciate the concept, would be particular sales worthy. Mr. Swan, thank you for giving me some perspective on valuation.
  4. Yes, damage is to the stick, not frog. Thank you all for your thoughts.
  5. I am considering a violin bow from a well-known French maker. The bow is in great shape with clean, sharp chamfers, straight stick, and all original parts. It also carries a certificate from a respected American expert. In mint condition Such bows are getting $35-45K at auction and retail. It is a lovely player. But this bow isn’t mint. At some point is was probably dropped and has a crack radiating from the frog mortise. The crack is short, under 1cm in length, and runs diagonally from mortise towards top of stick. Looking down the stick from nipple, the crack starts at the mortise around 7 o clock and radiates diagonally to about 2 o clock. The crack is repaired - virtually impossible to see. It was disclosed to me. So... is there a generally accepted “discount” for stick cracks that I should be applying as I do price discovery? My feeling is that this bow must have some collector value despite the crack. Or perhaps there are just too many undamaged examples that I should avoid like the plague. Your thoughts are appreciated.
  6. Thank you both. Let's just say - question answered. I appreciate your insight and time.
  7. 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.
  8. Thank you Mr. Swan. I completely agree that the prices alone leave (too) much to the imagination.
  9. 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
  10. 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.
  11. 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!
  12. 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.
  13. 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.
  14. 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.