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Everything posted by WartimeConsigliere

  1. Thank you all for the comments. The bridge is of poor quality, very heavy, and warped. The photos I provided do not show the bridge in current state. Sospiri/Doug - most of the upgrades I proposed (tailpiece, chin rest) will have little to no effect on sound. It seems reasonable that a new bridge (lighter and properly fit to the table) and SP adjust will have an effect, presumably beneficial but no guarantee. I only live near one luthier - he is good but $$$.
  2. Thank you VDA. Asking price is $1K. Sounds nice with new Dominants. Not amazing. Bright, open, clear, but not particularly rich. Might improve with proper setup. I will have to have new bridge, sound post adjustment, new tailpiece, and new chin rest. I expect that will add up to $500 easily.
  3. Good evening (or morning or day, as the case may be), I'm considering this violin as a backup instrument. Unless I have been a poor pupil here, this is a German trade violin, probably Markneukirchen. I'm aware the bridge is rubbish and the string windings are poorly done. Interior plate surfaces are smooth throughout. Blocks and lining are spruce. 1. Does the varnish look original? 2. As German trade instruments go, where does this rank in terms of craftsmanship and quality of wood? Thank you. I appreciate your thoughts and expertise. I'm not a dealer or collector, just a (bad) player.
  4. I am curious about the JBV sale price before it got memory-holed. Kindly PM if you saw.
  5. Would you share some pictures of your Vuillaume?
  6. I think you should keep looking until you find a violin you like AND a dealer willing to take your violin in trade. As with buying a car, try to negotiate the price of the violin before mentioning you want to do a trade. You probably also need to temper your expectations about how much you can get on this violin through a consignment or auction.
  7. The fluted area looks raw, especially bass side. I figured the dark spots were just an attempt to camouflage the varnish/wood removal.
  8. 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.
  9. Yes, damage is to the stick, not frog. Thank you all for your thoughts.
  10. 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.
  11. Thank you both. Let's just say - question answered. I appreciate your insight and time.
  12. 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.
  13. Thank you Mr. Swan. I completely agree that the prices alone leave (too) much to the imagination.
  14. 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
  15. 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.
  16. 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!
  17. 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.
  18. 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.
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