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Bob K

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  1. Most probably a German/Czech/Bohemian trade fiddle. The lion head appears to be a relatively common machine carved type, popular around 1900. You need better pictures to identify it more accurately - there is a guide at the top of the Pegbox forum.
  2. Or was mostly outside weeding his turnips beacuse he couldn't make a decent living from his violins?
  3. Thanks, Jacob, that's good to know. From other threads I get the impression that this style of label was used from about 1930s to 1960s? Is that the right sort of range? The signs of use and layer of dust inside seem consistent with that. However, I know that it was picked it up at a provincial auction and dressed up with a few old bits and pieces before I got it on, ahem..., Ebay so (for me) not easy to tie down even a rough age.
  4. Hi. I have a violin which has a genuine looking 'Handarbeit aus Mittenwald' label. I guess it is from around the mid C20th (maybe a bit later?) so nothing special and may not fit the traditional features of the area but I was wondering whether anyone can confirm that it is what it purports to be. I have read some threads from a few years back but am still unclear as to the period when these labels were used and also wondered about the style of finish?
  5. It won't affect the strength of the bridge but might affect the sound slightly (have you or others noticed any difference?). The main impact is aesthetic - like a statue with a broken limb.
  6. Jalovec lists over 30 Heberleins but, again, no Martin. The violin looks, to me, like a typical Markneukirchen trade violin c1920s-30s. The label could be that of a dealer. I am not an expert and others will be better placed to confirm or dispute that opinion. Just noticed that your pictures refer to Ebay. I'm not sure what the rules are for this forum if the violin and/or pictures do not belong to you and I reiterate that my comments are merely my own opinion.
  7. Henley lists more than a dozen makers named Heberlein who worked at Markneukirchen in C19th and early C20th but none with the forename Martin. Is the violin relatively modern? If so, it could be a more recent descendant or, as you suggest, a [made up?] trade name. Others may know more but pictures would help in identification.
  8. There appears to be the same signature written directly on the back above the label in the first picture?
  9. The stamp on the bow looks like it probably reads 'Germany' but could be fully revealed by removing the frog.
  10. Thanks for the comments. I know the bow was probably the output of some sort of volume production and that it is of 'student' sort of quality. I believe the 'Made in Germany' stamp would date it to the inter-war period. I wondered if anyone might recognise the type of wood used? - it's not easy to see the grain under the thickish finish. I also think the button is OK - I can see that it looks out of alignment, probably because it was not pushed together tightly when the photo was taken, but there is no obvious play. The stick is totally straight with good camber and it weighs 60g (without hair). From comments I get the impression that it might be worth a rehair but maybe a good one to have a go myself as I won't wreck anything valuable.............
  11. Thanks. I did suspect that might be the case.
  12. I have a bow stamped 'Lupot' and 'Made in Germany'. Nickel mounted with MOP slide. The stick is in good condition although I can't tell what wood it's made from. Am I right in thinking that it was probably made in or around Markneukirchen somewhere C1920s-40s? Is it actually a copy of, or modelled on, a Lupot bow and is it likely to be worthwhile to rehair/restore? I know very little about bows so any thoughts appreciated.
  13. I think we would agree that most musicians will generally be looking for the best sounding and most beautiful violin they can get for their budget. The choice of mould type is purely a manufacturing decision. For volume production time is crucial and has cost implications which, as I understand it, make use of the outside mould more appropriate. Surely that doesn't stop an individual master maker or small a workshop under supervision from choosing a different approach for a 'special' model and then charging accordingly?
  14. Is it generally the case that the use of an outer mould allows for faster production? Otherwise, what are the other advantages of outside moulds to volume production? Looking at the range of prices in the 1919 JTL catalogue from a basic Medio-fino at FF28 up to FF1440 for a signed A Acoulon Expostion model, could it be the case that outer moulds were used for the vast majority of standard output with inner moulds used for only the very top end models (and maybe showing off in publicity photos)?
  15. Original works by a famous artist e.g. Van Gogh's 'Sunflowers' are often in held by museums, wealthy collectors, in bank vaults etc. They are one of a kind and/or very rare pieces. They sell for eye watering amounts and their whereabouts are usually well known and recorded. If you have Van Gogh's 'Sunflowers' hanging on your wall it is a copy. (Unless you had splashed out millions of dollars at auction to purchase the acknowledged original) It is similar with violins made by famous makers: In the early C20th, hundreds of thousands of relatively inexpensive violins were produced in Europe bearing labels with the name of a well known maker. Sometimes this indicated a model type but often they were not even constructed in the same way as the original. Good quality copies and imitations do exist, occasionally to the point of fakery but to an expert who spends their time working with and studying these instruments, for various reasons, most will not look remotely like the original.
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