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Bob K

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  1. Maybe an analogy to the early C20th JTL offerings these days would be something like Fender guitars. They have a complete range of quality from the low budget Squier models, churned out in China or Indonesia, through umpteen varieties up to the top end USA built 'Custom Shop' models with higher quality materials, fittings and finishes and where an individual maker gets to assemble and finish (or at least oversee and sign) carefully selected but mass produced parts (sometimes emulating old 'road worn' models - analagous to 'en vieux'). Second hand prices usually reflect the original model spec. and certain 'vintages' can command a premium.
  2. The writing looks very similar but if they are by the same hand, it seems that Mr Kloz changed the way he formed a Z (or whoever inked over it did)
  3. An early C20th JTL Medio Fino (in good condition) that I had on a commission sale in London sold relatively quickly for £750 (roughly $1000) a couple of years ago. In the 1919 JTL catalogue an antiqued (imitation vieux) Strad/Blondelet labelled model like the OPs cost 25 times the price of a Medio Fino. On that basis, relative to my Medio Fino, you might expect a price of £18,750 or roughly $25000. You can draw your own conclusions..................
  4. There is an example of a 'Violon Jérôme Thibouville-Lamy fait à la fin du 19ème à la manière de Caussin' with a similar looking scroll eye (albeit only a side view) and 'antiquing' in the Mirecourt luthiers gallery pages: https://www.luthiers-mirecourt.com/galerie_instruments.htm#64
  5. The interior looks in pristine condition.
  6. I am aware of that but wondered if the 'imitation vieux' Mirecourt violins ever came with a blackened peg box interior?
  7. In the 1919 catalogue a Celebre Vosgien model was 36Fr whilst a 'Lutherie d'art' labelled modele D'apres Stradivarius, vernis jaune en imitation vieux was 850Fr. As a totally non-expert, I have general question - did the top 'imitation vieux' JTL models like this sometimes have blackened peg boxes, akin to those more typically found on 'Markies'? In my limited experience of (lower end) JTL and other Mirecourt factory models I've encountered, including my own 1920s 'Copie de Antonius Stadivarius Cremonensis' labelled example this is not something I would expect to see.
  8. For some reason, maybe from something I read years ago, I thought that rubbing with pumice powder was a method used to smooth a surface long before the invention of abrasive papers?
  9. Thanks mood2000. I think there will be a few downloads of those!
  10. Do you think the neck is original? (the varnish colour does appear to match well) There is no sign of a pegbox graft so if you are sure about the mid C19th repair dates then that would suggest a window earlier in the C19th. I'm still hopeful that an expert or two may be able to shed some light for you but in the meantime have you read Jacob Saunders' 'Cornerblockology' threads?
  11. I wondered if the taper of the pegbox might also be a clue but I think it must be a trick of the camera lens and distance that makes it looks so strongly tapered from the front yet almost parallel from the rear?
  12. Looks interesting. I know zero about English construction styles/methods but I believe the one piece bottom rib pretty much rules out 'the usual' (i.e Markneukirchen/Schonbach). Mittenwald may be a possibility but I will await comments from those with more knowledge.
  13. Presumably, it has a coating of black lacquer? The term 'Japanned' comes from the black (dark) lacquer used on Japanese furniture that was imitated by European craftsmen, using their own materials and techniques, and popular around C17th -18th.
  14. Thanks Blank Face. I am familiar with Jacob's 'Cornerblockology' but couldn't see the join very clearly until I zoomed in. Your tip about the purfling is potentally useful.
  15. Are the two visible 'corner blocks' false ones? - the shadows in the pictures suggests that to me. Does anyone else think the saddle looks like it may have be a replaced?
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