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Bob K

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Everything posted by Bob K

  1. To me, (amateur with very limited knowledge) the OP photos could even be of this same violin (no 71 and branded on lower rib) although hard to tell with the limited sample so a few more pics of better quality would be needed to check.
  2. Is it possible that someone can have look through a few million US immigration records and see if any of the Czechs or Germans arriving in the early C20th noted their profession as violin maker (or equivalent)?...........
  3. The bow may have been bought just before your ancestor passed away or put with the (older) violin by someone at a later date. DId you remove the fittings from the violin or has someone else thought about restoring it in the past?
  4. Well, the chair is a Swiss-French model (Le Corbusier) but probably a later copy ............... Unfortunately, I am unable to comment on either of the violins.
  5. Yes, I think it might have been done when the cracks on that side were repaired. The 'rosin buildup' seems to be a layer of opaque varnish imitating rosin. I suspect the 'antiquing' was the original finish - similar to 'Caussin' style.
  6. I apologise for recognising the French construction but then stating the wrong method. However, whilst the subsequent denial of access to the MN server was surely just punishment for myself, I feel it was a bit harsh to inflict it on the rest of Europe.
  7. Ah yes - could be. Maybe I still need to revise the less obvious differences. Although still possibly Mirecourt.
  8. I have acquired a battered old violin, Lob 356mm, that I am pretty sure is not 'the usual'. My novice amateur sleuthing makes me think possibly mid-later C19th Mirecourt (trade?) which may have been further 'antiqued' at some point? Does anyone agree with this suggestion or think otherwise? My observations include: Construction using an inside mould - the four corner blocks cover more of the C bouts. Linings have a rounded edge and are not inserted into the blocks. Two piece bottom ribs. Pin on centre line into bottom block. Glued in bass bar and fluting to ff hole wings. Lovely flamed one piece back which (now that it's cleaner) has amazing depth and movement to the flame -unfortunately this doesn't show up in the pics. Flattish scroll eyes and holding vertically, the scroll flutes go to about 8 oclock. No delta at back and no blacking inside pegbox. It has evidently been repaired at least three times and has some small old looking diamond shaped cleats which I guess go with the pencilled 'Repaired R .............. Belfast 1906'? There has been some repair in the neck area and some more recent patching of the table which may have been when the original label was swapped for the current spurious Strad label. I think the fingerboard has been replaced and the neck stop is a tad long at 133mm. Apologies for the poorly focussed photos. Maybe I'll get a better camera for Christmas.....
  9. I have come to associate the extra turn in the scroll (which I personally dislike) with late C19th Maggini 'copies'. Did Vuillaume make it a feature on many violins or is that a rarity in itself?
  10. Gtone, I thought it was a very interesting clip and thanks for posting it. Several of the comments above highlight the dilemma of whether a venerable old instrument is classed as a tool for musical expression or a work of art that should be preserved in a museum (or someones bank vault)? I would also have loved to hear a before and after.
  11. So do folks also think it unethical for a Stradivarius to have had the neck replaced and head grafted back on just to suit some players expectations of a modern instrument?
  12. The violin looks to be in relatively good condition but you must check for any 'hairline' cracks, particularly in the front, back and peg box which would reduce it's value. It is very important to measure the length of the back (body) of the violin not including the neck heel protrusion (known as the button). If it's about 14" or 355mm then the violin is full sized and would probably sell as suggested above on Ebay (UK), possibly slightly more on a good day provided there is no damage at all and you supply lots of good clear pictures. If that measurement is much shorter, around 13 1/4 " or 337mm then the violin is 3/4 size and consequently less attractive to potential 'restorers'.
  13. 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.
  14. 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)
  15. 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..................
  16. 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
  17. The interior looks in pristine condition.
  18. I am aware of that but wondered if the 'imitation vieux' Mirecourt violins ever came with a blackened peg box interior?
  19. 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.
  20. 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?
  21. Thanks mood2000. I think there will be a few downloads of those!
  22. 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?
  23. 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?
  24. 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.
  25. 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.
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