Gtone

It's a damp squib.........

Hi Casey, got some pics?

Can't say for sure but I have French bow that I posted awhile ago and under different light conditions it reveals the pernambuco grain better but low light or artificial light it looks similar to OP's bow. Would need to see it in sunlight.... This my bow in different light.

yes pernambuco ,looks like a nice bow.

Manikara Bidentata(abeille) it looks like. And I would consider it if it played well.

Didn't JTL use this stamp? If it is JTL it may not have pins,depending on the day??

Yes,Point taken.

OP could just take out the e string peg,after having removed the string... and see if the graft is visible from the inside.

Rue started this.... not me mum.

Ha!

Could this bow be a JTL product? I know the mortise is not square but?

Thanks again Jacob.Very interesting.

Is this an example of this particular reverse book match?

Thanks Jacob. There was a reference in a paper I found awhile ago about Posch family. I don't know the authors sources but I'll post a link and the text below, https://www.researchgate.net/publication/295803008_New_facts_on_the_biographies_of_the_lute_maker_and_musician_families_Posch_and_Stadlmann "New facts on the biographies of the lute maker and musician families Posch and Stadlmann" B. Darmstädter The goals of this article are three-fold: Firstly, to close up the gap in the OMeA documents concerning the court instrument makers and assistants which has existed since the mid-20th century and dealt with the period between 1705 and 1790. Secondly, to continue to complete the biographies of instrument makers who were active in Vienna, especially those whose instruments were subsequently absorbed into the collections of the Kunsthistorisches Museum. And thirdly, to clarify historical aspects relating to collection items of the Sammlung Alter Musikinstrumente (Collection of Ancient Instruments). Some remarks should also be made concerning those contents of the article of a secondary nature. Social conditions under which the court instrument makers in the 18th century lived and worked are covered in the article. Also, the history of the Vienna Court Orchestra in the 1gth century is expanded upon. Lastly, it contains discussion of details regarding the weaknesses of the "Society of Musicians" (Tonkünstler-Societät). The article contains some highly relevant research findings. Johann Lazarus Fux already acted as apprentice lute maker to his father-in-law Anton Posch as early as 1710. Anton Stephan Posch, who was the son of Anton Posch from his first marriage, was named apprentice lute maker to his father in 1719 and followed Johann Lazarus Fux. Ignaz Stadlmann, who in 1732/33 appears as Franz Stadlmann in the "Obersthofmeisteramt" records (erroneously?), was adopted from 1733 on as violin scholar with a stipend of 360 forms, progressing three years later to the status of "real violinist" with the same payment. Only after the death of Ferdinand Woller in the summer of 1736 were financial resources freed up that enabled Stadlmann's salary to be raised in January 1737 by 140 to 500 forms. Michael (Ignaz) Stadlmann was born on 17th January 1746; his father was the court violinist Ignaz Stadlmann, who was born in 1717. Anton Stephan Posch sustained severe injuries from an accident - his travel carriage overturned during a court journey back to Vienna from Kaliste (Gollitsch) - and subsequently died horn these injuries in 1749. Catharina Posch, widow of Anton Stephan Posch, aimed at marrying Franz Anton Weiß an apprentice violin maker at Leidolf. This would also have meant financial security for her family, no payments necessary on the part of the court, and utilisation of the Posch workshop in the court quarters. In the course of re-filling the post of court lute maker made vacant by the death of Anton Stephan Posch, Weiß encountered two other men, Johann Joseph Stadlmann and Michael Andreas Pärtl. The court favoured Stadlmann due to his craftsmanship and the fact that he had already sworn the citizen's oath. An interesting development can be seen in the way that Stadlmann in the course of the application continuously improved the financial payment to the Posch widow: he waived the charge made for lute strings introduced by Posch, and declared his willingness to apply for no pay rise in future. As instrument maker Michael (Ignaz) Stadlmann was enjoined from entering the "Society of Musicians" and hence the granting of the court title ensuring post employment benefits was refused. Consequently he tried to gain a foothold as 3rd contrabassist in the court orchestra to effect the acceptance in the "Society of Musicians". Since this position was not a regular one his joining was rejected again. Not until innumberable interferences - amongst others of musicdirector Earl Ferdinand Kuffstein - the award of the court musician's title was achieved in 1798, whereas Stadimann's low salary of 2 fl. per work assignment remained untouched but fortunately the payment of the pension was assured.

Joseph Calot? Turin inspired... just a wild guess...