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Found 41 results

  1. The typical Markie?
  2. I have been wondering, one often hears that someone's violin is a Strad copy, or a Del Gesu copy, or Amati, or Maggini... While Maggini is usually easy to tell because of the double purfling, how does one tell apart the others? Are there clear telltale characteristics one can look at to determine which of the great masters of the past inspired the shape of a violin? Is it something that can be easily summarized and explained, or does it require years of experience in the violin business to learn to see fine nuances characteristic to the work of those progenitor makers?
  3. I submit to you, my sister's cello. It has a couple open sound post cracks and at many places, the edges are flush with the ribs. I don't exactly know what will happen when the top comes off, but the thing obviously needs some work. It's a small cello, 7/8 size or a lady's full size. It has been hypothesized that it's English. My sister says someone once told her it looked like William Baker. In any case, it was purchased for not too much money. I suspect that a full restoration might cost more than the initial cost of the instrument. If you guys look at it and tell me it's a hunk of junk, I won't worry too much about who I recommend my sister sends it too. It'll probably be fine, and she just wants it to stop buzzing so she can play it again. If you guys look at it and say it's really cool and actually possibly a 17th or 18th century instrument, I'll make sure that it's someone capable of beautiful work. She loves the instrument, and others have complimented its sound. It's probably worth sending the instrument to someone really good regardless... Anyway, take a look, if you please:
  4. ​​Hi all, ​ ​Could you help me identify this violin? It belongs to a friend of mine and I would love to have some info. According to the family, it is a German fiddle. No label inside but an ironed letter T. ​ ​ ​Thanks for your help. ​H.
  5. Looking for help identifying a bass I just bought for my son....not really sure of anything beyond the label (Karl Hauser). I'm not a plyer, and really have no knowledge of these instruments, so any help would be appreciated!! Ben
  6. So I was hoping, with the help of experienced people, that I could make this topic into a checklist that you can have when trying to identify where your grandpa's Stradivarius, Grandma's Guadagnini, or that fiddle you found in the attic was made. I will list a few places, and if anyone want to share some of their time, please say what the traits would be for the violin. Most of what I used so far has been posted by Jacob Saunders in other threads. If I made a mistake with the categorizing, please note that the mistake is my fault. I will include all the quotes in Post # 2, as reference to who said what originally. If anyone have any other info to share on different places and those methods, please share. I will add everything to the original post. Markneukirchen/Schönbach: (Dutzendarbeit) Rib construction method: Built on the back. No mould (until later years) Corner blocks: Cosmetic or proper. The Dutzendarbeit method didn’t necessarily require corner blocks and therefore often didn’t have any, where they do, they mostly have, seen from the plan view a more equilateral triangle aspect. Ribs: The ends of the rib at the corners left long, so that you can get a cramp on to glue them together, and shortened afterwards, with the tendency to remain almost flush with the ends of the back outline at the corners. The Dutzendarbeit system involved making the ribs much longer first, so that they could be cramped and glued together and then rasped off afterwards. This leaves the joint either in the centre, or indistinguishable. The ends of their ribs were then often chamfered off at an angle, so that the rib ends don’t look so thick. The Dutzendarbeit ribs often end at the furthest protrusion of the back/belly corners. Scroll: Dutzendarbeit tend to me more rounded off and over in both respects. Fluting finishes as early as 6 o’clock. Back of the scroll tends to finish less sharp, or have a kind of “delta” at the bottom. Linings: Linings are not let in to these “corner blocks”. Back/Belly: The Dutzendarbeit bellies were roughed out with integral bass bar, until they developed a routing machine which made fitting and gluing a bass bar necessary. This was a remnant of the old Markneukirchen tradition and was neither quicker, easier or a short cut. Purfling: Dutzendarbeit often has stained blacks, where the stain hasn’t penetrated too the middle of the black strand, leaving a strange impression of grey/white/grey Mittenwald: Rib construction method: Inside mould. Corner blocks: The blocks glued to the mould, then cut to shape in the middle Ribs: Inside mould. This results in the Mittenwald ones having the join at the end of the ribs to the C bout side, the rib ends finishing cut fairly square. The bottom rib of a Mittenwald Verleger violin is with occasional exceptions in one piece (or was) and normally has a notch or notches (top and bottom) to mark the middle. Mittenwald rib corners stop a couple of mm before the end of the back/belly corners. Scroll: Viewed from the profile, Mwald Scrolls tend to have a pronounced “back of the head” (Hinterkopf) also a prominent “forehead” with sharpish champers. The fluting in Mittenwald goes all the way into the throat. On the back of the peg box, the Mwald centre spine normally remains sharp right to the end (and is often prominent vis a vis each side) Linings: Back/Bellies: The Mwald Backs/Bellies are, although smother, no more carefully worked out, often being either too thick or ridiculously thin. They have glued in Bass bars. Purfling: Mittenwald purfling is normally fitted far too deep, encouraging edges to break off. They tend to have “bee stings” which is less characteristic of the Dutzendarbeit. The black strand of the purfling in Mwald seems to be stained right through equally. Mirecourt: Rib construction method: Corner blocks: Scroll: Linings: Purfling:
  7. Good morning In brief, I have recently come into possession of a violin claiming to be a 1898 Collin-Mezin. However, I'm not 100% convinced by this, mainly due to the varnish. I own an authentic Collin-Mezin from 1890s and it has an almost golden varnish that shows off the woodgrain beneath (see the two photos of the violins together). The new one, however, is darker and not well-finished (there is even a fingerprint in it!) Also it is untidy where the ribs meet the face and back. All this could be due to an inexpert luthier opening her up and having a crack at redoing the finish, I don't know. The label and pencil signature look okay, though I'm pinning nothing on that. The black inking on the scroll and rib joins, though, are somewhat more convincing. I have only had access to one other C-M so I'm in the dark here. I'm not even knowledgeable enough to know whether it's based on a Strad, del Gesu or some other shape... I would massively appreciate any help you could give me on deciding whether this is authentic or not. Thank you Images are in the following dropbox folder: I had hoped the light would be better so I have used ambient light (murky sunlight!) and flash to give as good a representation of colour as I can.
  8. Dear Guys, my name is Paolo and I am a new member which needs help. My grandpa played this violin in the sixties. He was an amateur musician but always very proud of this violin my grandmother told me. I have no idea, what it could be but it looks really wonderful with this reddish colour. The back shines a lot. Maybe it is something very expensive and I have no idea ??? The bow is a little bit dirty but I am afraid to clean it. Can I use a polish which is used for furniture ? Thank you very much for your help and sorry for my bad English. Best regards from Italy... Paolo #
  9. Hello everyone. This is my first post on this forum and I'm excited to learn more while browsing the site. I've been a professional musician and fiddler for 25 years and am plenty skeptical about "finding" instruments. This is my wife's great-grandfather's violin which was kept in very poor condition. The fiddle neck is obviously homemade, primitive, and installed much later (with a wood screw). The body has some other bizarre features such as pearl inlays around the purfling and a couple of images on the back beneath the finish. I wonder if these might also be later additions by someone wanting to tinker with it. I never have given this fiddle much thought until a few years ago when a reputable luthier thought it might be of Italian origin, even naming a maker or school that I have since forgotten. The one-piece maple back seems to be of good quality and the spruce top is very tightly-grained (35-45 lines per inch). Other than that, I'm hoping some of you can give me your thoughts. Does the style of build appear to resemble a particular builder or school? Do you think the other features are original or not? Or is it just a gaudy Victorian-era fiddle? Thanks in advance. Pics below.
  10. Hello! I´m Espen, living in Norway and an hobby luthier. Mostly gluing back fingerboards on children's half violins and 3/4 cellos. But does some restoration, (German violins from about 1900). Last week I came in contact with an elderly man who had prepared his late mothers house for sale. On the attic he had found a violin. He had never seen it before, so he figured it must have been there for more than 50 years. Most likely another German fiddle, I thought. And since the last project is nearly finished, I asked him if I could buy it. First thing I notice is that this violin is in bader shape than I hoped. F holes looks like hell, someone has added a new varnish, but ok, it was a fair price, and at least I can learn something about fixing F holes. Second I notice is that the common 17xx label is NOT from Stradivarius og Amati, and there is a repair text and date. It says Johann Christoph Merz, Klingental, 1780, repairs 18 / 19 something and the text "in Geneva", hmmm... Promising? At home in my hobby room the inspection continues. The F holes witch looks more and more like someone has carved them bigger, has been added repair wood, why not make it look fine when you first ad new wood? And the top seems not to match the linning / bottom shape 100%. Can it be the top from another violin that is added at some point? A quick inspection inside tells me it looks like hell. The top has to come of. Inside there is no real corner blocks. A cheep German after all? In the corner there has beed added some glue / clay? to stiffen the construction. Never seen or heard about that solution. The end block looks like just another pice of wood, the head block looks more what I expected and it has been reinforced at som point... Glue mixed with wood shavings has been used to reinforce some of the innings, lots of glue has beed added around the headblock ... why? And the top has been repaired absolutely all over... using canvas and glue in sted of wood cleats. So what the h... is this? A cheap German, or a scoop from the attic? Pictures here: Espen
  11. oistrakh93


    Violin branded Nicolas Chappuy on the back. Bearing multiple repair labels, one saying it was re graduated by Asa Warren White in Boston.. Any thoughts on ID?
  12. Hi all, I am new here. A friend has asked to get an old violin into playing condition, it looks interesting and isn't like the normal sort of German of French ones one sees. It has the scrap of a label I cant make out, but has 1742 on it. The text I can see looks printed. Its has been re-necked and had extensive repairs as it looks like it has been smashed at some time. It has no inlaid purfling but I think it has been inked. the scroll is elongated and rather crude with a wide pegbox. I took some photos but cannot see how to attach them. I clicked on image and lost all I had written! I am hoping to find out who made it. Nick
  13. Who made this Viola, could be Italian? maybe Amati? Thank you very much for the help
  14. Kallie

    Violin ID

    Hi there, Can someone perhaps offer their opinions on this violin? It came with a beautiful leather case which I will post pictures of tomorrow. In the case was a paper which shows a diagram of the interior of the violin. This paper was written and drawn by the last person who repaired it. On this paper, it says Violin made October 26, 1823. It also says Repaired July 23 1839. It also says "Taken to pieces by Wheatley", and with a signature, and dated Nov 29 1834. This is all written inside the violin aswell apparently. The diagram shows where it is written on the interior. About the violin: Lovely 1 piece maple back Grafted scroll (You can zoom in on the pictures to see the graft line. Nail in the button, and below the button (where the neck block is) Ebony fingerboard Inlaid Purfling Varnish worn/gone where your palm would be when playing up in high positions On the inside are a few cleats running along cracks, aswell as a soundpost patch. Any idea where this was made, if the date is legit, and what its value would be once repaired? Also can a specific model be identified on which it has been made? It has no label unfortunately, but as I mentioned above it says Violin made October 26 1823 on the inside. Here are some pictures. Feel free to request more (a specific angle) I also apologize for the blurryness on some photos, I took these pictures in a hurry. Thank You.
  15. Hi everyone, this is a violin that my orchestra director has let me use to see if I am interested in purchasing it. It sounds beautiful, I just have some questions about it that I would like to get cleared. I also have a violin bow that I purchased last year that has very little information available. The certificate says that it has an effaced label of GUIDANTUS. The varnish is very retouched. The body length is 13 7/8" scant. Also, it writes that it is a flat model and that both the top and back is completely lined with a strip of ebony. It could have been decorative and protection from further wear. What is the actual reason? Is this style of repair a style of a certain school of violin making? The scroll is also grafted to a new neck and I can see the new wood. The bow is labeled A. FRACALOSSI and is mounted with only MOP and no silver. The violin was appraised in 2002 for 25,000 USD and is being sold for 7,500 USD. The bow was bought for 1,350 USD. Is the violin worth it? I also would like to just know a little more of both of these beautiful instruments. Thank you!
  16. Hello, new member here (long time viewer) I recently had repaired a violin labelled: Giuseppe De Bernardi Fece Genova Anno 1907 Love the sound. quite mellow under the ear but good projection so much that its become my primary instrument. he appears in Lutgendorff's book but only as a maker of mandolins. My luthier doubts whether he made the instrument as he said the quality was outstanding in all aspects and has valued it for me based on the sound and quality of construction. He suspects it could be from another local maker in Genova and mr. Bernardi has just kindly attributed the violin to himself to sell in his own shop. The other theory was that perhaps instruments were bought/traded at a trade fair held in Genova in 1906 (of which Fagnola was known to have attended). Next trip overseas may get it checked out in London or New York.... I'm in Australia and no real experts here IMO. So i am quite curious to others opinion on it? is the maker bogus? or similar to other makers who he could have aquired it from? thoughts? opinions? thanks Andre