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Found 21 results

  1. Hi everyone, ...can I ask you for help in recognizing the original (or not ...is this a violin that I want to buy for my daughter who has been playing for 6 years? 1. Can you comment on their originality? 2. Label ... mine is the simplest of the presented ones, but I have a theory I believe that the violin I want to buy is older than the ones in the other photos. ...Philipp studied under Fryderyk Meindl, and then took over his workshop - hence, at the beginning of his independent work, he put the name Meindl on the sticker (legally or in honor of his master). ...The name Meindl is no longer displayed on other stickers. Secondly, the coat of arms appears on subsequent stickers. I think it has to do with his position (March 7, 1908) - a violin supplier to the Bavarian court (besides, the sticker says "Hoflieferant"). That is why I believe that the remaining violins (with the coat of arms) were made after 1907. What do you think about it? ...my label other label... ...I want to buy this violin
  2. Good morning all, I come back to you with a violin which I think was made in Mittenwald. The bottom rib is in one piece, the linings are inserted into the corner blocks (mortise). It seems to correspond from what I have read here. There are other points that I noted later, the table is made in one piece like the back (the violin has I think was very badly refinished and we see sanding marks). There is also an inscription "Rep by E.Dodds Edinbourgh 1875", but I do not see what repair was made, maybe a modification of the bassbar ?? Voila, if you can tell me what you think about it, don't hesitate if you want more pictures. The joint was badly made between ribs and bottom, it gave me the opportunity to defeat. I will have to see her again, I will practice the same thing on the table afterwards. A beginning of crack (effe) will also have to be consolidated a priori. And I'll take the opportunity to clean the varnish in the back. You may found my english is strange, it's a google translation, so excuse me span widget
  3. Hi, I am interested in buying these 2 violins. Please have a look at the photos. The first 7 are from 1 violin the other 4 or from the second violin. What can you information do you have about these? Are they of any particular value? Where and when they are from? What's the difference in value between a Mittenwald and a Markneukirchen violin? Thanks Rachel
  4. I recently came into possession of a violin whose maker label says: "Made in Mittenwald Modell Klotz fecit 1928 sub auspiciis Leo Aschauer" I'm just looking for information about this instrument, although it would be nice if someone pointed me into the direction of a seller. I know very little about violins, and haven't played one since I was 14, though trying to tell my grandmother this is impossible. This was given to me by said grandmother who got it from a friend because they all still think I play. Thanks in advance and sorry if I've just posted to the incorrect forum.
  5. I travel quite a bit for work anyway, but it would be an extra trip to check this out... turn it into a father son trip? What do you think? https://minneapolis.craigslist.org/hnp/msg/d/britt-mittenwald-early-19th-century/6804253086.html
  6. Hi, I have recently come into possession of this violin at auction, at what I believe is an extremely favourable price. It is unlabelled, and there is no evidence of any label being removed. It has numerous repaired cracks and a back crack that is close to the soundpost but far enough from it that the soundpost is not bearing weight on it. The back crack has been repaired with reinforcing studs and seems very stable. All repaired cracks seem stable. The soundpost is fitted well. There is evidence of worm damage. Length of back : 358mm Vib String Length : 327mm Width Upper Bouts : 167mm Width Middle Bouts : 113mm Width Lower Bouts : 202mm The scroll appears to have been competently grafted. There is a "Mittenwald Notch" which is visible in one of the images. I was advised at purchase that it is from Mittenwald. I have re-strung it and to me it sounds amazing, and it will now be my main instrument as I am studying in my third year at a conservatory (not violin performance though - composition! I do still play violin a fair bit in the course of my studies though). I performed yesterday at a quite raucous wake, and only after photographing it today, realised that the bridge is not at a great angle, so please forgive me - I have re-adjusted the bridge since photographing it. I have a few questions for anyone who is kind enough to lend their opinions : is it in your opinion from Mittenwald? Can an approximate age be suggested from the photos? If it is from Mittenwald, is there any possibility that one of the Klotz family had a hand in making it, and if so then what would be the most authoritative means to confirm that? I wouldn't be averse to a trip to Mittenwald from Australia one day, if it seemed like it was at all a possibility that it is a Klotz. I personally have a feeling it isn't though, after studying many pictures of Klotz violins. I could very well be wrong though. Another related question : I have seen that it is not uncommon for Mittenwald or Klotz violins to have uneven notches between the left and right f-holes. Why is this? I have never been able to work it out as such care seems to have been put into every other aspect of their violins. You can see that the inner notch in the left f-hole seems to have been carved in a somewhat careless fashion, to my eyes at least. And that the left and right f-hole notches are certainly not symmetrical. Any help or observations would be greatly appreciated, many thanks in advance!
  7. Hello Everyone, I am an adult beginner looking for a violin. I came across a Koniglich Bayer J. A. Baader Mittenwald 1912 and I wanted to know if this is a good instrument to invest in? I looked up information on Mittenwald to understand what that meant, but honestly it was difficult for that history to translate into whether this particular violin would be good. It will need some work and there is some sort of damage on the back (a groove maybe) that I'm trying to get more information on. I know people sometimes see dates on a violin and think it automatically means something when it may not. I want an instrument with good tone that is pleasurable to play. I wanted to upload photos of the violin but apparently I need more coffee before I can figure out how to do that here. Opinions? Good instrument? Yes, no? If yes, how much would be reasonable to pay for it with a case and bow included? Thank you very much for your help.​ Edit: I'm going to see if I can at least share the link to the album that has pics of the violin: http://s458.photobucket.com/user/tai0316_twilight/Violins/story ​
  8. Hi folks; I came across this violin recently, with some interesting features. It is not mine yet, as the label on the pics evidently tell. I wondered if anyone had a clue wich country it comes from (german ? french?) if it had been submitted to an antiquizing process, and if it is worth acquiring/repairing. What are the marks at the scroll ? the bottom rib seems heavily damaged or is it only superficial ? Thanks a lot for your help, LJ
  9. What is your opinions on originality etc. I would like to know if it's real or what.
  10. I recently purchased this violin, which I suppose may be some 19th century French workshop violin, & a bow with a stick that has some figure t appearing possibly as snakewood, no stamps or markings.The violin has square cleats on the back seam, and ebony pins, one at the neck block in the top, and another in the endblock area. LOB: 35.6cm, neck 130mm, stop 195mm. The top arch seems quite flat,purfling has very narrow blacks, and the scroll is fluted to the end. The neck block is rounded and not square shouldered, the label has no maker or country, but does seem to have 19th c. meshed/screened paper label. The case had a box of Vuillaume rosin with a pitch pipe, the case is a little different shape than the usual GSB ones, with brass latches and handle. The varnish seems antiqued a bit and I had troubles getting decent lighting,... Anyone have any ideas?
  11. This time I hope I make my homeworks. I think this is a Mittenwald violín imported to UK by John Turner mid 19th c. It is fire branded 3 times, 2 in the top where the bridge must be placed, and 1 down the neck near the scroll. And with 2 more fire stamps in the back and in the neck. The scroll has too fire stamped symbols. Inside it is full blocked and lined and it has a piece of paper in the mid of the back joint. The bassbar seams to be too short and more crude work than the rest of the inside work. It has a notch in the one piece botton rib. What is your opinion?
  12. I recently came across this violin on ebay. Although it does seem to have some issues it appears to be well made. My amateur guess is that its a mid 18th century Mittenwald violin, however, I would like to have your opinions on what you think this violin may be and possibly, who made it One unique feature I noticed on this violin is that the scroll eye seems to be filed down at an inward angle. http://www.ebay.com/itm/152649649255?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649
  13. I wanted to thank everyone who reached out to help me track down the general value of the violin my grandmother gave me. I also wanted to let you know that I sold it to a local luthier shop in Columbus, Ohio called The Loft where they should give it any repairs it may need and eventually offer it for sale.
  14. Recently I have found this violin. At first I thought in vieux Paris (yes, I have to learnt a lot) But when I opened the violin my opinion change. BlankFace tell me it could be from Mittenwald, but there is somethings that maybe could put it in other direction. What is your opinion? Thank you
  15. I am taking certain risk to overpopulate this forum with similar issues (recent Brompton item 100, etc) but will nevertheless take that chance. I believe that the instrument in pictures may originate from Mittenwald and popular "Late 18th century" could also be the case. Am I wrong? But does your sharp I spot anything that would allow to be more specific? Is that back maple? If not, what would that indicate? I apologise for bad pictures and give my other observations: scroll fluting goes as far it may go, bottom rib is of one piece and saddle is let 5...6 mm into it.; corner blocks (as seen from f-hole) are asymetrical: ca 1/3 towards centre bout and 2/3 towards the lower bout. Thanks in advance, I appreciate all comments.
  16. 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:
  17. Hello, I would like to ask a very simple help- what is the model of this violin and if f holes look similar to any particular violin making school? Length of back 35,7 cm. Dendro results: 1783,85! Thanks http://venetianviolinsmaker.com/en/shop/fine-tyrolean-violin-from-late-1700/
  18. Please help me. I have inherited violin from my grandpa, he had it for decades. He said it is very old, he bought it for golden ducats from a good violinist. Someone told me it is Klotz because of symbols imprinted on its back. Please help me and tell more about rough estimation. I have heard that original Klotz violins value from 5K euros to even 10-15Ks.http://www.flickr.com/photos/133490948@N04/
  19. Before I started this topic, I've exhausted all my skills by searching all the resources that were available to me, especially Maestronet, but I have not found an answer. So: I've seen an ad in which the seller offers a violin on which he knew nothing except that owned by his family for about 40 years. As a rookie here, I am unable to use Gallery, then - here are some pictures, copy-paste from ad: Everything I've found: "SCHWARTZMANN, Anton Worked circa. 1750 Mittenwald Germany. Musician and luthier. Few instruments recorded. Anton Schwartzmann musi- / kant und Geigenmacher in / Mittenwald in Tirol 17.." (The Brompton’s Book of Violin & Bow Makers). The seller's location is some 3 hours from me, by car in this time, so I asked him to send me a few more pictures, especially pictures of the scroll. What he sent, is here: My speculations are going in this direction: if this is a "real McCoy", the scroll should be grafted.This one is not, as much as I can see. So, it could be a copy, but where it was made and when? If it's a copy, are there its sisters? I kindly ask for opinion, before I go to the adventure of driving through Bosnian mountain in December in order to see and, hopefuly) play this violin (seller told me itis "playable", whatever that means). BTW, I am not a dealer, nor luthier - rather - I play violin for my own pleasure (and in one informal chamber orchestra, but of and on) and I like to consider myself able to do basic setup of violins that I buy from time to time. Some of them I sold (rarely), some (mostly) I keep, according to my pretty tight budget for my toys. Thanks in advance for your patient reading of my broken English and thanks a lot for any contribution to my humble knowledge.
  20. Since I've been away from the violin cosmos since investing my energy for decades in the piano, I wondered if getting a certificate of authenticity is a wise and practical route re: my Horensteiner, 1799, Mittenwald. Judging by dates of activity of various members of the Horensteiner family, it seems Joseph II would have been the maker, but how can one be sure. I read about lawsuits that have created a letigious cosmos re: the appraisal universe. How can an auction principle, for example, assess an instrument by photographs, etc. Isn't tone a primary focus, as it would be if I were selecting a piano? I made a video of my Horensteiner using Brahms violin concerto, third movement. The baby violin beside it was spotted at a flea market. PS My first violin teacher, Samuel Gardner, before I studied with Stuart Canin, picked this violin for me at a Paris auction house. (way back in the 60s) Who are the respected purveyers of Certificates? (California, perhaps)
  21. I can't find my original post about my Hornsteiner 1799, Mittenwald. In any event, how does one get certification when it seems this is a task few do. The latest I heard was that there is so much liability in these certifications, since the maker is not living. Yet the contour, grain, finish, etc of the instrument plus tone should give clues. I wish I could post pics of my Hornsteiner, but I don't know how, so instead I'm including a link to footage that showcases the violin
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