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Showing results for tags 'violin'.
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I have an antique violin and I'm just looking for some knowledge or direction to go. I know it has been restored and it has been redrilled at tuners. What else can u tell me?
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Hi everyone, I am looking for a violin to buy and borrowed this one from a friend, she said I can make an offer so I would like to know any information about it. I know it comes from one of Jerome Thibouville-Lamy’s factories, but since the label was removed, any info will help a lot. Thank you.
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anyone know anything from this maker, i just know its someone probably in brazil, but searching didnt found anything. doesnt have label WhatsApp Video 2025-10-08 at 19.38.16.mp4
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Hola, tengo este violín desde hace mucho tiempo. Lo encontraron en una casa vieja en ruinas. Me gustaría saber más sobre él, gracias. ¿Qué valor podría tener?
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Dear Maestros, This is a violin I was given, the giver said it was a valuable instrument, can you help me identify it? Thank you so much
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Hi, I am struggling to work out what my violin is prior to auction and was hoping to enlist the support of some experts! Below is the dendro report, which has produced unclear outcomes. Hoping someone could kindly provide their expert opinion. One thing is throwing me, Mittenwald violins are made with a one-piece bottom rib, which doesn't appear to be the case with this violin. Dendro Report: The belly is made in 2 sections, jointed down the middle. A total of 71 rings were measured on the bass side and 77 on the treble side. The grain orientation (tree-ring growth direction) runs from the edges inward on both sides. The tests were processed using the formula devised by Baillie & Pilcher for their 1973 CROS crossdating algorithm. This formula has been used by most professional dendrochronological software ever since. Results The most significant cross-matches with my database place the latest visible fully formed growth-ring on the bass side at A.D.1805 and a little later at A.D.1816 on the treble side. As the spring growth of the following year is just visible after the latest rings measured, one year needs to be added to the dates found, leading to an overall terminus post quem or earliest possible felling year of A.D.1817. A comparison of the plotted data on a graph shows very similar ring-patterns, slightly offset in time from each other. It seems clear that the 2 piece were recovered from the same tree. As the 2 sides are related, their data were combined into a mean chronology, which usually represents the general ring-pattern of the tree better than individual ring-series. The data were initially tested against published regional data from the International Tree-Ring Data-Bank (ITRDB). Several highly significant cross-matches were identified. The strongest results suggest that the origin of the trees is the central Alps. References from Switzerland, Kreuth in Bavaria, and southern Austria crossdated significantly. A good response was obtained against data from other instruments, with over 300 ring-patterns cross-matching significantly. From our database, they most significant cross-matches with the mean chronology (combined bass and treble side data) refer to the following instruments: A c.1840 Mittenwald violin, an 1870s French violin by JB Vuillaume, a 3/4 size Mittenwald violin of the Neuner school c.1860s, a violin attributed to the Panormo school, a Bavarian violin copy of Del Gesù, a c.1820/30 English viola of the Panormo/Furber school, a violin attributed to the "Marche" central Italian school, a c.1850/60 Mittenwald violin of the Neuner school, a French violin (Hill's import), a violin probably French c.1835/40, a Mittenwald Neuner violin , a c.1830 violin attributed to Italian school, a 1886 Mittenwald cello of the Neuner school, a 1838 French violin by A.S.P Bernardel, a c.1920 Italian violin by Leandro Bisiach, a French 1902 violin by Paul Bailly, an 1820 Mittenwald violin by Johannes Rieger, a 19th century Mittenwald violin, a c.1830s English cello, a c.1850/55 Mittenwald cello of the Neuner school, a c.1800 Bavarian/Mittenwald violin, a violin stamped "Goulding" possibly Mittenwald import, a French "Maggini copy, possibly Vuillaume workshop, a c.1890 German violin of the Dresden school, an English early 19th century cello probably by Joseph Panormo, a c.1855 Mittenwald cello, a c.1820/25 English violin by Jacob Fendt, a c.1890 Mittenwald violin by Neuner & Hornsteiner, an English viola of the Panormo school, a c.1840s Mittenwald Neuner violin, etc... The cross-matching tests identified correlations with instruments from a variety of origins, and it is therefore not possible to suggest a credible provenance for the instrument based on the results. Conclusion Essentially, with a dendrochronological or terminus post quem date of 1817, a making date from about the very early 1820s onward is possible.
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Probably going for violin papers while in Paris, maybe at Raffin, for this violin which I believe is from the shop of Giorgio Gatti, Turin, 1912. Pics attached are not so accurate in color and were taken before the violin was in my possession. The angled view of the scroll shows the color best. I think the violin will end up as "attributed to" , because the color and woods are very different from most later violins by Gatti. The stamp and its placements are exact, and several other things are right. I could find no online, Tarisio or other, examples from this period of 1912..which was just after the World Exposition in Turin. My questions concern getting papers, something I never tried before. Is there a way to avoid spending too much...for example would an appraiser give a preliminary opinion ? Thanks in advance for any advice...
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I think you guys have already thought about that but Should Bridge have different thickness for each string? You know Different strings, diferent vibrations, different tensions What do you guys think?
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Dear Maestroneters, a student of mine bought a 3/4 bow that had been with the previous owner for 60 years. We would like to try to identify it, it only has france written on it and it looks quite old. What would be its value to you? I have a comparison video between it and a 4/4 carbon fiber bow and a 4/4 wooden bow. Carbon bow between 256BRL to 400BRL(45$ to 70$) for us it's intermediate begginer bow. Wooden bow is from Massaranduba wood 58$(Brazilian Redwood or Bulletwood) also a intermediate begginer bow. The link for the video: https://photos.app.goo.gl/Ac7TBhyiR52iuTTb7 the video its here now, with english subtitles(would be easier recorded in english but ive forgotten) Comparativo entre 3 arcos.mp4
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This violin , bought in Colorado, has no label. It looks like a nice newer Italian instrument. I will not actually be able handle the violin for 2 months (while in France). I am wondering what clues might narrow down the maker or city . The whiteness of the dings might indicate a very thin ground or a spirit varnish ground? It seems there is a ground looking at the scroll etc. Perhaps the scroll has something distinctive...I am not knowledgeable enough on scrolls and makers. The F holes have blackened edges, but nothing else is blackened. Any help much appreciated. https://www.dropbox.com/sc/1xctgpse3cgutw8/AAAN9sB8xNBzr5YyfntoPLgJa
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Hello, I have an old Despiau bridge made C (one tree), which once warped, and I straightened it using a clothes iron (I saw a luthier do this with a wooden bridge). However, I was wondering if there’s any kind of heat treatment or similar method I could use to make my bridge more resilient. I thought about straightening it again with the iron and then quickly placing it in the freezer. Perhaps rapid cooling could help it stay in a firmer position. What do you think about this? I will eventually replace the bridge, but I need to raise my fingerboard as it’s currently too low. By the way, do you think it’s a good idea for a beginner (whose "teacher" is the internet) to attempt raising the fingerboard themselves, or should I go to a professional luthier?
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Hi everyone, I have a violin made by Georg Krywalski, probably around 1910. It hasn’t been played in about 5 years but is in good, playable condition. I’m looking for more information about the maker and a rough estimate of the instrument’s value. Any thoughts or comments would be greatly appreciated! Photos are attached below.
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Hello Guys, since here, for me, looks like has more people i would like to share my topic of teaching if someone has anything to help im very grateful. God bless us all!
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Hello, how are you all doing? I would like to ask for some advice, if you don’t mind, in the area of teaching methodology. But first, I need to give some context so you can better understand the situation. Context: I learned to play the violin at church. I’ve been playing in church since I was 9 years old (I’m 23 now). By the way, the church is called Congregação Cristã no Brasil (Christian Congregation in Brazil). And obviously, since it’s all done on a voluntary basis (in our church, no one gets paid), both for those who teach and those who play, the teaching methodology may not be the best. Basically, we had a general violin technique book (Schmoll, Lambert, Laoureux, Suzuki) and a book with the church hymns (Hymnal). I went through all those books and a few more, mostly because I spent a long time learning. But nowadays they want to stick to the Schmoll method (they’ve made some modifications to it and added some Hans Sitt pieces — I’ll add a link below in case you want to check it out). The general approach is to start with the method book (teaching material), and once the student begins to understand notes, they start learning hymns. Unfortunately, there are very few instructors (we don’t call ourselves “teachers” because we are not formally trained), and most of them don’t assign anything to study outside of these two sources. Now that I’m an instructor myself, I really want to help my students in the best way I can. I teach students of all ages — from little kids who can’t even read yet to older brothers who are married with children — though most of them tend to be children and young people. I’ve never had face-to-face lessons with a professional teacher — just a few tips here and there. I even tried online lessons, but they were too expensive for my financial situation, and the teacher would mostly just ask for videos and then reply with written feedback. It helped, but not as much as I’d hoped. Still, I was able to get an idea of what a methodology looks like, because he assigned Sevcik and some beginner-level concertos to practice. The Problem: At church, the teaching works like this: for example, in my case, on Saturdays at 2:00 p.m., our musical study group starts. Ideally, all students should arrive at the same time, and then I go over their lessons in the order they arrive. I usually spend about 30 minutes with each one to really help them. To avoid having them come in “cold” when it’s time to play their lesson for me, I usually ask them to do: stretching, a right-hand exercise and a left-hand one, open string exercises, then to review what they’re going to play, and also, after the lesson, to briefly(15min) review at church what I just taught them — to help them retain it. But I’d like to improve all of this — I just don’t have a solid foundation to build on. I thought about changing it so instead of doing the full 30 minutes with each student right away, I’d spend the first 10 minutes checking what’s missing in their current study and then ask them to work on that while I check on the others — and then later come back for 20 minutes to work on what’s left. But when I tried that, it felt like I ended up taking more time overall. I’m open to any kind of advice, links, videos, books related to technique, methodology, or anything else you feel might be important. Also, I’m about to start giving private lessons today. I have some idea of what to do, but I’d appreciate any tips on that as well. I’m already very thankful to anyone who’s willing to help me — may God bless your life and your family! In anex: Actual book used for teaching violin Book of Hymns that we play at church. List of things that i suggest my students to do at home, i created it. www.CCBemPDF.com _ Hinário Nº5 CCB para Cordas.pdf MÉTODO de Violino - CCB Schmoll.pdf SchedueleViolin.pdf
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Hello everyone, I am looking for a violin by George Gemunder Sr. and am wondering what the expected price would be. It's difficult for me to find accurate prices online as the range is very wide on auction sites and price history fails to show any recent sales. Could anyone tell me what an acceptable price range would be for me to pay (cheapest vs bordering on too expensive) for a Gemunder violin preferably in great condition, or perhaps point me to a resource where I could find such information? Thanks very much.
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Hi I’m new! I want to buy a new violin. I don’t think this is an actual Maggini but a 19th century copy but as I’m new to this I would like your expert opinions. I wanted to know how much this Violin could be worth?
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바이올린의 제작자는 알 수 없는데, 라벨이 없기 때문이다.(바이올린의 뒷면은 옅은 불꽃단풍나무이다 ) The violin's maker is unknown, as there is no label. (The back of the violin is pale ash.)
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No label. Maybe someone could id it. Thank you.
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Recently i bought 3 violins in germany and it would be nice if someone knows something about one of the violins i got. Its a Joseph Guarnerius and has 3 tags inside. The backside is wonderfull and i assume the wood is birds eye.
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Hello everyone I'm hoping someone could give me any information on this violin was purchased at a wealthy estate sale no information was given no markings or labeling other then a sticker I'm assuming was from someone who serviced or retailer but I'm not sure any info and value would be greatly appreciated Thanks in advance Adam
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I'm looking to buy this violin and have it restored, but being new to violins I'm not sure what it is, so looking for a bit of a steer from experienced minds. I've asked about the label, which I'm still waiting to hear back from, but to me it looks a nice violin with a nice top, flaming on the back and sides, and a nice overall colour and feel to the look of it. It looks like it should be a quality instrument that has been played for a long time, but again, I'm a bit of a newbie with things violin. If you could give many any ideas at all as to it's age, or where it's from, anything, I'd really appreciate it.
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Hello everyone. This violin in my family for 4 generations now. As far as I know, it's a German make. Seems like early 1700's. Maybe 1732. Still working perfectly. I like to know its authenticity. All your opinions are welcome. Thanks all. 20250113_220428.heic
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Anybody knows Albert Szilagyi violin maker?
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Hi! Could strings for a 1/4 size violin be used on a 1/8 inch violin? The smallest size on the strings I want is a 1/4, or I would order 1/8 size strings.
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