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Found 326 results

  1. Client provided an unusual asset that needs verifying. Pictures provided have been taken by the client, though clearer, more precise images will be made available once in our custody. Open to comments please, as the asset has been held by the current owner for many years. Limited details until package is received the next few days.
  2. Hi, I was browsing ebay for violins, and I came upon this. What is that metal pin under the bridge foot for? It says the violin is experimental, but what is the use of that? Anyone have some insight on this? Thanks.
  3. Hi, Please I would like to have information regarding this violin. Was it french? german? how about its quality? I liked the red back Thank you
  4. Hello guys ! I'm considering to buy this violin labeled "Ch. J. B. Collin-Mézin Luthier á Paris Rue du Faub Poissonnière No. 29" for a very good price. The seller said he couldn't see any hand written signature or date....Maybe the violin is dusted or he just don''t where to look, I dunno..... He said the violin is made around 1900 and length of back is 359mm. Next week I''m going to see the violin and I will try it, but I will be very grateful if you guys give your opinion about this violin''s authenticity . P.S. I'm sorry about the bad pictures, but this is what he send to me.
  5. Greetings all! Is anyone familiar with the signature I found on the back of this fretboard? I pulled the violin from a shed that was destined for the garbage. Took it in to have some repair work done and I've attached pics of the label and the signature we found on the back of the fretboard. Thanks in advance for any help! I'm glad we saved it from being tossed in the trash or burned. I can make out Ruggieri and BD, not so sure about the second word.
  6. Hello, I am looking for some input on this violin. The label is not clear to say the least but the instrument appeals to me for some reason. Any thoughts on where and when it was produced? I am thinking it is based on an Amati or Amatus 1634? Any thoughts on it it are greatly appreciated. thank you.
  7. I would be very grateful if i could get photos of a complete Joseph Bohmann Maggini 4/4 copy violin. I own a Bohmann Maggini violin body only and am in need of photos of the neck and scroll of a complete Bohmann Maggini copy 4/4 violin. I want to either make a neck and scroll or take a neck and scroll from another violin, but I do not want to do that before seeing a complete Joseph Bohmann Maggini violin. You can reach me at Thank you, Joe Jablonski
  8. So, I'd like to thank you all in advance for potentially helping me sort through all of the general questions I have, and also welcoming me into this community(by allowing me to create a free account to quiz the people in the lifelong trade/journey about what I seem to have gotten myself into). Thanks again for reading. I am excited to become a part of this particular community!
  9. My eyes say French, but may just as well be a Schonbach. Any other opinions?
  10. Weeee! I finished my first violin bridge today! Only took me 10 hours to make! How long is it supposed to take an experienced luthier to cut these?
  11. Hi all! My name is Alex, I'm an European pro clarinetist (and an avid amateur fiddler!) working in NY. I play classical music as a job with the clarinet but I always wanted to play violin, so a few years ago I just bought a cheapo violin in a pawn shop and began teaching myself (with the constant help of some of the colleagues in my orchestra) in order to play bluegrass (I super like that music!). First, thank you so much for this forum, I've spent so many hours reading you... I love it. Ok, let me go directly to the point of the question: Two years ago I found this violin in a garage sale in a farm in rural WA and bought it, I just like a lot the wood. For whatever reason that I can't fully explain, I really like this violin; I'm curious about its origins. any opinions would be greatly appreciated! Thank you so much again!!
  12. Hi, I will be investing in a good-quality reamer. I have my eyes on one of the Herdim coated ones, but I'm not sure whether to go for a spiral model or a fluted one. Which one do you prefer using? I've always used spiral ones before but maybe I've been missing out all this time. Thank you
  13. This violin is being restored I only have pictures of what he has sent me. We believe it is from 1801 to 1850. He found this label inside anyone can give me thoughts or information on it I would like to include it with the violin. Any information will be appreciated very much. I have tried for a month to ID with no luck. There was newspaper clippings inside case I included the pictures
  14. There was recently a blog post on another violin site - perhaps some of you here saw it - that spoke briefly of the Cuban violinist Brindis de Salis. Not a whole lot of information on him online, but what is out there, especially the first-hand accounts of his playing, leaves no doubt he was an exceptionally talented violinist with strong personal style. Does anyone know much about him or have anything to share? Cheers
  15. Hello, I've been reading Maestronet for years and finally have a question. A new student of mine purchased a few years ago a violin labeled Carlos Despini, fecit Taurini anno 1879 (from my memory). The varnish is more red than most instruments. They purchased from a former teacher for about 20k USD. They asked me what I thought of it and I said it was alright, decent instrument, and then they told me the price...they claim they negotiated with the former teacher for many years on the purchase price. A luthier from France, told me it's likely a French instrument (we both agree the price was acceptable for the local market). anyway, I was recently speaking with them about purchasing a new viola, since the student has all but abandoned the violin (and has in fact won some international competitions on viola), but they were very opposed to selling the violin. They told me the previous teacher "spent" about 34k USD about seventeen years ago on the violin and had "done them a favor." It all sounded like nonsense. When I saw the paperwork I saw: 1) A Certificate of Authenticity by Machold, with stamp 2) A pamphlet with pictures and information on the violin 3) A receipt for 34k USD (in the local currency, which I won't reveal) that states it was paid in cash, no stamp I told them a letter of authenticity by M was essentially glorified toilet paper, but I would like to know: #1 Was Carlos Despini a legitimate maker of Turin, or just a name used by French makers/factories? (Yes, I know not to believe the labels, but I'm just curious if he was real at all or not because I've yet to find any records online for this name beyond pathetic auction sales). #2 "paid in cash"...on an unstamped receipt for a considerably large some of money (circa 2000-2001). Could have been inflated by M for insurance purposes, and/or with posterity in mind (i.e. The original purchaser expected to sell it for a sigunificant profit and use this "receipt" to claim a false value)? ...or used for tax purposes? thank you!
  16. I have finished cleaning and setting up and adjusting an old probably German/Bohemian violin (the one I asked help identifying in this other post), and now I'm debating moving to a more hairy task with it: Varnish restoration! The violin has some scuffs and dings, but two that concern me are the ones on the lower bout bass side where a piece of it is actually chipped off, and on the back where some very aggressive shoulder-rest use seems to have worn through the varnish (please see pictures). The value of the violin is inconsequential, this is a work of love and for the sake of the experience, so I'm not worried if I mess it up, although I do have professional experience with restoration/conservation of vintage and ancient jewelry and swords (not exactly related, are they? ), so I am familiar with the delicate touch required, and the rule that less is more. What I'm wondering and hope you folks can help with is: First of all, are those spots issues that should be addressed, or would they normally be left alone unless a very pedantic customer insisted on them being restored? I have heard that bare wood is a bad thing and should be touched-up, but one shouldn't be neurotic to the point of touching up every little ding, but those spots are quite big in my opinion. What would be the most common way of restoring a chipped spot like that? Just varnish it over, or make a patch and glue it in place and the whole nine yards from there? Is there some relatively easy way to test varnish, to figure out if it's oil or spirits (shouldn't be anything else in this case I think)? Was there any relatively standard varnish preferred in the Schönbach area around 1900 (assuming it's from there) or are they all over the place? If there's no way to know what varnish it is, what would be the safest bet to go with for repairs? Oil? Spirits? Shellac? Something else? Are they relatively compatible or are they like paints where you don't put certain types over others? Thank you for your input!
  17. The typical Markie?
  18. I am thinking about buying a Karl Knilling Violin handmade in Germany serial number 42069. The violin is in very good condition and I was wondering if anyone has thoughts on its price of $150? All I have is the information listed but I do know that it comes with two wooden bows and a case. Do you guys think $150 is worth it and is the violin a quality or decent one?
  19. Hi, I recently bought a violin from Amazon and it was very cheap even for beginners so I soon returned it. I wanted to continue learning how to play the violin and I soon stumbled upon a violin called Hermet Schartel (Romanian Handcrafted). I could not find much information on the internet (Ironic) so I would like to ask the average price range the violin and if it is a good violin. Also if you have tips or tricks please tell.
  20. 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?
  21. Hey folks! My first post here! I got a violin from a friend in Germany that I'm trying to find out about its origins, who the maker might be, all that stuff, but I have very little to go by, since it's unlabeled. Inside, I found a big 'S' branded on the upper block, and what seems to be the letters 'C S' branded on the top plate and the bass bar. The corner blocks are flush with the ribs and the linings go over them instead of into them. On the back, south of the bass F-hole, I found some pencil scribbles that read "C.S.- = 2 1936". It has been suggested that might not be the date it was made, but the date it was repaired. The scroll style seems a lot like I've seen on violins from Schönbach... It had some cracks that were repaired sometime in the past, but overall is in good condition. I got it all cleaned up and set up, but still the mystery of where and who made it continues! Has anyone ever seen one like this before?
  22. through the years i have had and made violins with a "wolf tone" on the b note on a violin A string.... drives me nuts.... what can be done to fix it??
  23. I'm planning to make my first string instrument soon and as a violist (I've been playing for seven years now) I of course really want to build my own viola. After searching for a long time online I quickly find out however that there are so many more resources for violin and cello building for beginners as well as wood and hardware required to finish. So my question is; is it a better idea for me to build a violin as there are many plans, instructions and cheap hardware for it, or should I make a viola which I can play myself and be proud of? (with maybe a steeper learning curve and more things to work out for myself)
  24. Hello,I have a violin with the neck graft done by Hill's. I wonder how the Hill's finish the neck? It has passed 40 years and the neck is still intact with a glassy look. I have heard that the Hill bow maker finish their bow with boiled linseed oil. Is that the thing they used in finishing the neck? Any ideas? Some image of the neck
  25. Portland, Maine master luthier Jonathan Cooper will be teaching a one-week lutherie class at the Acadia Trad Festival in Bar Harbor, Maine from June 25-30, 2017. Scholarships are available! At his shop in Portland Maine, Jon has made over 400 instruments in the last 40 years. His fiddles are played by many of the world’s best performers in trad music. In this one week workshop intensive, students will work together on a fiddle that will be completed in the white – no varnish. The workshop is appropriate for intermediate and advanced makers but can be a good beginning foundation as well for those interested. Students are welcome to bring an instrument they are working on and get guidance from Jon in working on their own instrument. The class will cover an introduction to design and construction in all important aspects. There will be hands on demonstrations as well as access to an extensive personal library and direct examples of work from famous makers. Daily talks on varying subjects including history, maintenance, set up and sound production will be open to the camp at large as well. Participants are encouraged to bring their own tools, however a limited number of tools will be available for students who do not have all the necessary equipment. This class has a $40 lab fee payable when you arrive. Please share: