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Found 2 results

  1. Wife found this lovely Jacob Stainer copy - made in Czeckoslovakia (c.1920's) at an antique shop in the valley on the weekend. She texted me the photos and saw the neck might need to be reglued but everything else looked good. SO the $20 price tag seemed a steal. When she got it home I saw the neck was more than just a reglue job. Root cause is a broken button. Also a small crack in the top which was separated from the ribs. But all the corners are in tact and the reest of the body is solid. The Maple is beautiful! Nice highly flamed single piece back! This is the second single piece back violin I bought with a broken button. I'm already familiar with button repair. Is this a problem with single piece backs? Its astounding how much someone felt they needed to countersink the hole for the wood screw that they used to try and reattach the neck to the violin! How would you approach repairing this blasphemy? Simply try to fill the hole as best you can with like maple? Thanks, Joe
  2. However old one gets, one is always repeatedly confronted with violins by makers who one has never heard of, and from places one would not expect. A case in point is this casualty. A violin from Krakau, made in 1959 by Jan Chamot. Should one repair the broken off button as I described here https://maestronet.com/forum/index.php?/topic/330042-violin-id-and-repair-advice/&do=findComment&comment=617534 the violin will be able to resume its career in mint, unretouched condition, where nobody would even believe you that it has been repaired at all. I have no idea which “School” one may put Herr Chamot into (perhaps somebody knows more). We have had threads on who and where fitted linings that go from top to bottom, over the corner blocks, and it would seem that one may add Chamol, Krakau to this list. From the “Cornerblockology” perspective, this has corner blocks with an equilateral triangle plan view, which would suggest blocks shoved in afterwards into ribs made in an outside mould. Lo and behold, in the couple of pictures that came with the fiddle, we see Mr. Chamot, sitting at his bench with a grim look on his face next to an outside mould! Another curious feature is his bass bar, which seems to have been inspired by the architecture of some baroque catholic church. Further he has left a, carved out (not stuck in like for instance Deganni) ridge all the way along the back joint. This invites speculation what advantage he expected from this. Another cute feature is how the eyes of the scroll have pupils