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Found 35 results

  1. Does somebody could give me the autore's name of this drawing?
  2. I recently acquired this lionshead violin I am currently doing research on them and I just get more and more confused. As I stated in the title there is not identification paper inside the body of the fiddle that I can see. It may have moved however I do not have the tools to look inside of it. I want to know if there is any reason why I should not take this fiddle in to get repaired. Or if I should just set it in an auction on eBay for parts.
  3. Had this restored. It wasn’t in that bad of shape. The luthier couldn’t give me a name or an age, he thought maybe baroque. I don’t know why it has filled holes in the c-bouts and the three upfront. It came with a bow marked Vuillaume probably a copy. Thanks in advance.
  4. This is my first post on the forums. I've been learning violin repair/restoration for about a year now and have been learning through the repair of a variety of old factory fiddles in various states of disrepair. I know enough about identifying violins to make me dangerous, so I'm hoping someone might be able to tell me about this fiddle. I recently picked up this G.A. Pfretschner and I'm wondering what anyone might be able to tell me about it. From the research I've done, it seems many (or most) of these violins were student grade instruments although it appears some of the instruments were of reasonably good quality. This fiddle, unlike others I've worked on, seems well constructed. It has an independent bass bar, corner blocks and from what I can see with an inspection mirror the top plate seems to have been carved with more care than I've seen on other factory fiddles. Thanks in advance and I'm looking forward to learning from folks!
  5. Hello everyone! First of all, I've been observing this forum for a long time and I'd like to thank you all for countless hours I spent here, exploring the fascinating subject of violin making and its history, the amount of knowledge one can find here is just unbelievable! I have here a violin which I'm curious to know more about - it's actually not yet another "how much can I sell it for" topic, I'm not interested in the value, I'm just very interested in knowing as much as possible about the model and origin of this violin. I tried to do my best, I did my homework and read the guidelines for taking pictures, hope they are sufficient - if not, let me know how can I improve them! I also measured it, the measurements are 359; 167/110/203. There is a label inside, but since it's for sure fake, I thought I shouldn't show it yet in order not to influence anyone's opinion. If you have any thoughts about this instrument, I'll be very grateful if you share them!
  6. This is a smallish 7/8 cello that is on loan to me. I am very curious about how old it might be and of course, who the maker might be. The person who was storing this cello seems to know nothing about this cello except it’s “old”. Help appreciated!!
  7. https://imgur.com/gallery/rx6XSIR Hard to find info on Violas contra violins.
  8. Dear members, I have this violin from years ago. I bought thinking in order a restoration and barroque setup. Unfortunately my luthier said is too damaged, so the restoration is too expensive for the quality of instrument. Even so he said also is from late XVIII century, probably german. The instrument shows a repair label by Robert Hislop (no idea who was), Galashiels, 1886. Near the button has stamped apparently the name of the luthier but is almost erased: WIL... (William?). I know this kind of stamped names are typical from some french and english old violins but I can't find concretely who made the instrument. Could be made by scottish maker? That's all for now. Many thanks in advance!!
  9. My Mom gave us her cello about 5 years ago that she has had most of her life and she is now almost 70. It has part of a marking on the inside that says "made in Germany", but that is the only identification I can find. We are going to have to sell it and I don't have any idea what maker it is from or what general price I should try to sell it at. She played it in many orchestras and other cellists thought it had a wonderful sound. Any help you could provide would be wonderful! Thank you. -Jonathan
  10. My wife just bought a cello at a garage sale. The cello had belonged to the father of the woman who sold it. She did not know the origin of the cello but thought it might be from around the 1940’s. It has been played a lot and is in dire need of some tender love and care and we plan to talk it to a lutier for renovation. It was bought at the island of Gotland in Sweden so it is probably made in Europe. It has no labels or stamps inside the body. Anything you can tell us about it from the pictures would be greatly appreciated. If more pictures are required please specify what kind and I will add them. I have tried to follow the guidelines how to take pictures for identification and hope that this type of post is ok.
  11. Hi all, Can anyone help identify possible makers for this bow? It appears to be stamped SED????ON There is a sticker on the frog which reads made in France. Thanks
  12. Anyone have any general starting points to ID a Romeo Antoniazzi violin? Features to look for? Identifying stylistic elements? Marks? Et cetera... I am working on a research project on the lineage of makers he is a part of but his style seems, to my extremely basic eye, to be all over the board and very diverse. So I’m having trouble nailing down some themes to note for his instruments. I also don’t have a paid Tarisio account which I suppose might help but I’m trying to save money for now. Any tips on his instruments much appreciated. Thanks much!
  13. Can anyone tell me what you think about this old fiddle? I bought it at a goodwill for very cheap - mostly for the purposes of practicing removing and inserting a soundpost, set-up, etc. But I'm starting to think it might be worth more than I paid for it. Curious? There was a label on the inside - in fact it looks like there was a label on top of a label. Two different ages. It almost looks like someone tried to remove them (or maybe the top one and ruined the bottom in the process). Purfling is definitely real. Wood seems decent. No cracks. It looks to me like the nut (and maybe the fingerboard) was replaced at some point. The new nut doesn't seem to have been made very well... I might try to make a new nut. Bridge says Joseph Teller 1892 Germany **. It looks like someone put newer Dominant Vision strings on it. Anyway - let me know what you think. Thanks!
  14. Interesting viola shown on violinist.com: http://www.violinist.com/discussion/thread.cfm?page=1014
  15. I have inherited (and play) a violin that has been passed down from my great great grandfather. The only only information I have about the violin is that it was taken to Gallipoli with the New Zealand troops on 16 October 1914. My dad seems to think that it might have been made in France. Does anyone have any idea where this violin may have come from? It is completely unlabelled on the inside. My second question is in relation to the bow. A local reputable violin dealer, repairer, valuer etc. has confirmed it is a genuine W.E. Hill & Sons bow but I'm wondering if anyone recognises the mark - particularly whether it is a "dot" or a "zero" in terms of who the specific maker was. THANK YOU! (Also I’m sorry the photos have been uploaded out of order for some reason. If you need a clearer picture of any, please let me know.)
  16. Hi all and Happy New Year, I´m posting some pictures of a violin a bought about 10 years ago and sold to a friend of mine. The violin has came back to me again for re-sale and I´m wondering what it is since I never really had a clear idea about its origins. I bought it from a Ebay seller in USA for 1.000 USD and I find this instrument OK for the money; I´m quite sure this is an easily identifiable violin but I don´t really have an idea; it looks french for me but I´m not an expert not even a good amateur or connoisseur. So I ask for some help in order to know a little more about this nice violin. The label says Vistoli Luigi fece in Lugo 1921 but I don´t expect this violin to be italian Condition is very good apart of some retouching to front table around and under bridge and fingerboard. Thanks everybody in advance, Luis
  17. The question I get asked most often about my 'cello (I mean, after, 'Don't you wish you played the piccolo?') is, 'Who is he?' Because he has a face instead of a scroll - and not the 'normal' lion or beautiful woman, but a cheerful, balding old codger. The seller suggested Mittenwald 1870-ish, but couldn't tell me who he was. I wonder if anyone recognises him? Or maybe the lamb-and-flag stamp on the back? Thanks!
  18. Hello there, I'm a new member, but I've used threads from this forum as an information source many times before. I'm a Danish cellist with a lot of hobbies, one being restoration of old violins. I'm rather new to it, though, and have only repaired one violin yet with a nasty sound post crack, so I need to gain a lot of experience. I picked this violin up from a luthier's shop window in Schleswig, Germany. He told me it's a 200 or more years old violin from Mittenwald. I asked why the maker didn't use flamed wood for the neck when the body seems to be of rather nice wood and he said that it was probably made by another person than the body like some sort of production line, just like the trade instruments. After staring at it in admiration ever since I purchased it, I've formed a theory that the neck might actually be made later instead of a neck graft. I think there is lots of attention to detail in the body, but not so much in the neck, and the combination seems weird to me. However, I don't have much experience, so I would love if someone could help me identify it. I have taken pictures with my phone, and I've observed a few details: The fingerboard seems to have been too low on this neck and have been lifted with a thin, angled piece of maple. Is that normal? The fingerboard has grooves from the strings The upper right corner where the left hand might rest is weared down a lot so it has a curve down and is even cracked along the purfling. The back has marks after having a chin rest mounted for both a right- and left handed player. Maybe it's been a student violin and used by many people? However, it only has marks in the c-bout on the treble side. It has been repaired in five cracks in the top and one in the side. The stamp on the inside looks a lot like the one of Christian Wilhelm Seidel, but especially the d is not as swung. I can't find anything anywhere matching this font. Does anybody recognize this branding? I can't upload my photos from my phone, so they're on Google Drive: https://drive.google.com/folderview?id=0B0fyVNePhekSc2hsa2xxT3pTSWM My last question is one that I know has been asked too often: It's horribly firty with rosin buildup etc, how should I clean it? I've done my best with a damp cloth, but it's not really enough. I've heard turpentine should be safe on rosin varnishes (this should be dragon blood according to the seller), and it seems to work, but I don't really like how hard the turpentine itself is to get off the surface. I'm not asking how I should clean my instrument casually, but how I should do if I want to be the amateur luthier who enjoys making old stuff play again. Lastly, of course I won't do anything stupid to a really good instrument while I'm still learning, and it will under any circumstanced be taken to my luthier when I get home before I touch it. Sorry for the long post, but I hope someone out there can help me. - Tobias :-)
  19. Hello all, This is my first post, but I’m beyond grateful for how much I’ve learned by reading through MN forums archives over the last year or so. I’ve had this violin for about 25 years and I’d deeply appreciate any insight as to it’s origins and approximate age. My 9 year old son is just starting to play, and while this is still quite a ways off from being an appropriate size for him, I’d like to get a sense whether or not it’s worth investing to get it properly repaired. Length of back is 360 mm. It has blocks at all four corners, and the linings go straight over the blocks. Lower rib appears to be one piece and I don't see evidence of a notch (but maybe I'm not looking in the right location?) The neck length is 124 mm (baroque or transitional length?) Upper bout width is 172 mm Lower bout width is 202 mm Bass bar appears to be glued in. The neck block is rectangular (squared off at and has corners, unlike the curved shaped ones I’ve seen on other violins) and from what I can see from the separation at the button, the neck appears to be morticed into it. The tail block is also rectangular. I’m assuming the brass plates on the outside of the pegbox indicate repair, but I haven’t attempted to pull them off to confirm this. It’s unlabelled and I’ve been unable to locate any markings whatsoever. There are seam separations at the button and along the lower rib and as-such, the neck angle is more shallow than it would be were it repaired properly. Let me know if there are other images or details that would be helpful. Thank you so much in advance for any info and thoughts you’re willing to contribute! warm regards, Bill NJ, USA Here's a gallery with additional photos: https://www.icloud.com/sharedalbum/#B0OGFssfGG8YpLz
  20. The typical Markie?
  21. 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?
  22. 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:
  23. ​​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. ​http://imgur.com/a/WslKH ​ ​Thanks for your help. ​H.
  24. 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 http://s1268.photobucket.com/user/bentrcbbentrcb/library/BassPics http://s1268.photobucket.com/user/bentrcbbentrcb/library/BassPics
  25. 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: