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Found 11 results

  1. upbow

    Schönbach?

    Hi! I've had this violin for about 10 years now, my very first own violin, but I was so young at the time I never remembered its origin. I remember the violin maker and dealer telling me it was between 75 and 120 years old (so 85 - 130 now). There's no label inside, just one the violin maker put in with some kind of number (I'm guessing for some kind of database). Pictures are down below (some are upside down, sorry for that, I don't know why that happened), it sounds warm and soft (I chose it for its sound after a blind test, I was like 10 though and inexperienced). I've asked other people and someone came with Schonbach, which sounds plausible. I was wondering how they would specifically know it to be Schonbach and not Markneukirchen though, does anyone know the difference between those two? Also, I paid about €1000 for it, isn't that on the expensive side for a Schonbach? I bought it at a specialized violin maker and dealer though, I wouldn't think they overprice their violins. Any ideas on this? Is this actually from Schonbach or are there other possibilities? Was €1000 a good price for this or did I pay too much? EDIT: I remember now that this violin was slightly on the big side as I have long arms: the body is about 36 cm and as a whole the violin is at least 60 cm.
  2. I keep seeing Ernst Reinhold Schmidt instruments popping up and am wondering about the varying quality. Some can look very nice. I know this topic was briefly discussed awhile back, but in cellos, for example, the prices can vary by many thousands. It was mentioned that some can be very fine, but what is “very fine” for a large workshop/factory? Or did Ernst himself actually play a role in the building of certain instruments?
  3. 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
  4. Hello guys, first topic in this forum so here's a quick introduction: I'm Brazilian, living in Munich, and for many years i've been meddling with small instrument repairs, fittings bridges etc. Recently i've decided to take things a little bit more serious and started putting pieces together for a personal workshop. For a few months i've been doing setup and restoration for a few instruments and have a couple violins on the way of my own making Now back to business: I've just come into possession of a Schuster & CO violin that had the top NAILED to the lower block, which resulted in a partial crack and a small gap in the ribs... First... What!? Why would you do that? Would be just a mindless repair? Second: What would be the best way to fix it? I was thinking of completely remove the block and glue it back with a spline to prevent opening again, then gluing the ribs back... Is there a better way? Should i also use some filler for the hole? The instrument looks in general older than the average Markneukirchen and definitely has much better construction with full corner blocks and some interesting full linings. Unfortunately someone tried unsuccessfully to remove the label and now the part with the year is missing. Have more pictures if anybody is interested Thanks for any help.
  5. The typical Markie?
  6. Just incase anybody has a hole burning in their pocket, I should perhaps point out that this: http://cgi.ebay.at/ws/eBayISAPI.dll?ViewItem&item=331141504486 isn’t a Johann Adam Schönfelder Anno 1743, but an instrument from about 100 years later with a facimile (fake) label. The very early Neukirchener are very few and far between, and much nicer, and would, as I have pointed out time and time again, have the label on the inside of the treble middle rib,and not in the “normal” place.
  7. 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:
  8. Hey all, My fiancée is a fine young violinist, and between her and myself, violins of all sorts seem to find their way into our hands. One such curiosity is what purports to be a 1784 violin, rather highly ornamented, by Johanes Christiang Hamig, or Johann Hammig as I have more commonly seen his name spelled on the net. It is in rather unfortunate shape. It bears two repairman's labels inside as well, the first reading "reperert af instrumentmager J. Hjorth, Vestergade No. 45 i Kjobenhavn 1846" and the second reading "Repaired by Frank W. Musgrave, Lebanon Oregon, Mar. 3rd 1939". There is a rather nasty glue seam on the belly in the lower bout that I wonder may be the handiwork of.Mr. Musgrave, and the endpin is roughly carved, poorly fitting, and has pulled the endhole oval. At any rate, I thought I'd share this curios with you and see what you might have to say about it. I'm inclined to see it as a wallhanger, but am willing to work on it in order to gain more experience if the masters here think it's a good idea. =) Best always, Jackson
  9. I have procured a Friedr. Wilhelm Nurnberg violin made in Markneukirchen, Germany, in 1924. It needs some repairs, I was wondering if anyone has had one of these violins and could share there experiences? Thanks.