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This violin's got a very stiff thing going on above the f-holes (that quick rise), with a flat area in the middle that's too narrow to do much, combined with too much scoop. Generally, I'd expect it to have a lot of interesting overtones, and not much volume at all.

Think in terms of movement, and then imagine how an arch, like this one, would move, and how much. This is the type of arch I'd make if I didn't want it to move. :-) Of course, individual violins do their own thing, but they tend to stay, tonally, in packs, depending on arching characteristics.

This one has an arch like a table, and is probably going to vibrate about as well--there's no place for it to flex. Imagine that a more serpentine arch (across) would have more opportunities to move). Really, this arch is just about as bad as they come, so I think my prediction's relatively safe.

I wish I could be more specific, but it's mostly an experience thing. I can imagine a bunch of different models for things moving, but knowing a lot of individual violins and how they actually sound is what sorts them out.

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Without regard to this specific fiddle, in interpreting your comments, I come up with the idea that arching that consists of a number of discrete flat planes connected by what amounts to almost definable corners or edges is poor arching. I'm exaggerating some and probably simplifying a lot, but that's the image I get.

In my mind's eye, such arching isn't visually very pleasing.

So, instead of discrete planes, we should be looking for continuous curves in good arching.

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I may have been of no help whatsoever. The terms used in my post, above -- flat plane, continuous curve, edges -- are almost metaphors whose meanings are very much in the eye of the beholder.

I do know that one of the important factors I want to keep in mind when buying a violin, especially in a non-professional sale, is that I see what I'm looking at, not what I want to see.

I would like to add that I don't believe in commenting, specifically or directly, either for or against a specific fiddle for sale. I'm no expert and am not qualified to make definitive judgements, nor do I want the responsiblity (legal or emotional) of confronting an unhappy buyer or seller.

In short, nothing I've stated on this thread was meant as an endorsement or criticism of the fiddle you've presented.

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Hi Yuri,

I appreciate your asking people here of what they

think about your violin. It provided an opportunity for

discussion. Merely by looking at picture or images no one,I think

can say any thing for certain. You hold the answers for

all these questions.....just my thouht.

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  • 3 months later...

Hi Everyone,

im not looking for a violin but I had one given to me by my Grandmother. Can anyone tell me anything about it?

the inside of the violin has 2 labels.

One side reading:

Atelier de Lutherie d'Art

Marc Laberte


The other side reads:

Model d'apres

Jean Baptiste Vuillaume a Paris

3 rue Demours-Ternes

What can you tell me about this and what might its worth be?

I won't sell it but just curious about it. Thanks for any info you can provide.

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Laberte & Magni'e-Mirecourt, France.

One of the most important houses in this center of violin making, founded 1780. Fourier Magni'e Co. (founded 1776) joined the firm of Laberte in 1919. They are also successors of D. Nicolas, Honore Derazey and others. They employed a large number of highly skilled workmen and the fine old instruments of Marc Laberte's collection served as models for their new instruments and for comparison of tone. Their better commercial instruments were priced at about $300.00 in 1942. 1999 prices ranged from $5,00.00 - $7,000.00.

Source: John H. Fairfield: "Known Violin Makers" Sixth Edition

This is only a general description, but it should give you a starting point. Pictures here, or a visit to a reputable violin dealer may yield more information.

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