Another mystery instrument

[FiddleDoug]

OK here's another one for all of those out there with much more experience with a multitude of different makers.

I haven't had time for pictures yet, but here are a couple of distinguishing features. This is a 4/4, fairly plane, no label.

It's fully blocked with continuous linings that go across the corner blocks. There is a purple ink stamp on the neck block. It's a large "S", about an inch high, turned sideways.

Thanks in advance.

[Lyndon Taylor]

That's not telling us much, were not psychics, just kidding Doug, i suggest you try pictures, or showing it to an expert, sincerely Lydnon

[FiddleDoug]

I'll get a couple of pictures up soon. The blocks and linings are nicely done, but the bass bar is just an average factory job. Nothing really special or notable, not really old. I was hoping that the continuous linings and ink stamp on the neck block might be give-aways.

[Jacob]

The continuous linings you mention is a feature of Genovese makers, late 19th- early 20th-century (Cesare Candi picked up this trick when he went to Genoa).

It's also a feature on some intermediate-level German trade fiddles. I've seen some dating from the late 19th-century, and I once received a violin in-the-white from Höfner with continuous linings.

I think it's a daft idea, I can't figure out a practical reason for doing it.

[Ken Pollard]

Jacob wrote:

"I think it's a daft idea, I can't figure out a practical reason for doing it. "

I haven't seen continuous linings on nice instruments, but I have seen them on some modern low-end Chinese violins. As far as I can tell, the practical reason is you fit it at the neck and endblocks, probably by taking overly long, flexible lining stock, gluing on one end, then gluing along with clamps until you snip it with wire-cutters at the other end. Two fits, instead of six. And you can leave the fit within a few mm's of being tight, to make it easier.

I don't like it, either.

Ken