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Machold


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Which modern marking/identification scheme is best to get the original instrument back to its original owner after some unscrupulous person pulls off the old switcheroo?

Thanks,

Jim

The best 'modern marking/identification scheme' is someone who is able to determine which 'original original instruments' are the 'original' instruments owned by Frau Sator.

Now I must ask two questions:

1. What is a 'proper title' and how can such a thing be 'assigned' to any old violin?

2. Where are the serial numbers found in or on the body of, say, a GDG that doesn't have a label, or a fake/facsimile label, or never had a label in the first place?

Jmann

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The best 'modern marking/identification scheme' is someone who is able to determine which 'original original instruments' are the 'original' instruments owned by Frau Sator.

Now I must ask two questions:

1. What is a 'proper title' and how can such a thing be 'assigned' to any old violin?

2. Where are the serial numbers found in or on the body of, say, a GDG that doesn't have a label, or a fake/facsimile label, or never had a label in the first place?

Jmann

I would think the "serial number" would essentialy be high rez imadages. any one could pick out the truth.

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The best 'modern marking/identification scheme' is someone who is able to determine which 'original original instruments' are the 'original' instruments owned by Frau Sator.

Now I must ask two questions:

1. What is a 'proper title' and how can such a thing be 'assigned' to any old violin?

2. Where are the serial numbers found in or on the body of, say, a GDG that doesn't have a label, or a fake/facsimile label, or never had a label in the first place?

Yeah, it's #2 I was getting at. I expect many Owners may not even be able to identify their own instruments.

It would seem the unscrupulous have the upperhand unless maybe some 'system of markings' is used for identification purposes.

Perhaps the Label would be just one 'known element' of the marking scheme. I've heard talk of DNA being used to mark instruments as well.

Jim

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On the topic of Instrument ID ,what about the inplant(yes.. silicon) tech. I could "see" various ways of seceretly placing and recording the info rather non invasivly. I understand It could be Quite a deal to instal one on a Strad or ECT. but... is any one familar with these things? or willing to offer opinion?

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It would seem the unscrupulous have the upperhand unless maybe some 'system of markings' is used for identification purposes.

Sounds like the bad old days, when the "iron curtain" was just down the road and people would come around and ask me to retouch a fake Romanian Customs stamp onto their fiddle.

None of the above will ever work. The trade is based on trust and always will be. That is why it is so important to be honest and so reprehensible when one is a liar.

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None of the above will ever work. The trade is based on trust and always will be. That is why it is so important to be honest and so reprehensible when one is a liar.

To catch a Liar in a high-end switcheroo scenario may only be possible by means of additional 'secret' identification markings. The switched 'copy' won't have these markings.

The downside is the original needs to be found to confirm it has the markings or the Liar 'walks'.

Jim

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Jacob Saunders has written:

"Sounds like the bad old days, when the "iron curtain" was just down the road and people would come around and ask me to retouch a fake Romanian Customs stamp onto their fiddle."

-------------------------------

Huh? As far as I know, Romanian Customs embosses their (official) seal into a glob of hot red/orange wax poured on a square card of thick paper with two holes punched in it, which card is attached (by means of a short string passed through the holes in the card and knotted) which string was already passed through one set of holes in the unmounted pegbox. A document of appraisal (with a good quality photograph of the unmounted front at the least) must also be submitted before exportation.

Even though the 'iron curtain' may have fallen the red tape of communisim still has a good hold in many places. Fess up, Jacob! :lol: You're Machold's right hand man, aren't you! :D:lol:

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...or speedos, isn't that right David?

I was thinkin' it might be the same thing, but then I started thinking about how there were implications of gender, and how that might affect the outcome.

Fat guy in lingerie, fat woman in a speedo... now you're getting me all confused, Alan. :blink:

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Jacob Saunders has written:

"Sounds like the bad old days, when the "iron curtain" was just down the road and people would come around and ask me to retouch a fake Romanian Customs stamp onto their fiddle."

-------------------------------

Huh? As far as I know, Romanian Customs embosses their (official) seal into a glob of hot red/orange wax poured on a square card of thick paper with two holes punched in it, which card is attached (by means of a short string passed through the holes in the card and knotted) which string was already passed through one set of holes in the unmounted pegbox. A document of appraisal (with a good quality photograph of the unmounted front at the least) must also be submitted before exportation.

Even though the 'iron curtain' may have fallen the red tape of communisim still has a good hold in many places. Fess up, Jacob! :lol: You're Machold's right hand man, aren't you! :D:lol:

You are quite right. There was however a slightly less burocratic way round in the 80's which relied upon 1. useing the right border crossing & 2. the customs official "likeing you". If a musician had a concert gig in "the West", he could take his own (the best he could find) violin. The customs would apply their rubber stamp on the back, to make sure that he brougt the same violin back. Once in the west, the violin would be converted into as many deutsch marks as possible, and a cheap and nasty violin bought or scrounged. This violin had to be just good enough to be able to play the first few bars of "Zigeunerweisen" incase neccesary, and only needed something that looked like a Romanian rubber stamp painted on the back.

You have caught me red-handed of course. Sorry, I'm Dietmars stooge. I have met him twice since I left in 1985; once when a Viennese professor took a Cappa on approval to see "how the tone carried in the Musikverein" and tried to sell it to Dietmar for a profit the very next day and a second time when a loss adjuster required a 3rd opinion re. an insurance claim

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Jacob Saunders has written:

"Sounds like the bad old days, when the "iron curtain" was just down the road and people would come around and ask me to retouch a fake Romanian Customs stamp onto their fiddle."

-------------------------------

Fess up, Jacob! :lol: You're Machold's right hand man, aren't you! :D:lol:

PS. Sorry a third time when Rogers Guarneri was in the Dorotheum, I forgot that one!

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