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More stabbing in the dark:

This is my interpretation based on a Hargrave writeup of a G. Grancino viola.

This one has the "typical" wide and slashy f hole nicks, prominent reed lines to the grain on the top, and the arching appears to flatten out in the corners. However, the pegbox does not seem to have a long shallow curve (I am assuming this is to be viewed from profile), and this violin has the presence of some unusually large locating pins for the back. It should also be noted that there is a ''delta" on the back of the pegbox at the start of the fluting, but not in the Schönbach style. The extra curl in the eye is also interesting.

Does this display a logical train of thought?

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Yep. That post was a little hurriedly put together right before work. I admit (and it should be obvious) that I am naive and ignorant in many aspects of violin identification. I just saw an opportunity through this forum to learn with the guidance and redirection of a few senior members. At times the revered experts, such as yourself, might even find the topic interesting enough to comment.

There have been many posts in which members ask about the process or method of looking and determining an ID of a violin. If I remember correctly, you start with a frontal impression and then proceed to the rib garland. Jeffrey Holmes looks first at pattern, then varnish (again if I remember correctly). I am just trying to use this one as an exercise to learn more about Milanese instruments or even whatever school this may turn out to be. My masturbatory spiel of observations is partly prompted by features noted in the Hargrave article to be "typical Milanese" and a few features on the violin in question I suspect are not Milanese. I invite and encourage corrections. It will not hurt my pride.

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Walter, well I hope you forgive me for the above post. I think it is a common mistake, when confronted with an instrument with a fake Grancino (or other) label, to spend (waste) hours or weeks wondering why or why not it could or couldn`t be a Grancino. The other week I spent ages makeing new edges and corners on a Grancino cello from 1701, so I know perfectly well what one looks like (particularly the corners). This violin doesn`t look like a Grancino, so one can start with a blank sheet of paper, working out what it could be, without that red herring in the way. The body of the violin in question has something of an autodidact feeling to it, rather than beeing from any particular school, so it will be practicaly impossible to narrow that down. The scroll, by contrast, looks like it was made by someone who knew what he was doing, so my first suspicion would be either a composite violin, or a self taught maker who bought his scroll. I don`t think that I will get much further than that. BTW If Jeffrey looks at violins in a different order than I do, it doesn`t make a blind bit of difference, I might drink tea with my breakfast and he coffee. :)

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I wonder whether that scroll is by a different hand. Its technique looks out and away better than anything about the body. Those ffs are particularly ugly, but the corners come in for their share too. The body looks vernacular, but the scroll professional. But what pro would work up a nice scroll for that body? Unless the sound is wonderful, I suppose.

The ffs seem to indicate that the maker was trying (and failing) to copy Stainer's model. The arching on the back looks really strange. Also the varnish.

Böhmische, maybe? Too much money, for sure.

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