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Amati from Ingles and Hayday Auction


GoldenPlate
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Just took my first look at the e-catalogue. Great line up. Nice distinctive presentation.

Will go through more carefully later when I have a little time.

Pity that the photos of scrolls are a little small when displayed on the same page as top and back.

Good luck with the auction and new venture.

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I don't think it's particularly different - Sothebys used this term instead of "school of". Their catalogue definition : "executed by a contemporary of the named maker and exhibits his characteristics".

Won't argue with that, Martin, but the catalogue glossary does distinguish between

"workshop of" (made on the premises),

"circle" (contemporary and characteristic but not necessarily under the direction of?) &

"follower" (characteristic of but not necessary contemporary).

It would be nice if the major houses agreed on one set of universal terms.

 

glossary.jpg

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Catalogue #130: A former Alexrod collection instrument?

 

The "attributed" Strad (Prince Ludwig of Bavaria) is documented by Pollens and featured on cozio.com :

 

http://www.cozio.com/Instrument.aspx?id=1979

 

"According to the Hamma certificate, the table of this instrument was probably replaced, though Axelrod indicates that Dietmar Machold's father, Heinz-Joachim Machold, acquired the original table and reinstalled it.

Associated with this instrument is a certificate written by Chardon & Fils in 1929. This certificate indicates that in 1851 the maker Anton Sitt of Prague constructed the back, ribs, and scroll for a table that they believed Stradivari had made as a replacement for an Amati violin. However, the Chardon & Fils certificate indicates that the back made by Sitt was of two pieces, whereas the back of the Ex-Prince Ludwig Ferdinand is of one piece. Furthermore, the top of the Ex-Prince Ludwig Ferdinand is not in the style of Amati. Thus, the Chardon & Fils certificate must not belong with this instrument.

The back of this instrument is heavily damaged. There is a crack running from the bottom, just left of center, up to the lower right corner. There are also multiple cracks descending from the top."

(New Jersey Symphony Orchestra Collection brochure from Violin Advisor, LLC, April, 2007)

 

 

1713princeludwigofbavar.jpg

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Won't argue with that, Martin, but the catalogue glossary does distinguish between

"workshop of" (made on the premises),

"circle" (contemporary and characteristic but not necessarily under the direction of?) &

"follower" (characteristic of but not necessary contemporary).

It would be nice if the major houses agreed on one set of universal terms.

 

Hmmm .... this issue keeps surfacing on Maestronet. Of course these terms are not exclusive to the violin world, and are widely used in all parallel trades - the art market, for example, which dwarfs the violin world. 

 

However, if it came to a court of law, terms such as these would be considered as relatively straightforward English language, so any arguments about the appearance or omission from the glossary would not be of issue. The glossary and conventions are a courtesy. They are also convenient because when accurately used, they produce a heavily distilled and very helpful grading system of attribution. But I don't believe that there is any mandate upon an auction house to provide a comprehensive glossary of terms, nor to absolutely stick by it. As long as a term has the same meaning that is found in the Oxford English Dictionary, it is fine. 

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This is certainly an interesting violin - I would imagine there will be plenty of divergent views about this one. It even has the trace of what might be a ventral pin in the centre of the back, which is of course not something associated with Strad.  Not straightforward at all.

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