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Marchetti at Bongartz


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It seems everybody is at the siesta on this forum, so wake up and let's hear some opinions about this:

 

 

http://www.bongartz-auktionen.de/catalogue/157/index.html

 

Is this a cheap Marchetti workshop product, bought in white from Schönbach or Mirecourt?

Especially the scroll looks like, not Dutzend-, more Kilo-Arbeit.

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It sold for 15.000.

 

From what I remember it didn't look good, the sound was horrible. Some Chinese bloke bought it (he bought all the Italians) Only 4 violins really stood out amongst the fast collection of violins (most came from one collection)

I should point out that there were many fake instruments at an auction, hill bows that were clearly Chinese just to name one item... other people also pointed this out when talking to them.

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From the photos, it could be nearly anything from anywhere.  I think I've touched on this before.  There was a post a while back on how a number of Italian makers used to get merchandised that makes me feel that the choice between semimodern German and Italian isn't as big a choice as some assume.

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Thanks for the replies!

If somebody would give me the number of this "chinese bloke", I have some stuff or him.... ;)

Some years ago Bongartz sold a very good looking Marchetti (Guadagnini copy) from 1880 or so - but this looks like a cheap Mirecourt or a cheap copy of a cheap Mirecourt. The sound with this setup (old steelstrings, rotten bridge) is immaterial, probably it will sound better with a professionell fitting.

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Oringo you might be right. I have never seen a Marchetti but have seen and played some other early 20th century Turin fiddles.

One was a Genovese that looked A LOT sloppier than a Genovese copy .

Frankly that original Genovese  looked a bit like this Marchetti. Other Turin fiddles from that time can look very nice though , like the Gatti in Blot's book , a very beautiful fiddle and sounds great too.

It is my understanding that Marchetti's work covers quite a range from the sloppy to the more precise. I've read that some better ones got passed of as  Roccas .

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I was referring to this post in the Marengo Rinaldi thread:

 

Can anyone convince me that these instruments are more than mass-produced, possibly even German knockoffs of Enrico Marchetti's work? I know that Marengo's father is a maker worth lusting after, but these just feel like they belong in the wrong league - something like the Monteverdi workshop in Cremona, Monzino, or heaven forbid, the likes of Renisto, Salsedo and Tassini... 

 

Here's an example from a Brompton's sale some years back.

 

http://www.bromptons.co/auction/catalogue/8th-march-2010/44-a-fine-italian-violin-by-marengo-rinaldi-turin-1913.html

 

Consider me severely slapped down if my discomfort is unwarranted. 

 

I can't help, but those violins look very french to my eyes (except the varnish), and the Renistos or Monzinos look much more italian (for Martin).

Here are some better Marchettis:

 

http://www.amati.com/articles/995-enrico-marchetti-violin-and-viola.html

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May be interesting for you if you did a little research concerning various Turin maker's relationships (training, employment, supply) with those inside and outside of that city/country in the late 19th/early 20th centuries... starting with the Guadagnini family.

Yes, I know history, about Napoleons troops having their headquarter in Torino and the Guadagninis selling french master violins as their own...but I'm wondering, if this french looking Marchettis - and the Marchetti instruments shown by Amati.com have a more italian habit - or Rinaldis are made in Torino copying the french style, including edges, scrolls, or bought in white from Mirecourt (or even from other places) and just finished in Italy.

 Personally I had some violins before which showed a criss-cross style between Torino and Mirecourt and wondered, could this be italian? I decided, they were french and sold it as french, but if I was mistaken, I lost a pretty penny.

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Not sure you really "lost" in the end, though it may be that another capitalized on the situation.  

 

For me, it comes down to a line in the sand.  The instrument either complies to what I'm comfortable with in that maker or it doesn't... with full understanding this doesn't make me necessarily right or wrong in any specific situation. That line may (does) move some depending on exposure/experience... and understanding the history of the school, but in the end I'd rather err on the "safe side" and avoid selling a Mermillot as a Guad.   :)

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