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Wornle?


GoldenPlate
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The label looks as if my 6-years old granddaughter had written it, but not like the "Kurrentschrift" which we should expect in an 18th century german violin.

Before it was ruined by a professional violin-mucker it could have been an interesting bavarian/Füssen instrument around 1800 or older.

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I've seen a couple over the years, at least ones that were attributed to and presented to me as Wornle. If I recall they were priced about the same as a good quality Klotz, which is what I thought they were equivalent to. I don't know if there is any demand above that. One example that I saw from a big dealer particular sticks in my mind as a great player.

 

There are fake and mislabeled examples of just about any violin worth more than a few thousand dollars. I suspect that many no-name Mittenwald fiddles have been "upgraded" to Wornle just to increase price a bit or make it move faster, just as many have been upgraded to a named Klotz.

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Jacob, did any makers of this name produced work that is distinct enough to identify among the sea of other M-walders? I'm talking about roughly the 18th century era? Have you seen enough of them to be comfortable IDing one?

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Jacob, did any makers of this name produced work that is distinct enough to identify among the sea of other M-walders? I'm talking about roughly the 18th century era? Have you seen enough of them to be comfortable IDing one?

To be perfectly candid, I think not really, except if you come across one with a plausible untampered original label. I think one should remember that in 18th C. Mittenwald, the whole village made violins, and everybody was apprenticed too, or subsequently journeyman in one of the other workshops. One should probably imagine a thriving workshop as having 5 or 6 employed artisans. Further they were all heavily related to one another. I tend to be extremely sceptical when anyone thinks he can divide unlabelled ones up between the different individual names. As you allude to, in the 19th. C. the “Verlagswesen” i.e. division of labour set in and even if you find a pencil inscription inside, you only know who made the (white) sound box.

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Isn't it odd then...that if you can't really ascribe a German 'cottage' violin to a specific individual...that we seem to be rather obsessed with trying to ascribe a German cottage violin to a specific individual.

I get the broader historical interest...but this seems undoable and because of that, rather silly, no?

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Isn't it odd then...that if you can't really ascribe a German 'cottage' violin to a specific individual...that we seem to be rather obsessed with trying to ascribe a German cottage violin to a specific individual.

I get the broader historical interest...but this seems undoable and because of that, rather silly, no?

Oh dear! It is of vital importance to try and differenciate between age, area, and individual workshops, of course. Also to differenciate between cottage industry instruments, and those from the workshop of an individual master. You don’t want to use up my next free weekend, do you? :(

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Oh dear! It is of vital importance to try and differenciate between age, area, and individual workshops, of course. Also to differenciate between cottage industry instruments, and those from the workshop of an individual master. You don’t want to use up my next free weekend, do you? :(

Mr. Saunders, I am sure that you are able to do what you described, but, who would pay for such kind of, say, job? This is a kind of art, expensive one, and, seems to me, could easily worth (and cost) more than the subject of analysis. Or I'm completely wrong?

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