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I'm no expert here, but the appearance of the violin is what I'd expect for between-the-wars stuff from either Italy or Germany, and the case is a keeper.  Pay the nice Dutch fellow his 80 Euros and take it home. I would if I could.  :lol:  :P

 

Anybody heard of Matteo Allegri in Ravenna (maybe spelled "Ravemja") circa 1930's?

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Nice find!

For I'm not an expert in this matters, too, I heard like many others that Reggio Emilia was full of amateur or autodidactic makers at this period, so this might probably one of them.

In my unexperted eyes everything looks convincing for the period, too, also the label (which reads clearly "Ravenna" IMO and nothing else) could be in there since a very long time.

Ask Eric Blot, possibly he knows.

 

OTOH, I can't say what's so awesome about the 1970ies synthetic case (no leather, my 2cts) - I definitely like my Jägers much more B) .

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In that case, wouldn't that violin just be feces Germany?  The melted, gooey look of the front is particularly noteworthy.  No one really thinks it's Italian, right?

 

Just the other day I saw a VSO in a case at some knick knack shop, a truly horrible specimen with cracks everywhere and deep gouge marks to the fingerboard (which was evidently oak or some other hard wood painted black).  Even the case was just held together with fabric "hinges".  However, we're always looking for throwaway cases to ship violins in. So I asked how much for the violin and it was $30.  I asked if she would sell the case separately and she said sure, for $25... :angry:  At least nothing was being sold as a valuable antique etc.  

 

I figure it could be sold for $1000 after 30 hours of work, but the payoff isn't really worth it. New board, new pegs, NY reset, crack repair, regraduation, and and and... it's just too much work, isn't it? However, I think the look on my husband's face when I present it to him with an effervescent "have fun!" would be totally worth it...lol...I should take a picture of the thing, nothing you all haven't seen before but I would like other opinions before I don't buy it. 

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I figure it could be sold for $1000 after 30 hours of work, but the payoff isn't really worth it. New board, new pegs, NY reset, crack repair, regraduation, and and and... it's just too much work, isn't it? However, I think the look on my husband's face when I present it to him with an effervescent "have fun!" would be totally worth it...lol...I should take a picture of the thing, nothing you all haven't seen before but I would like other opinions before I don't buy it. 

Not too much work at all, IMHO.  Photos are always nice.  :)

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The cracks I can repair myself though they do look like they have been repaired badly so fingers crossed that no woodglue was used.. The fingerboard has some grooves in it but maybe it's thick and i can shave it away. Pegs, bridge, soundpost are not the issue. At best I only have to pay for strings and material.

 

P.s does this mean it's the first Italian find on "ebay"?

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I would be pretty dubious about the label - Marlin Brinser's dictionary of 20th century Italian makers doesn't list a Matteo Allegri. This is clearly not a one-off violin made by a total incompetent, yet Brinser's list is pretty exhaustive.

Ergo false label.

What it is is a whole other matter, but I don't see anything specifically Italian.

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What it is is a whole other matter, but I don't see anything specifically Italian.

As I pointed out a while back, this can be a problem with the general run of benchmade or "limited production" modern violins.  With nearly everyone seriously making since 1920 or so using similar techniques to copy similar models from similar wood and coat them with similar varnish, once the chain of provenance is broken, some of these things probably just can't be securely identified.  :unsure:

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I would be pretty dubious about the label - Marlin Brinser's dictionary of 20th century Italian makers doesn't list a Matteo Allegri. This is clearly not a one-off violin made by a total incompetent, yet Brinser's list is pretty exhaustive.

Ergo false label.

What it is is a whole other matter, but I don't see anything specifically Italian.

 

Be careful, modern italian would ergo be "not one-off violin made by a total incompetent", wouldn't it?" :D

After all what "it is" will depend of a possible certificate finally and only, otherwise it could be made elsewhere.

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Be careful, modern italian would ergo be "not one-off violin made by a total incompetent", wouldn't it?" :D

After all what "it is" will depend of a possible certificate finally and only, otherwise it could be made elsewhere.

:P

My point is that if this maker had made this violin, he would unquestionably appear in Brinser's dictionary. The fact that he doesn't provides a qualified proof that he didn't exist, given how exhaustive the dictionary is.

The are good Italian violins with the names of better Italian makers in them, but a label by a non-existent maker is generally a bad starting place. Whoever made the violin must have felt that a made-up Italian name would give more cachet to the violin than their own name would ...

Labels should never be taken as an indication of who made a violin, but they are still signs.

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I think we all remember the violin that had a label in it by an unknown English maker who's work we have never seen, it turned out to be a Guarneri Del Gesu.

IMHO, a cursory examination of the photos suggests that you're safe from that possible complication.  :D

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