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germain

Isn’t this a really low price for a Hel

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There are edge cracks and a rib crack. Not too significant, but not perfect. Good, not great. No audio to judge sound, and most of us can't fly to NY without a 14 day quarantine. Unless George is correct and Germain can tell us how it sounds.

Back: light compression and surface marks; in good condition
Ribs: negligible crack at lower treble corner, light marks; in good condition
Top: negligible edge cracks, light marks; in good condition
Head: marks; in good condition
Varnish: light wear; in good condition

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6 hours ago, GeorgeH said:

Are you the consigner?

Nope... and I do have enough French violins so I am not bidding on it either. I have not been to Tarisio to test any of them this time around. Still the estimate seems low to me.  

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38 minutes ago, germain said:

Nope... and I do have enough French violins so I am not bidding on it either. I have not been to Tarisio to test any of them this time around. Still the estimate seems low to me.  

From my POV, I see a bunch of comparatively recent violins you couldn't tell apart (or tell from a good trade fiddle) from 10 feet away being offered for really serious money, and wonder what the attraction is.  Are all these bidders conservatory students or orchestra players or something, who need a certain provenance to be taken seriously?  :huh:  That I could understand. 

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Collaboration father/son, I don't find it as personal as Josephs earlier work... doubting if it could be a violin bought in the white in Mirecourt and finished by Hel.

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3 minutes ago, chrissweden said:

Collaboration father/son, I don't find it as personal as Josephs earlier work... doubting if it could be a violin bought in the white in Mirecourt and finished by Hel.

Rene Morel said to me "... the is no violin made in Paris" haha

17 hours ago, Violadamore said:

From my POV, I see a bunch of comparatively recent violins you couldn't tell apart (or tell from a good trade fiddle) from 10 feet away being offered for really serious money, and wonder what the attraction is.  Are all these bidders conservatory students or orchestra players or something, who need a certain provenance to be taken seriously?  :huh:  That I could understand. 

Musicians searching for a piece of history that they can connect with... I don't see anything wrong with that. I always preferred older instruments although in some cases violins made by modern makers may sound even better. New fiddles just don't cut it for me and I know that is also the case with many other of my colleagues.

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18 minutes ago, Strad O Various Jr. said:

So a fine French violin by a very well respected maker looks to you like just another Markie?

I've seen many late phase Markies that look like just another fine French violin by a very well respected maker, and that goes double for the pricey homogenized Italians.  Surface appearance doesn't always tell you much about what you're bidding on.  :P

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50 minutes ago, Strad O Various Jr. said:

Well if you can't tell the difference between German, French and Italian violins, I guess that's your problem, isn't it?

No, it's the way that the business has been going since the 1920's.  If you're not aware of style homogenization and indiscriminate copying, it's not my problem. :P

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10 minutes ago, Strad O Various Jr. said:

The OP's violin is from 1901, well before this supposed decline you speak of in the 20s.

Nope, it began earlier, and finally eradicated Bohemian local styles in the 1920's, when Roths and their Juzek relatives take over from B_O_B Duzendarbeits.  Mirecourt had fallen into the pit of modern production decades earlier.  Then there's the mess that Italy became before the 1970's reinvigoration. :P

I don't mess with stuff that becomes unattributable if you lose the label and the trail of receipts, much less wager ten to twenty grand on it, especially if I suspect that it won't sound any better than much more modestly priced violins.  :lol:

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33 minutes ago, germain said:

The Degani at 20-30K estimate also looks like a good deal and interesting to me... 

https://tarisio.com/cozio-archive/browse-the-archive/makers/maker/?Maker_ID=157

https://tarisio.com/cozio-archive/cozio-carteggio/giulio-degani-part-1/

https://tarisio.com/cozio-archive/cozio-carteggio/giulio-degani-part-2/

https://www.bromptons.co/reference/makers/details/degani-giulio.html

Outside my budget, but I agree.  Those have more individual characteristics to check, and a well documented track record.  :)

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11 minutes ago, Fossil Ledges said:

The Juzek label fell out and I lost my receipt!

In that case, I'll give ya fifty bucks for the Scherl & Roth you're holding.  :ph34r:  :lol:

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The “Zanoli” is shattering the estimate. I am guessing the high bidder just wants an old Italian fiddle and price was justified by the dendro report?

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4 minutes ago, germain said:

The “Zanoli” is shattering the estimate. I am guessing the high bidder just wants an old Italian fiddle and price was justified by the dendro report?

Or maybe it is just what they are looking for.

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8 hours ago, Wood Butcher said:

Or maybe it is just what they are looking for.

I guess at least 10 different people are looking for the same thing... it went 10x the estimate. Crazy

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1 hour ago, germain said:

I guess at least 10 different people are looking for the same thing... it went 10x the estimate. Crazy

I don't understand - what's crazy? 

 

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3 minutes ago, martin swan said:

I don't understand - what's crazy? 

 

10-15X the estimate is what is crazy...

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Who looks at estimates? The violin is what it is - the question is whether the price is appropriate for what the violin is, not for what the auction house estimates it at.

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1 hour ago, martin swan said:

Who looks at estimates?

Seemingly most people on M’net, assuming it is the price it must sell for, otherwise the world might end or something.

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