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26 minutes ago, Strad O Various Jr. said:

I don't see a neck graft

I agree, original neck, something a lot of people look for. It might have its original neck set, or more likely was rebuilt at the heel. Cant say myself  if its a Niggel, but it looks like its from that period.

A lot of South German/Austrian violins had a dark varnish, sometimes almost black. Many times it has been removed. 

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That is a very interesting instrument. :mellow:

I'd want one just for the name.

"Hello there fellow cellist! What do you think of my Stradivarius? I say! That's a rather unique cello you've got there. Gofriller? Montagnana?"

"Niggel. Sympertus Niggel."

*ps. I may call a future cat Sympertus Niggel. Or maybe Symperpuss Niggel...

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16 hours ago, deans said:

I agree, original neck, something a lot of people look for. It might have its original neck set, or more likely was rebuilt at the heel. Cant say myself  if its a Niggel, but it looks like its from that period.

A lot of South German/Austrian violins had a dark varnish, sometimes almost black. Many times it has been removed. 

Yes, but was it always applied by the original maker at the time of manufacture or appled by someone else later ?

The OP violin looks to have many cracks with this dark "varnish" covering them.

 

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The varnish, as far as one might tell from the provided photos, seems perfectly typical and original to the instrument, with the exception of the dark splurge over the area around the back sound post crack. It is unfortunate that no picture of the label is provided that one cannot judge if it is a howling Fahrkarte, or something slightly more convincing looking

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23 hours ago, Strad O Various Jr. said:

I don't see a neck graft

The volute is grafted to the pegbox with a big wooden pin, being visible at the rear side. Now one can start to wonder if this is original or a later alteration, because both are showing the same varnish and wear. Maybe an UV light could give some clue, especially when comparing it with the touch up zone at the bottom.

There were two makers bearing the name Sympert(us) Niggel, as Jacob explained in the linked thread, with an unclear relatonsship. It's also unclear to which of them the OP instrument is ascribed now. To my knowledge there are very few  bonae fidae reference examples, including the two presented here by Jacob and Martin, maybe the older Bromptons with a Hill number https://www.bromptons.co/auction/27th-june-2016/lots/65-a-fine-german-violin-by-sympertus-niggel-rusen-1763.html and a few others bearing some resemblance to them. It's also unknown in most cases (at last to me) which of the both Niggels was the definite maker.

Therefore the whole Sympert Niggel case seems to be a bit blurry, especially because the label was obviously abused regulary to sign otherwise unidentifiable South German looking violins.

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2 hours ago, Blank face said:

The volute is grafted to the pegbox with a big wooden pin

It took me  a while to spot the graft.

Was this a legitimate way to preserve the original scroll, albeit a much reduced part of the original scroll ?

And does it inicate that a longer neck has been installed at some point in the past ?

I have to say, without the benefit UV light to reveal the truth, it just looks like a broken part that has beeen re-attached.

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There are many grafts that are just the volute alone, or sometimes the volute and the back of the peg box. These can be done quite elegantly and almost invisibly. If you think about it, after a few peg re-bushings and some cracks it can become more desirable to have functioning pegbox walls - so you just preserve the volute.

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