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Enthusiast
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I think there is no doubt that this violin has a beautiful varnish. I am not that specialist like some other people here but the low position of the f-hole acc to the c-bouts stumps me also. I know there are some violins from del Gesu where the f-hole ends a little under the c-bout (1-2mm e.g. ID=88), but I dont know any photo / did not see life any of them where it was that low like here.
era, if you are familiar to so many of those violins, do you know any other examples of that or do you think it was just intended of del Gesu trying out something new?
in certifying the gisalberti by beare's are you talking about id=13493 in cozio-database? The shape of f-holes/the whole model in the style of Gisalberti seems very much different to me than we have in that fiddle here...
best,
pharus
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Enthusiast
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| A thorough study of the soundholes in all so-called 'published' instruments said to be by del Gesu` - from early to late - will demonstrate to anyone their many variations. The Hill firm made note of this, according to their 'impressions' one may suppose: Some ffs were set "too high", some set lower down, some long and perpendicular, others shorter, while slanting inward at the upper apertures; some far apart, some close together and the 'notches' vary in position accordingly. Another writer remarks, "the wings are always very broad". Another comments about the large size of the apertures, especially the lower ones. A modern maker presented (tracings, drawings, etc.) his? theory as to how del Gesu 'likely designed' the soundholes. And finally someone has claimed that the upper apertures are "always in the same place". Is there a valid explanation? Maybe; maybe not. Now, every connoisseur knows that no maker ever made 'perfect' instruments: but perfection can be found in imperfection. What else is new? All the craftsmen born into the Guarneri families churned out great instruments in their own special way. The cream of the crop, the one called "I N R I" simply rose to the top. Cheers! era
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Always interesting posts at Cozio´s forum! Your post remind me to John A. Thornton... but maybe chance. I´d love to hear your opinion on a violin I posted this year with the label "Joseph Antoni Finolli in Milano 1756".Despite the controversy that often arises in the forum, there are quite interesting really worthy of being taken into account.
Sincerely,
Luis
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Enthusiast
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Hi there!
I've seen the photos and I like the violin very much, although it has a beautiful varnish and considering that I'm not an specialist, the violin does not look a Guarnieri to me. I would say, south-Germany.
I've seen a few exemplars of old south-German violins and cellos and I always had the impression that I was looking to an Italian instrument, but there were some details that clearly showed another origin.
I think this is one of those cases.
Greetings! 
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| Does it have a Guarneri label? If so, please post a picture of it if possible. I would say the scroll may not be Italian, but the violin looks very interesting.
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Junior Member
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| I am not aware of such findings regarding the sound holes aligned with the lowest point of the c bout purfling, although that sounds very convincing. Do you have any evidence to support this claim?
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Junior Member
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| Does this violin have a basic or mitred butt joint at the ribs C bout?
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britain (3/22/2011)
I am not aware of such findings regarding the sound holes aligned with the lowest point of the c bout purfling, although that sounds very convincing. Do you have any evidence to support this claim?
It is a observation that is pretty obvious if you browse through the photos of violins of the Amati (starting with Andrea) and Guarneri families as well as those of Stradivari violins. It is best seen with makers, as for example Stradivari and the Amatis, that were more meticulous than del Gesu.
With del Gesu there are sometimes deviations of a few millimeters but never as much as on the violin that K&K presented here.
The strongest evidence for the placement of the lower f-hole eyes are Stradivari's drawings that have survived in Cozio's collection and now can be found in the Stradivari museum in Cremona. These drawing's suggest that (on violins) the centers of the lower f-hole eyes are about 7mm below the line that links the lowest point of the c-bout ribs.
This happens to be the same as the placement relative to the purfling, which is more readily observable.
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| Yes, thank you. I am also interested to know what you could say about the method of construction which incorporates the basic butt joint as opposed to the mitred joint at the rib c bout. It sounds like you are very knowledgeable. I have recently learned that it is somehow relevent to an inside mould during a particular time period in a particular country.
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