Erich Werner Cello 1996

Een in zeer fraaie staat zijnde handgebouwde cello van 

de Duitse bouwer Erich Werner (Bubenreuth Duitsland) 

Voor zij- en achterkant is mooi gefigureerd esdoorn gebruikt. 

Geen enkele scheur of barst dus direct bespeelbaar. 

Handgesigneerd label tevens voorzien van bouwjaar.
Verder zijn de stemsleutels, toets en snaarhouder 

uiteraard ook van ebbenhout gemaakt.

Erich Werner Cello: Door op de foto te klikken

kunt U een vergrote afbeelding bestuderen.

Signatur Erich Werner: Bouwjaar 1996

Bubenreuth / Duitsland.

Voor een beschrijving van de maker zie Ludendorff deel III en Vannes
Lebet deel III pagina 73. Afmetingen Erich Werner cello: totale lengte:
121 cm lengte klankkast: 75,7 cm mensuur: 68,5 cm upper bout: 35 cm
middle: 24 cm lower bout: 43,6 cm. Dit soort instrumenten betekenen
eigenlijk altijd een waardevaste investering. U krijgt U geld altijd terug.

Elk deskundigen onderzoek is uiteraard welkom. Voor meer informatie,
vergelijkbare aanbiedingen en foto's kunt u me altijd vrijblijvend mailen:

acakoevoets@kpnmail.nl

Eveneens gemerkte strijkstok: G. Werner (!)

De extra's die u erbij krijgt zijn een behoorlijke strijkstok van G. Werner
(toch ook altijd 300 euro nieuw) en een gemakkelijke hoes waarmee u het
instrument probleemloos op de rug kunt vervoeren. Over deze bouwer kunt
u voldoende informatie vinden op het internet. De lak is licht bruinachtig
oranje. Tonale kwaliteit: diepe, rijke toon, verrassend mooie klank.

French violin (Style Bailly)

This violin bears the label: "Monetvreto e Figlio liutheria

Artistica Tipo Stradivari " but according to Mr. Roland

Terrier everything is pointing towards the French luthiers 

of around 1930: Bailly et Leon Mougenot a.o. Workmanship

proofs to be very good: The wood timbers are of a higher

class and the overall internal gluework is very neatly done.

I allways like shots of this kind of backs: From one piece of wood

and a stunning regular pattern in the maple used for this back.

A little bit more detail for the heelform could have been there

but this can be seen more at these type of Mirecourt violins.

 Look here: http://www.luthiers-mirecourt.com/galerie_instruments.htm

as Roland Terrier has built this beautiful site with lots of

information on it, mandolins and guitars and catalogues included.

As a non violin player this head seems to be gracefully carved.

Alas, this picture hasn't been taken really straight faced but

the balance is there. This instrument has had to be taken care

for as the tuners work smoothly and the lacquerwork makes

me presume it could be restauration work.

And even the back of the curl has been gracefully done.

I have this violin played by a professional and I will

let you know what the verdict of that player is.

French Violin / German Violin Pochette

French violin made after the Collin-Mezin Pere

model. These violins are highly regarded though

I presume it is a good copy. Well. in fact I'm

not a violin conaisseur.

Nice woods for neck and back.

As often with older instruments: The inevitable cracks.
This is an example of a stamp crack in the front.
Though repairable it remains a pity.

The sides are done with figured maple as is common on better
quality instruments. The evenness in the soundboard can
be studied here.

The curl, a shot most violin lovers like to study.

German Violin / Pochette

This very well preserved violin lies somewhere between a 

1/4 violin and a 1/8 violin as its' total length is 45,5 cm and the 

length of the corpus is 27,5 cm. The overall craftsmanship is 

very good so it could have been ment therefore as a Pochette.

The nice back though in reality the color tends

to be more orangy.

What really happened with this violin up until now  we simply
do not know. There are hardly any playing marks or marks
to make it look like an aged instrument.

The scroll can be studied here.

And of course the other side. In fact also ment for people who 

are interested and want to study the head wether it is crack free.

The neck angle which is in pristine shape but the bridge 

has to be changed as it is too low.

Ges. Gesch. marked violin / Maller violin (3/4?)

In fact, tis violin bears no label at all but it appears to be

a decently built instrument and crackfree as well. It is

obvious that this violin has been relaquered and the

older varnish (on some spots slightly craqueled) is

still visible possibly due to the reaction of the two

different laquers. A fingerboard with enough flesh, 

ebony tuning pegs and chin rest makes it complete.

A nice picture taken in order to make a meticulous observation

of the wood quality possible. Medium to close grained.

A two piece back of figured maple as has been used for

the neck as well.

A former restorer possibly wanted to keep the original laquer

on this instrument so a new layer has been applied over the

worn spots. A fairly big shaped button to my belief.

Here the action can be studied on this violin. The bridge has been

cut quite fragile which can be the reason this instrument has a loud

and vibrant voice.

The head on this violin

A nice beginners instrument but after some investigations 

no Maller violin as was stated by the company.

This label probably was cut out of an advertising brochure.

Most violin connaisseurs do not even tale a look at the label

when they investigate an instrument at first sight. As in the

violin world a lot of fake instruments keep popping up!

Edmund Paulus Violin

Black violins in fact are not that sought after though

nothing can be said about poor qualities of this one.

This is a nice and loud sounding instrument that

has been neatly built. You must go for the black

colour but that's a personal matter of course.

This violin in its case. Allready clearly visible are the

ornamentations that makes this instrument a stand alone.

Probably made around 1925.

Edmund Paulus, son of Ernst Paulus of Markneukirchen,

This luthier was in business from 1866.

He succeeded his father in law Julius Lemcke.

In the business was taken over in 1899 by Arthur Sprinz.

Of course the black laquer doesn't withstand

a lot of playwear but being played a lot can be

seen as proof that it is a decent instrument.

Nice view from its side.

The abolone inlaid and engraved tailpiece.
All in ebony wood of course.

The tuning pegs are decorated as well though

there are some pieces missing.