Tyrol/Tirol bassics..(Blockless style)

[Ken Smith]

A Luthier in Vienna just sent me pictures of an old Blockless-made bass dated 1790 by one of the Hornsteiner's in Mittenwald. Also, he tells me that this style of making is still being taught there as well. So for me, this is a break thru as it's only the second Label I have ever seen in a Blockless style bass. The first was a Bass I had back in the mid '70s labeled Sebastian Klotz, 1791, also Mittenwald. I never knew if it was real but it was possible. Probably many of these basses were made anonymous for the export trade but also for domestic sale where the labels could have been left in. Also they were made in various grades and sizes from 1/2-4/4 and from plain un-purfled wood to high figured flamed maple with nice grade narrow purfling.

My Blockless bass has this wood as well as very small corner blocks like this Hornsteiner has and similar size purfling.

[Ken Smith]

This 'Hand-Made' Bass was originally made without a Neck Block in the Tirol/Bavarian Region that connects Northern Italy, Western Austria and Southern Germany. It was made from very nice wood like the Maple seen on the finer grade Mittenwald basses and inlaid with Violin grade Purfling which combined is a few notches above the infamous 'Blockless Wonders' we have seen and heard about from Germany and Bohemia. The Tone of this Bass is more that of an Old Italian Bass than anything German to my ear. This type of construction has been going on for centuries including the old Guild rule of a fine oil varnish over yellow ground where the original varnish is still intact. It's a shame that the later import models sold in USA have cheapened the image of all basses made in this manner. German makers are known for their robust construction but with this bass I see two things that point to another school of building. First, the original corner blocks which are half the normal size are staying in the bass having been re-fit to keep it original. These corner blocks from top to back are barely 1" in width or depth. The second thing is the unevenness of the entire bass. Look at the bass front and back upper shoulders and the FFs and notice the right side is lower on all three showing the makers hand pulling everything down on that side as if that's how his dominant eye saw it. The scroll is uneven as well and the bass side volute had just been repaired as well from being broken off slightly many many decades ago. Also, the Ribs made with matching wood to the back, are 8.5" deep, (9" with top and back plates) and not like the cheaper production models we have seen. This is not a factory produced bass at all but rather a handmade instrument throughout. In the Tirol there were Germans, Austrians and Italians living and working together side by side over the centuries. I have only seen Italians work in this manner so maybe this is made by an Italian trained in the Tirol by the Germans or Austrians or maybe the reverse.

(pre-restoration page)
http://www.kensmithbasses.com/double.../tyrolean.html

Restoration by Mike Magee completed August, 2019.

Repairs included a Neck Graft, Neck Block, Bottom Block, Top re-arching repaired, half edging, full Rib repairs and the Back fully restored with all new bracing and half edging as well. Matching Purfling made and replaced as needed and the 19th century Tuning gears repaired and re-mounted along with a custom fit English extension machine on an handmade Ebony board. New Ebony Fingerboard, bridge with adjusted, sound post and endpin tops off this massive 'back-to-life' restoration. "Thank you Mike Magee"

String Length; 41 1/2" (post restoration)
Top/Back Length; 43" top, 44" back
Upper Bout; 21"
Middle Bout; 14 3/4"
Lower Bout; 25 1/2"
Ribs; 8 1/2", 7" at neck

(Sold)

[Jonas Lohse]

I more and more tend to the thesis that most (if not all) blockless basses from the 20th century considered to be from Tirol are actually from Vogtland/Bohemia.
First of all: there are hundreds of known makers from Bohemia. But who can name makers or factories from Tirol?
In the 20th century, the makers weren't able to sell their instruments directly – they 100% depended on the trade companies (aka Fortschicker or Geigenverleger). Most likely, this must have been the powerful companies from the nearby Mittenwald. These trade companies not only bought the instrument from the smaller makers, they also provided the raw and half-finished materials to the makers and decided about the quality and design.
Why should they order a different design from the tirolean makers than from the Mittenwald area makers?

[Ken Smith]

Originally Posted by Jonas Lohse

I more and more tend to the thesis that most (if not all) blockless basses from the 20th century considered to be from Tirol are actually from Vogtland/Bohemia.
First of all: there are hundreds of known makers from Bohemia. But who can name makers or factories from Tirol?
In the 20th century, the makers weren't able to sell their instruments directly – they 100% depended on the trade companies (aka Fortschicker or Geigenverleger). Most likely, this must have been the powerful companies from the nearby Mittenwald. These trade companies not only bought the instrument from the smaller makers, they also provided the raw and half-finished materials to the makers and decided about the quality and design.
Why should they order a different design from the tirolean makers than from the Mittenwald area makers?

Big Mystery here. I have since seen a few blockless basses with names from both the Saxon and the Mittenwald areas but these are older basses, late 1800s and last 1700s. I don't know how the region of the Tirol was originally attached to these basses other than the Mittenwald connection.

[Jonas Lohse]

The old bookkeeping documents (Markneukirchen Museum and archives) also give this information: Until the 1880ies, better instruments from Schönbach often beared the model name ”Tyrolean Violin“, while the "Dutzendware" (more simple violins sold in dozens) beared the model name ”bohemian violins".
So the Schönbach makers called their better instruments "Tyrolean".

[Ken Smith]

Originally Posted by Jonas Lohse

The old bookkeeping documents (Markneukirchen Museum and archives) also give this information: Until the 1880ies, better instruments from Schönbach often beared the model name ”Tyrolean Violin“, while the "Dutzendware" (more simple violins sold in dozens) beared the model name ”bohemian violins".
So the Schönbach makers called their better instruments "Tyrolean".

Interesting..