17th/18th  Labelled "Jacob Raymann, at ye Bell Yard in Southwark, London 1653"

Nothing like this ever you will find. Wonderful! I recently had a d
endrochronology examination completed with rather interesting results (see below) .
It will require some work to stabilize it but it is quite wonderful in my opinion and would make an absolutely spectacular viola. It has an exact fit case in excellent condition that is quite old even has skeleton key still with it. Sold ‘as is’ for restoration (but I play it).
I plan in the very near future to send this out and get a few things stabilized on it. After this time, I will likely no longer list it.
Later,
Alan
This is an extremely rare instrument labbled Jacob Raymann, London 1653* acquired out of Switzerland. It has some previous auction history. It has a rather unusual shape as many viols do, and is a viola size for which he was noted for as a maker. Ah! those f-holes! They’re lovely.
*Label: “Jacob Raymann, at ye Bell Yard in Southwark,
London 1653″
I am listing this to see if there is an interest. It will need some work done on it. There are some open areas of table. I have played it. I find the sound incredible. Not like anything you’d ever get from copies. It’s letigimate and very old. If there is little or no interest, then I will likely do some on work on it myself and play it. Ha! That is why I got it. However, if there is an interest, let me know. if you know more about this instrument please let me know. I have quite a bit of information on it… but always researching my ‘fiddles’ and like to learn about them.
Dendrochronology Report:
M
easured
132
rings on the bass side and
109
on the treble side. The latest visible ring on the bass side dates from
1725
and on the treble, which displays more erratic and sensitive growth, the latest ring is
1727
. Earliest measured rings are
1593
and
1618
on bass and treble sides respectively. A comparison of the ring patterns of the 2 sides plotted on a graph shows distinct ring-to-ring similarities, although the rings on the treble side are generally wider than their contemporary rings on the bass side. Since as the level of significance of the correlation between data from the 2sides is superior to any other recorded with ring-patterns in my database for the treble side, and in second position in the results with the bass side, I suspect that the 2 halves came from the same tree, although from different parts of it. The difference in number of rings seen in the two sides, spanning over approximately the same width (half the lower belly) would suggest that the youngest rings were situated someway off the geometrical center of the tree.  This can happen in situations where trees suffer “tension wood” such as when growing on a slope.
Against data from other instruments, I obtain a number of significant cross-matches, the most significant with a viola, probably English ca.1710, a 1714 English violin byBarak Norman, a Dutch violin by Hendricks Jacobs, and English cello, Brescian model ca.1700, a 1705 Barak Norman violin, another H Jacobs, a Daniel Parker viola, an English violin by E. Pamphilon, a violin by Jacob Rayman, another Pamphilon family violin, a Thomas Urquhart violin, a Daniel Parker violin, a Dutch violin ca.1710/20, a Dutch Pieter Rombouts violin, a 1739 Jacob Rauch(Mannheim)viola, and a few more.
So, on the whole, we see cross-matches with instruments made in England and Holland, but generally before about 1720/25.
T
he tree-ring analysis indicates it is a bit later than what is expected for a ‘Jacob Raymann,’ but clearly interesting and for certain early 18th Century (1700’s)
P
layed it recently (08-22-21). Fell in love with its voice again and again as I played. Tuned A415 (as octave violin ). All said, I would possibly sell it, I am not an expert but I know a good instrument. It is sold ‘as is.’ My opinion? It is quite wonderful.
Come play it!
Later,
Alan
Ships USA Only (If I should sell it)