Many thanks indeed for the link. I shall read the information avidly. 

Regarding the quality. It is certainly better made than most Saxony violins I have worked on. I've repaired about 15 so far. The bass bar is glued in rather than beaver-tooth carved (hacked) out of the table. It is very properly blocked in all four corners and the maple sides are very thin. The violin is very light (another rule of thumb good sign). The scroll is a much better example of craftsmanship than the factory models I have work on to date. The fact the fingerboard is so worn down and then very much grooved again and has been re-set in the past is another sign someone (perhaps many) thought it decent enough to play a lot and pay for such repairs.

Regarding the inked purfling, I repaired a lovely old 19th century French violin in beautiful worn oil varnish with rather poor scribed purfling for my youngest daughter. It impresses her teachers. One of whom said "she will never need another violin" and insists on playing it herself every lesson. Many basic Mirecourt violins - including many made by JTL workshops had scribed or inked purfling (I have a Medio Fino JTL 3/4 size I am currently repairing and another non-JTL medio fino 4/4 and both have scribed (not inlaid purfling). I think I read somewhere that some superior old Italian violins also had scribed or inked purfling rather than inlaid. That said, it is a perfectly sound rule of thumb than anything since the 1940's with inked or transfer purling is a not-to-great cheaper student model though. Of course, I expect (but don't know) it's perhaps a good rule of thumb that any violin of the 19th century without inlaid purfling is not going to be of professional performance standard.

Currently, I am not at all put off by inked or scribed purfling on antique violins. 

Hi

If ever I get to find out the age and who made the violin I will certainly let you know. 

I play only a few pieces that my daughter has taught me. I play the violin like one of those mechanical automaton curiosities. But with that extremely limited ability I have done pretty well so far in telling the best from the worst I have worked on as my opinion of them always corresponds (so far) with what a professional violinist performer and teacher has written and said when she has assessed my violins. My youngest daughter on the other hand is my fiercest judge and is highly critical of the violins I repair. She has, however claimed 2 (the best so far) from those I have worked on and loves them. One a Saxony 3/4 (outgrown now) and the current French 19th century one with the scribed purfling. 

If you Google " Super Sustainable Student Violins " you should reach my blog site where there are a number of videos and images of others in my collection of those I have repaired and "re-voiced" being played and reviewed by Ursula Donnelly. 

Hi Fiddlerman

Many thanks for helping me. Much appreciated. 

The seller suggested the same maker. I read that Elophie was making violins from 1876-1916 (see: https://www.viaductviolins.com.....lophe.html). So the pencil writing inside of 1836 does not fit with that.  The writing was completely concealed under dust (I used a squirrel hair varnish brush to uncover it gently).

I downloaded a data base of violin makers to my Kindle and found a Leon Poirson. making from (1901-1905) in France and a Louis Poison (1912-1912 - Mirecourt France). So they do not correspond with the pencil date inside either.

The database does include one more Poirson. Namely Pierre Poirson (1732 - 1742) who worked in Mirecourt. That seems a little early unless this violin has had an entire new neck fitted. 

Then I found all these:

Leopold Poirson, Elophe Poirson, Justin Poirson, Louis Poirson, Pierre Poirson HERE: https://www.corilon.com/gb/lib.....rchive-p-r

I suppose the first question to ask is: does the engraved name (brand) on the back of the violin definitely read Poirson? 

Any further help greatly appreciated. 

Gordon Shumway said
When I first saw the OP's photos I assumed it said Breton below the button rather than Bretton, but read on... (I typed all this out before reading about Bretton. The many additions I have made to this post have not all been in the best order. Oh well, it was useful revision for me). Yes, it says Bretton inside too. "Bretone", not "Bretton", is German for "Breton", btw.

Breton was a model of violin that was invented by a guy called Francois Breton, luthier to the Duchess of Angouleme (d.1851) then, after he died, the marque (copyright 1831) became common property, and by 1900 a Breton model was made by every factory in eastern France. Some, such as mine, are very good. They are typically yellowish and have a one-piece back. The carved word Breton is in an unusual place - mine is smaller and entirely within the button. Here's an example, except that the back is two-piece!

And as Emily says - the purfling is painted on. It was certainly some factory's baseline model (1836 seems too early, but maybe it's possible - I don't known when Breton died - it could easily have been 1836 - maybe the pencilling is just a bit of biog!). Even when the factories put good labels inside, it's surprising how anonymous they remained: here's my label. Someone on Maestronet suggests that this may be because the catalogue companies employed multiple independent factories to produce stock, even if JTL boasted of employing 1,000 "workmen".

There's plenty of material here.  This kind of thing (look at p.36, those who fear that electric violins require amplifiers!) - just like Sears Roebuck. There are Bretons type I and II on p.22 for 17 or 21 fr. Types III and IV on p.24 for 37 or 39 fr. But they are filetés (purfled). You'll see the words "non filetés" at the top of p.20. But they don't include Bretons, so yours is probably not this factory. You'll notice they sell Stentors. Stentor was a French make until a family in Sussex acquired it after WWI somehow. This page is useful. Notice where it says "Breton – Mirecourt Fr. - many makers incl. Maison Laberte and J.T.L. - 1830 to 1950 [this, if it isn't partially guesswork, may mean that Breton licensed the design in 1831] - JTL ones usually branded, with a star on each side[mine has no stars, so I have to assume it's not JTL]. There are also some actual makers named Breton.

Bretton - German - 1900 - often branded below the button BRETTON or BRETTON VIOLINS (in a oval). Below average trade instruments"

If anyone is curious, you can see the location of the original JTL factory which was demolished in the 1960s. The housing estate that is there now follows the exterior walls pretty accurately, to judge by the engravings in the catalogues. You can see it on Google Earth at 48°18'5.04"N,  6° 7'36.55"E

Moderator, can I have a badge for the most edited posting on the forum, please?

  

Thank you Gordon. Vey much appreciated. I knew I wouldn't need to go and be weirdly insulted by some of the the curious folk who now dominate the Maestronet for simply asking a polite question.

To be honest, at first I wondered why you thought the writing on my violin said Breton. Then I put the picture you linked to beside mine. Its hard to imagine at first. But then it looks like it might have said Bretton before all the wear and tear.

You nailed it, I think. And, as you write, the fact it says Breton inside in pencil confirms that reasoning perfectly. Then, just as you say, the inked purfling etc further rather confirms it. The varnish is yellowish and it does have a one piece back. 

So, thanks to the very kind help from Gordon Shumway, it says (once said) Breton. 

Confirming whose Bias? Who said it was a Francis Breton? Not me. Why the unnecessary rudeness? I am only trying to solve a mystery. Is that a problem for you?