Jeffrey Holmes

  • Content Count

  • Joined

  • Last visited

  • Days Won



About Jeffrey Holmes

Contact Methods

  • Website URL

Profile Information

  • Gender
  • Location
    Ann Arbor/Tecumseh
  • Interests

Recent Profile Visitors

38359 profile views
  1. I've just informed admin about the posting problem.
  2. Hi Jeffrey,

    I wonder if this locked thread doesn't reflect rather badly on Andreas, and whether it would be kinder to take it down altogether ...

    When you locked it I was in fact just in the process of posting that although an insurance valuation was not the same as a certificate, and no purchase should be based on one, I know Andreas well, he is a highly respected expert in Dutch and Flemish instruments, and extremely knowledgeable when it comes to Italian instruments. People bring instruments to him because he is scholarly and rigorous (and very well known in northern Europe).

    I suppose his certificates are generally in Dutch, but he is a very serious expert. I think someone should point that out, as otherwise the thread could be misconstrued.

    Or am I missing something?

  3. The thread matesic mentioned:
  4. Sorry Philip... I don't really understand your point. A good dealer makes an effort to know his/her clientele... and if they know you, they may have a pretty good idea what sort of things you like.
  5. Any particular client, maybe not... a particular group of clients especially IN THIS PRICE RANGE, absolutely. While I don't normally trade instruments in this price range now, I did so earlier in my career. To be clear: What I said was it might have something to do with appeal, not value. Some attributes tend to appeal to a larger set of players than others. Yes, I've purchased many violins I've liked (quality/build/maker/etc) before I've heard them... but after getting them set up and tweaking what's needed to get them where I feel they should be, I've rarely been disappointed... and I have a really good idea of which clients might like them. I've been doing this for a while...
  6. It might have something to do with appeal, however... especially so in this price range.
  7. "Thanks for the links, Jeffrey, helpful." My pleasure! Same workshop, to be more precise. Hopefully the question has been answered, as best as it can be. The difficulty: A non-expert, or one who does not have experience with the instruments in question, will not be able to discern much about the relative (compared to the output as a whole) quality of the instrument, be reliable in determining condition (several of us here can pretty much erase damage when it comes to a normal, and sometimes es trained, eye... (you'd have to know where to look on the inside), or authenticity (same requirements of the first two subjects). We don't know (and probably shouldn't know) who the selling dealer(s) is/are, so we can't offer advice concerning reputation. Again, if you don't have enough information to make an informed decision, see someone trustworthy for a second opinion.
  8. Not sure I'd go quite that far... I have never advised someone approach Charles Beare for a C-M certificate... especially a 20th century one I would suggest, if a certificate were desired (questionable if the instrument in this range is correct), and the shop selling the instrument was not qualified to issue one (the shop is responsible for sorting things out if a mistake is made), an expert experienced with (qualified) to identify this shop's instruments be sought out. C-M instruments are pretty easy to ID once you've seen even a limited number of them... locating a suitable expert with a good reputation shouldn't be all that difficult.
  9. There have been many discussions concerning this shop's output on this board over the last two decades. Here's a current discussion in which the subject was mentioned (down the thread a ways). If you'd like to read the content of other discussions about the workshop, try a search on the site or try a google search for the maker including "maestronet" and you'll get something like this: Post 1900 Collin-Mezin instruments are not all that similar to those made a decade or three before the turn of the century. The 20th century output is varied... but some of the instruments are quite serviceable. If the dealer (or dealers) have not supplied you with enough information to make, what you feel, is a well informed decision, try getting a second opinion from a qualified luthier that has the opportunity to actually examine the instruments in question. Condition can be almost as/as important as authenticity in this price range. BTW: Something I don't think was mentioned, or not often mentioned, in past discussions: The Collin-Mazin shop of the 19th century was also well thought of by a number of French 'cellists, and C-M 'cellos still trade for more, sometimes well more, than double what the violins do. Popcorn is done.
  10. Wait... let me put the popcorn on...
  11. Presently here too (15K GBP is a tad over $19K), but a really fine one would go for more. I recall an unusual one, a nearly mint antiqued del Gesu, that sold around $25K a decade ago. Those on the wrong side of 1900 tend to go for less here unless the dealership trades on the name alone. They really aren't the same animal.
  12. I think you just did! I agree with your assessment above (value of the instrument vs intervention), BTW.
  13. Most usually I use bridges ranging from 48 mm to 52 mm (selected based on the various placement of the bar and width of the ffs).... but I keep a few 46 mm bridges around so I have 'm when I need 'em.
  14. I second the heat blanket. Joe Grubaugh lent me one for a very stubborn 'cello board once. Worked very well.