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Samuel Detached

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  1. I go with the cigar and matches story.
  2. You can make rosin any shape using aluminium foil and putting on s baking tray it in the oven at 110 degrees C for 20-30 minutes. How about a a maestronet rosin sculpture competition?
  3. The Duke of Wellington (as he was to become) burnt his violin in 1793 to concentrate on soldiering.
  4. Contains asbestos so don’t drill or carve it!
  5. Point 1 we (in the old world) love Americans (except when you bomb us obv. ) 2. JBV scribbled in some violins that we’re not his.
  6. He who values a bird for its feathers, and a horse for its blanket, will also inevitably judge a violin by its polish and the colour of its varnish, without examining carefully its principal parts. This course is taken by all those who judge with their eyes and not with their brains. The beautifully ‘curled’ lion’s head can improve the tone of the violin just as little as a fancifully curled wig can improve the intelligence of its living wig-stand.
  7. The whole question of copying, antiquing, and forging is delicate. My understanding is that JBV was one of the first to artificially age his instruments when making them, so they 'look like' old instruments. But if they are branded internally and signed with a flourish the game would be up the moment the top was taken off, so they wouldn't decieve a connoisseur. I remember a violin dealer telling me, many years ago, that if someone showed him a Vuillaume 'Strad', he would pick it up and say 1. It is French, 2 It is Vuillaume, 3 it is a Strad copy, in that order, even though Vuillaume was presumably trying to make it 'exact'. Which led me to believe that it is the things we take for granted when making something rather than the things we are trying to copy that give the origin away. Re Collin-Mezins. Charles Jean Baptiste Collin-Mezin violins might have sold for 400 - 500 francs back then [based on prices in the Bernardel/Caressa and Francais ledger https://archivesmusee.philharmoniedeparis.fr/en/gand/home.html ] which in today's money would be about $2,000-5,000 depending on whether you price as currency [lower figure] or gold. So they are probably worth [roughly] about the same now as then, whereas JBV's are worth 20-30 times more. JBV would be DELIGHTED that we are still talking about him in this way. A Strad would in JBV's time be about 150 years old, as JBVs are now. Does the age of the wood have something to do with it? I read that JBV did some heat/chemical treatments on some of his violins, and made some out of already old wood. Ole Bull even brought an old piece of spruce from Norway and made himself a new-old violin in JBV's workshop. JBV had great technical curiosity. But he was also a good businessman. He sold a ‘Guarneri del Gesu’ viola for 4,000 francs in 1874 which had had its f holes 'adjusted' not I think by JBV himself.
  8. Thank you or your humorous and insightful answers. The idea of Jeffrey Holmes making Vuillaume copies! Andreas Preuss has given a very comprehensive definition of the brand-building, truly Collin-Mezin took these to another level, but these instruments have not maintained their value. Even St Ceciles are pricey now. Where do you think the rise of JBV values will stop? Do you think will be remembered in future as another Guarnerius, as Lupot was France's Strad?
  9. There is no shortage of JB Vuihhaume violins in the world – the firm was very prolific for over 20 years. Over 3,000 instruments. Not all sound good, in fact many a violinist’s derogatory remarks about “the French sound” probably derive from a bad experience with a JBV.
  10. Nice story. Says something obliquely about prices for Vuihhaumes.
  11. I had in mind Gewa pure 1.8 it is generally quite tall, has about 9.5cm at the chin end but would not meet OP requirements for a giraffe chinrest.
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