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Wulme-Hudson on Tariso


robheys

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Do you think they get less respect than other schools or makers? I have the impression they seem to be valued similarly to other British violins of that period (with the exception of the Vollers) and rather higher than violins of this period from, say the Berlin school. I think it was Bruce Carlson who mentioned a while ago finding a Doetsch which he would have judged as minor Italian until he opened it and found the signature, which speaks rather highly for Doetsch, but nonetheless they crop up quite regularly at auction for not a lot. The situation for other Berlin makers is quite similar while other Germans tend to be even cheaper (I can't comment on their relative quality though).

I think that the Vollers made very fine violins, and I've often felt that their work has been slightly dismissed, as if they weren't quite legit. I don't mean in monetary terms necessarily, but in terms of how they're respected as makers.

I suppose that I react against the tendency to look down on certain maker's violins, even though they're beautiful, useful, and sometimes from long established schools. I often think that had the Testore family been born on the other side of the Alps, there would be plenty of people delighted to write them off as VSOs.

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I think that the Vollers made very fine violins, and I've often felt that their work has been slightly dismissed, as if they weren't quite legit. I don't mean in monetary terms necessarily, but in terms of how they're respected as makers.

I suppose that I react against the tendency to look down on certain maker's violins, even though they're beautiful, useful, and sometimes from long established schools. I often think that had the Testore family been born on the other side of the Alps, there would be plenty of people delighted to write them off as VSOs.

Neither the Voller bros. nor W. hudson were from "established schools" Conor, Autodidact would probably be nearer the mark for all of them

http://www.thecooper....co.uk/art7.htm

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