Books › An Encyclopedia of the Violin, 1925 › scan 312
Scan 312
An Encyclopedia of the Violin, 1925
18 lines. Read by computer on 28 September 2026. Printed page 284. See the scan on archive.org.
1Joseph Guarnerius del Gesu (continued)
21739 ………………………………………….. Rudolph Wurlitzer Collection
31740, ex Ferdinand David ………………… Mr. Jascha Heifetz
41741, "The Jarnowich" …………………….. Rudolph Wurlitzer Collection
51742, "The Wieniawski" …………………….. Mr. M. Zamustin
61742 ………………………………………….. Partello Collection
71743, "Le Duc" ……………………………… Mr. John S. Phipps
9There are of course many famous and excellent violins by other distinguished makers owned by American amateurs, collectors and performers, but I have deemed it best, bearing in mind the necessary limits of space, to deal only with the violins of Stradivarius and Guarnerius.
11The greatly increased demand for authentic instruments, and the correspondingly decreased available supply has caused an upward trend of prices for such instruments in the open market, especially in the last twenty years. The schedule on page 286 of market values in 1900 and in 1924 will elucidate very clearly the distinct increase in values.
13In view of the fact that authentic instruments, possessing a good tone and in a proper state of preservation, bring prices which involve a considerable outlay of money in the case of even the least expensive makes, it may be plainly seen that a knowledge of all that has to do with the violin, in every way, shape or form, is indispensable to the violinist. The manner in which the violin is made is interesting in the highest degree, and the most subtle of physical laws are put out of countenance by the logic and simplicity dictating the construction of His Majesty, the King of Instruments.
15It is undoubtedly of the greatest importance that the violinist be acquainted with the various schools of violin building in order that he may not be at a loss when they become the subject of conversation. Yet, if you ask a violinist for information regarding violin making, you will find that, as a rule, his knowledge is limited. He will admit that the sellers of violins are not always scrupulous, but should you inquire how the violin maker shows his want of scruple, the violinist would be quite at loss for an answer. The truth is that there is no craft in the world in which so many questionable transactions are carried out as in that of violin making. Any number of inferior instruments have been provided with authentic labels of celebrated makers such as Stradivarius, Guarnerius, Amati, Ruggeri, Guadagnini, etc., through the clever falsifications of those who make a trade of such trickery.
17I would recommend that every young violinist and future artist who is desirous of purchasing a fine master instrument act with the greatest circumspection, and take counsel with competent and disinterested advisers. It will always be possible to find some competent connoisseur willing to examine a violin under consideration, and in every case the prospective purchaser should proceed as follows: he should choose his violin, make a deposit on it, and obtain from the dealer a duly signed authorization to keep the violin
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