Scan 98
Catalog of Rare Old Violins, Violas, Violoncellos, Bows of Rare Makes, 1922
16 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1VIOLIN AND VIOLONCELLO REPAIRING
3THE restoration of fine old violins is one of the very fine arts. Many can make good new violins, but few have the necessary experience for the proper repair of valuable old instruments.
5This is a branch by itself, separate and distinct. It is safe to say that more valuable Cremonas have been butchered and ruined by unskillful treatment at the hands of so-called repairers than by any other agency, including loss by fire and accident.
7We maintain a corps of repairers than which there is none superior in Paris, Berlin or London. It is to the hands of such artists only that we can entrust our own valuable instruments, not to speak of those sent us by our clients.
9We have for many years been very extensive buyers of old violins. These are purchased, for the most part, in an unrepaired condition, and require complete rebuilding before being offered for sale. This applies to the finest old masterpieces of Cremona, worth in the thousands, as well as those of old Saxony, which would be sold for fifty dollars.
11The most valuable specimens in America have passed through our shop. The list includes some of the most celebrated violins in existence. This has given us an experience which has its effect on the work we do, and we can truthfully say, without boasting, that nowhere else in America can similar results be obtained.
13We furnish free estimates of the cost of repairing violins sent in for that purpose. Those which are found not worth the expense are returned, or a letter setting forth the condition is sent to the owner.
15There are many old instruments lying idle in garrets and closets, which, in their present condition, are worth very little, because they cannot be played. For the lack of proper regulation they are, for all practical purposes, worthless. With properly adjusted bar, blocks, linings, neck, fingerboard, strings, etc., they immediately have a musical and commercial value often way beyond the idea of their owners. They then become valuable to a violinist who "knows." They then have power, evenness and brilliancy, and they respond to the bow readily and satisfactorily. The violin which previously was an inanimate object has become, through the skill of the repairer, possessed of life and song—a joy to those who know how to bring forth its manifold possibilities.
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