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It is a fact that it has happened that a skilled maker and connoisseur offered to sell a violin by a celebrated old master, believing it to be the work of this celebrity. The sale of this violin carried with it the testimony of another well-known violin expert, but upon investigation it was discovered that this same violin, guaranteed as a Cremonese instrument by these clever experts, was merely a mediocre Dutch violin.
We quote this as one of the many instances which occur with regards to old violins. If dealers are sometimes at fault, how much more must it be that amateur and professional players make the mistake of paying too much for a violin, just because it is old or supposed to be. There are really more old violins that are bad than good. The buying of an old violin is more or less speculation, unless the advice of a good and reputable house is sought. Many an old instrument is purchased for five, ten, and twenty times the price of a good new one, and is sometimes not worth half the value of the latter.
A first class, well-made new violin is preferable to many an old one for various reasons. It is free from cracks. It has, so to speak, its life before it; the tone has not "passed," but will be made. A good crisp tone is what is wanted by most orchestral violinists, a tone that will carry, be sonorous, and will mellow and improve with use and age.
There are many such to be had, by the modern grand Italian Makers of the time between 1850 and 1970, at a reasonable price in the stock contained in Geigenbauatelier-Ulm, and they invite unhurriedly inspection and testing in our cosy rooms.
Please also note our distinguished bows of German, French and English makers.
Geigenbauatelier-Ulm
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