How to identify the value and provenance of a violin?

Violin valuation advice. About the original estimate, age, provenance, value and certificates of an old violin.

A violin is seen by its owner as a trustworthy musical companion, but it is also full of mysteries that can never be fully understood. Over time, most musicians develop a deep and intuitive interaction with their instrument, but once one has to decide on the best violin to buy or the value of a violin, the options are endless.question. For years, our violin experts have been helping musicians around the world find an estimate for their old violin or stringed instrument. This article aims to provide some information aboutInitial valuation of violininformation, which is particularly important when making your choice. Overview of our violin selection and buying guide:

欢迎选购艺匠琴坊的弦乐器，您可以点击此链接与我们建立联系！

Content overview:

• General signs of a quality violin
• The age and provenance of the violin
• Guqin value, valuation, certificate and appraisal

General signs of violin quality

How to identify a good piano? How much is a violin worth? How is the value of an old violin determined, and which violin is the best? When you want to determine the quality and value of a stringed instrument, a solid starting point is to look at the materials used to make it. The first thing to focus on is usually the wood grain;not onlyIt’s the wood grain on the body of the violin, as well as the wood grain on the neck and scroll. When it comes to spruce, a fine to medium grain is often seen as a sign of quality, and spruce is often used for tops. The even lines of the wood grain also indicate that the tone wood has been carefully selected. Maple is used for the backs, ribs, and necks of most stringed instruments, and often has an interesting flame feel that also provides visible evidence of the tonewood's structure.

handfulspruceThe top of an old violin has evenly distributed fine to medium grain and the back is a beautiful flamemaple, which already gives an initial indication that it may be a high-quality instrument. But as always, there are exceptions to every rule, both in the world of violin making and other demanding forms of craftsmanship. For example,Bear's Paw SpruceIt is a highly prized wood in violin making due to its good physical properties, but the wood is also known for its irregular stripes ("bear claws") in the grain. Additionally, traditional and individual luthiers in certain areas prefer to use unconventional species of wood altogether. It seems that many Italian masters wanted to demonstrate their experience and expertise by deliberately choosing cuts of wood with irregular grains or even worm tracks. More often than not, these aesthetically unusual but excellent-sounding violins confirm their choice. Since the time of Guarneri, fine violins have been made from this "inferior" material.

When it comes to the wood used to make violins, we meanplateIn a category of its own. Fine violins made before about 1900 usually feature solidebonyfingerboard, while other hardwoods such as beech are considered less valuable alternatives. Occasionally softer woods are used, but this has no effect on the sound. Older violins in particular, such as instruments from the Baroque period, often have a fretboard made of softwood that is then painted with an ebony veneer, or may even simply be painted with a black varnish. Heavily worn areas gradually reveal the lighter-colored material underneath. Initially, ebony is a truly rare and expensive wood, and its use could be understood as an acknowledgment that violins are made for an elegant clientele, and the quality must reflect this. However, this statement no longer applies to newer instruments: today there is enough ebony (albeit usually of inferior quality) to produce even the simplest industrially made violins.

Not only does the wood reflect on the quality of an old violin, the varnishalsorevealed differences in quality. The varnish used by the old masters of Cremona, Italy, has become legendary, and although today varnish is no longer considered essential to the sound of a violin, it remains a striking image of the luthier's art. business card. Contemporary violin makers such as Christoph Götting spend a lot of time observing and successfully imitating the methods of the old masters. The varnish on an old violin determines a lot about its provenance (see below), but it also indicates the care and time that went into its making. Many Italian violins are known for their richoil varnishSome luthiers are known to apply more than 40 coats before they consider an instrument playable. Because oil-based varnishes also dry slowly, varnishing a violin usually takes several months to complete.spirit varnishCan be processed faster and sometimes develops a subtle crackle, but can be of very high quality. In some cases, alcohol varnishes dry as they are applied, meaning they require a lot of crafting confidence and experience - unlike oil-based varnishes, some of which never fully harden, so can always be touched up a bit. However, alcohol varnish is not a fundamental indicator that the instrument is of lower value. Rather, they may be evidence of the skilled craftsmanship of the craftsman. In contrast, the nitrocellulose lacquer or synthetic resin that is so common on instruments mass-produced in China is a clear sign of low quality. These varnishes can negatively affect the violin's ability to vibrate, especially when painted using certain industrial spraying techniques.

Older violins often have a gradual change in the appearance of their varnish, which also speaks to their quality. One factor here isPatina, many antique violin lovers appreciate it. This is evidence of the natural aging process and may change to varying degrees depending on the composition and nature of the varnish.burstis another process that can be interpreted in different ways: it may indicate improper varnish preparation, but it could just as easily be considered abeautifulAn art created by chance. Even scratches can sometimes only be attributed to their respective mechanical causes; after long and intensive use, a violin with a soft oil varnish will naturally show more damage than one with a harder spirit varnish. Wear and tear. These marks often convey a lot of information; for example, if the previous owner frequently played at a high position, there may be many small blemishes around the fretboard. An old violin with this kind of mark will always last a long time in the hands of a good musician who can play the high register. The more satisfied they are with their instrument, the more traces of use it will leave behind. The color of varnishes and the wood they coat can also change significantly over the years. Taken as a whole, these factors contribute to the typical aesthetic of a vintage violin—the varnish may no longer be perfectly smooth and the color may be uneven, but its overall character is unique and charming. Over the generations, several violin makers have deliberately tried to imitate this look by "antique" their new violins. Therefore, since the 19th century, the art of antique varnish has become an independent discipline of violin making. It should not be overlooked as it can also indicate a well-made instrument. Since the 19th century, the art of antique varnishing has emerged as an independent violin-making discipline. It should not be overlooked as it can also indicate a well-made instrument. Since the 19th century, the art of antique varnishing has emerged as an independent violin-making discipline. It should not be overlooked as it can also indicate a well-made instrument.

In other words, the varnish provides some important information about the standards of the craftsmen who made it, but beyond that, there are other details that can help you evaluate the quality of the instrument. Special tools and extensive experience are required to review important acoustic properties, such as how the thickness of the panels and backing are made. However, even laypeople can often see for themselvesWhether the scroll and trimIt is carefully crafted by hand. On an old violin, these parts can serve as a good anchor point, even if they don't provide any information about the musical characteristics of the violin. However, once again, Italian violin making tradition offers many exceptions, dating back to famous masters such as Guarneri del Gesù. Some of these instruments display very sloppy detail but still have an extraordinary sound. Another exception to the rule is a manufacture from the French violin-making town of Mirecourt, which was created with the aim of providing the best possible tools at an affordable price. Especially during the 19th century and the fin de siècle period, these violins sometimes had only traced borders, which greatly shortened the time required to make them. However, among these violins there are several instruments with really good sound and excellent playing characteristics, certainly good enough to meet the standards of advanced student musicians. Of course, some luthiers will emphasize the overall "look" of the instrument at the expense of musical quality. The result is that sometimes there are exquisite-looking violins, with features such as carefully carved scrolls, intricate binding, and immaculate antique varnishes, but their sound is mediocre.

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Last but not least, older violins, violas, and especially cellos are usuallyrepair, which themselves do affect the value of a stringed instrument and can be a sign of quality work. For example, bushings and reworked peg holes usually indicate that the instrument has been used for a long time and was tuned frequently, which in turn means that the peg hole has expanded from the friction of the pegs and must be readjusted. Furthermore, a new neck or new scrolls are no longer considered damage that reduces the value of the instrument; rather, it confirms that the violin performs well enough to justify such extensive maintenance work. This also applies to cracks in the top, back or ribs, as long as they are repaired properly and have no impact on the sound. The quality of these repairs is often a good indication of the value of the instrument,

For those who view the violin as an instrument (rather than an ornament), once the materials and workmanship have been evaluated, the next step is to examine the sound and performancecharacteristic. Needless to say, personal preference and personal prerequisites are the most important factors here: everything from the volume of the instrument's sound to its timbre all the way to its response depends on the violinist and their musical goals.

We at our online violin store place great importance on accurately describing the acoustic properties of each instrument, and we also further record its sound using audio clips to provide an initial anchor point. By offering an extended return policy, we also provide an extra layer of security as you explore your instrument's musical personality.

The age and provenance of the violin

The advantages of an old violin over a new one—and vice versa—is one of the most widely discussed issues in the world of stringed instruments. Almost every six months a new article makes its way through the media, featuring a scientific study claiming to have found conclusive evidence for one idea or another. In most cases, these so-called revelations point only to a one-dimensional approach that can never adequately address a phenomenon as complex as a stringed instrument. The quality of an antique violin—especially the finest master instrument in history—can never be traced back to a single factor, such as a secret varnish, a special grain of wood, the climatic conditions in which the violin was made, or certain fungi. None of this alone can turn a violin into a masterpiece. What's more, the ever-popular blind comparisons that pit the acoustics of old and new violins directly against each other make one thing clear above all: they reveal a questionable understanding of the musician's approach to the instrument. They must interact closely with the violin in order to fully understand and take advantage of its tonal opportunities.

In other words, there is no rule that says an old violin always sounds better than a new violin. There is no doubt, however, that countless historic violins have a distinct and unique maturity in their sound. This in turn could be due to anything from the grain of the wood, the individual way the wood has aged, or the strengths of a particular design, not to mention the artistry and deft hand of its maker. At Corilon Violins we are passionate about the character of these ancient instruments, which is the inspiration for our work and catalogue, but we also appreciate contemporary violins of exceptional quality.

Source_, in other words, the fact that an old violin comes from a particular region or luthier is neither an inherent guarantee of quality nor a disadvantage. Many different traditions have resulted in certain unique identifying characteristics. When you choose a violin, these regional differences are not primarily a matter of quality, since inferior instruments are (and are) produced everywhere, and there is no place on earth where only good violins are produced. Instead, you should focus on the acoustic properties and its ability to create the sound you want. Often, Italian violins, for example, are highly praised for their soft, melting undertones, which are often accompanied by unconventional and clever aesthetic designs. A good French violin is characterized by a dominant sound that is ideal for solo playing, and many experienced musicians prefer these instruments because they are extremely precise. Others may prefer the relatively strict sound of the English fiddle for nuanced ensemble playing.

many different regional preferencesSpecial nuances in the craft, these subtle differences are usually visible only to the trained and experienced eye, although there are also many more distinctive features that are often seen as proud signs of local heritage. A striking example is the very eye-catching and eye-catching design favored by the Hopf violin-making dynasty in the Saxon village of Klingenthal: its upper body is easily recognizable due to its slightly "angular" shape. Many of these violins, including those with more traditional silhouettes, also feature the traditional Vogtland brown varnish, which stands out against a striking yellow background. As a general rule, the varnish and colored decoration of an old violin provide good information about its provenance, such as the extremely dark, if not almost black, varnish found on many 19th-century Bohemian and Austrian instruments. Similarly, French violin making often involves a very elegant aesthetic and blackened edges on the body (especially the scroll). This regional identity should not be confused with the outstanding personal characteristics inspired by the personal style of certain master luthiers.

Violin Values, Appraisals, Certificates and Appraisals

Nowadays, the violinSelling prices are higher than ever, ranging from extremely cheap mass-produced instruments (often from China) all the way to priceless historical collectibles. This divergence in values began in the late 18th century: publishing companies and factories first made it possible to mass-produce simple and affordable violins, while Stradivari, Guarneri, and other classical masters were making The exceptional quality of the historic instrument was discovered. The latter's exceptional quality meant that musicians became even more interested, although collectors and investors soon followed, and general demand led to a sharp increase in prices. In the second half of the 20th century, the masterpieces of these famous luthiers eventually became the object of speculation, with some prices increasing more than 200 times. The development in the value and price of fine stringed instruments has also opened the door for fraud and counterfeiting to take advantage of the ignorance and naivety of most musicians. When purchasing expensive violins over a certain price range, one should consider purchasing from legitimate sources only through retailers; from private individuals, if provided by a recognized expertEvaluateorCertificate.

While cheap violins have never been more affordable and expensive instruments have never been more expensive, these two extremes are viable options for only a handful of musicians. Over the years, even outstanding soloists have been unable to afford rare historical instruments, which is why old violins are often given to them as part of scholarships or donations from patrons of the arts. At the other end of the scale, today's factory-made violins include many items sold at inexplicably low prices. This is a response to the needs of many beginners and students, but most instruments are not suitable for learning how to play. It's true that most people don't have a huge budget to buy a violin, and having the wide range of acoustic possibilities offered by a top-of-the-line principal instrument is a luxury that doesn't really matter in the early years. That said, however, a proper music education will not succeed unless you have an instrument that has a good sound, is responsive, "forgiving" and inspires you. Trying to meet this standard obviously means that production costs can only be rationalized within a limited range, which in turn creates natural constraints on the price structure. What is truly surprising, therefore, is that there is almost no public discussion about whether environmental and social principles are adhered to when mass-producing string instruments. The fact that a new violin and bow set costs less than 100 euros should raise a number of key questions.

Old violins offer the opportunity to counteract these offsetting tendencies. Today, regardless of the musical value of the violin, fine stringed instruments with certificates or appraisals and the principal name on the label have become collectors' items, while violins from lesser-known or less-demanded traditions often have excellent playing and acoustic properties - And the price is amazingly low.from reliable sourcesSuch instruments are sold with extensive documentation to take advantage of all the technical tools the Internet has to offer. Additionally, the value of a violin is determined by experts after the instrument has been professionally set up, thus excluding any hidden repair costs.This high standard is the violin online catalogguidelines, which also include our customer-friendly terms and conditions, including an extended 30-day return policy. By providing extensive consultation, we help our customers choose the violin that suits their needs - the perfect instrument with format and musical characteristics that suit each musician's personal style.