Collin-Mezin Dachbodenfund

Also was ich auf den Bildern sehe gefällt mir sehr gut. Ob sie echt ist kann nur ein Geigenbauer in Natura beurteilenich glaube aber das sich der Besuch lohnt.

so via Bilder sieht die gut aus.
Die Geigen von ihm erreichten schon mal locker 10k €. Es gibt aber von ihm auch gute Fälschungen aus Mirecourt und dem Balkan!
Schätzung in natura lohnt sich allemal.
Wenn die echt ist, und die Vermutung habe ich schon, dann lohnt sich eine tip top Restaurierung auf alle Fälle!

So wie es aussieht ist der Bogen nicht aus Silber, vielleicht neusilber.
das Interesse ist bei Neu Silber eher gering.
Corilon ist eine Gute Addresse, aber nur dann wenn auch ein verkauf eine marge für corilon bietet.
Ein versuch ist es Wert aber nicht traurig sein wenn Sie das Instrument nicht in Ihrem Katalog aufnehmen möchten. Ich war bislang immer zufrieden wenn ich ein Instrument über corilon verkaufen konnte.
Aber es hagelt auch jede menge absagen. Viel erfolg.

Ch. senior war sehr selbstbewusst. Er hätte Bögen ohne seiner Stempelung niemals verkauft, außer es warne einfach zugekaufte Manufakturbögen aus Mirecourt. Der Junior war da etwas nachläsiger.
Ich muss jetzt doch meine Euphorie etwas dämpfen. Ich glaube, die Geige ist eher ein Werk seines Sohnes, und er nahm die Arbeit nicht so genau. Seine Geigen gehen nicht so hoch. Dennoch sind sie immer noch wert, restauriert zu werden. Mindestens 5000- 6000€ kriegen Sie bei Echthteit allemal.
Ich habe bei Ricercare folgendes gefunden:

Zitat

COLLIN-MEZIN, CHARLES JEAN BAPTISTE
Born at Mirecourt, 1841. Son of
C. L. Collin. First apprenticed to his father; removed to Paris, 1868.
Soon became a favourite and prosperous repairer; and commenced to make
his own instruments, which in all details other than the varnish, follow
the larger models of Stradivarius, Guarnerius and Amati. Awarded gold
and silver medals at the Paris Exhibitions of 1878, 1889 and 1900. Named
Officer de l’Académie des Beaux-Arts, 1884. Died 1923.

Formed a friendship with influential people and was considerably
popularised. Solicited the opinions of such eminent violinists as
Joachim, Sivori, Massart, Armingaud, Maurin, Sauzay and Marsick. Joachim
performed on one of his violins in a quartet at St. James’s Hall,
London, and was pleased with its penetrating quality. Sivori was
presented by Collin-Mezin with a replica of Paganini’s Guarnerius, and
the violinist wrote a flattering testimonial concerning the
conscientious trial he had subjected the instrument to. Léonard played
on one of the Guarnerius type, and was delighted with the unusual
responsiveness of tone for a new violin. Armingaud said that a
Collin-Mézin would ultimately vie with a Stradivarius for flexibility of
sound. The ’cello virtuosi Franchomme and Jacquard used instruments of
Collin-Mézin in the later years of their career.

All the comparisons made by these various soloists admitted the
superiority over other new violins, particularly for sonority,
resistance and pefect evenness of vibrations on all the strings in every
position. Collin-Mézin frequently stated that he mistrusted any
artificial process of heating or chemically treating the wood.
Guaranteed all instruments to be made of wood grown old naturally, and
attributed the tonal success to his knowledge of wood and experiments in
acoustics with a special system of bass barring according to the age
and kind of material used.

For our part we think he failed where some Frenchmen have succeeded, and
that is, he never succecded in imparting any real beauty of tone
notwithstanding the assertiveness of his secret processes. We admit the
extremely powerful order of this tone, coupled with hard-to-get
brilliance, but it will take many years of strenuous playing to bring
its now comparative harshness to the necessary purity for a successful
soloist. Workmanship in every part particularly fine, therefore players
fifty years hence may be proud of their possession. Varnish, yellow or
brown yellow, not distinguished by any gorgeous splendour of
transparency, in fact it is often very thick and dull.

Benjamin Godard’s Concerto Romantique was first performed at a
Pasedeloup Concert, Paris, 1876, by Marie Tayau on a Collin-Mézin violin
with (what was then an innovation) E and A steel strings suggested by
the maker. which rather points to the fact that he was attempting to get
brilliance and clearness at the expense of purity.

Violas and ’cellos are larger imitations of the violins. £60 1959.

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Longeur: 9 cent. Lauteur: 2 cent.

Ch J. B. Collin-Mézin fils

Luthier. Paris l’an 1870

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(1868-1876)

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Longeur: 9 cent. hauteur 3-1/2 * 1890

Ch. J. B. Collin-Mézin C M

Luthier à Paris

Rue du Faubg: Poissonnière No. 29

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(1876 onwards)

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Ch. J. B. Collin-Mézin

Luthier C.M.

Grand Prix-Exposition Universelle, 1900.

Paris, 1921.

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Each instrument stamped at the side of sound post with Collin-Mézin, a copyright facsimile of signature.

Popularity of these violins gave rise to many counterfeits in the nature
of violins labelled Collin, being foisted on the credulous public by
unscrupulous vendors in the trade instruments made by Collin-Mézin.
Collin-Mézin instruments are only genuine when bearing the signature,
and (on the later ones) the announcement of the Grand Prix.

Produced excellent bows of pernambuco wood for which he received as much
as £5; but of late years this price has steadily dropped although the
article has considerable resistance and flexibility with nice weight and
balance.

COLLIN-MEZIN, CHARLES (Junior)
Son and
collaborator of the preceding. Born 1870. Worked at Mirecourt (after
some years in America), 1900. Officier de l’Académie des Beaux-Arts,
1911.

Won considerable success with his exceptional gifts of neat workmanship
of violins, violas and ’cellos imitative of his father’s style but at a
more moderate price. Varnish of thick texture somewhat Italian in
appearance. Worked at Mirecourt, 1925, but continued the use of Parisian
labels. Supposed to have made violins in later years of more
individualistic character.

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‘Le Victorieux’ type grand Soliste

par Ch J. B. Collin-Mézin

Maître Luthier

Grand Prix Exposition Universelle, 1900

Paris

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(with signature)

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