Okay, I know this is a parenting website and not a forum about
violins. But not every parenting lesson comes directly from dealing
with your kids. Parents have identities beyond that one label, and I’m
proud that when I ask my kids what they want to be when they grow up
they have lists of things they want to do, which include being a
parent. My daughters always say, “Well, I want to be a mom of course,
but also….” and words like scientist and singer and teacher roll off
their tongues. I feel that my job and my life outside the walls of our
home shapes their sense of the possibilities out there. That makes me
happy. I miss my children when I can’t be with them all the time, but I
have no guilt about working. And my work is all about violins.
Violins are complicated objects. They are functional, but good ones
have an artistic component. They are delicate sculptures that are meant
to be touched and performed with. They have stories. Many cheap
violins lead short, tragic lives. Some are hundreds of years old and
are more famous than the people who play them. Each violin is as unique
as the trees that were cut to build them. There are violins that are
abused or forgotten, but many that are cherished and handed down for
generations. I work on violins in my store every day that are worth
little in the general marketplace, but that were loved and used by
someone’s grandmother or favorite uncle or dad, and that makes them
priceless. Violins are dependent upon their relationship and
interaction with their owners for them to have any meaning. They have a
voice.
When I was in New York with my family over spring break I had the opportunity to look through dozens of violins that were coming up for auction at Christie’s.
My sister-in-law, Deepanjana, who is a specialist in Asian art there
(although her official long title is Specialist Head of Sale/AVP South
Asian Modern + Contemporary Art–whew that wears me out as much as it
impresses me), was able to get me in for a viewing a few days before the
public showing so I could take my time and look at things quietly.
(Front door of Christie’s auction house in New York)
What an incredible opportunity! There
were a few mandolins and guitars to look at, but what I spent my time
looking through were the violins and the bows. I read the catalog
carefully before I got there and made two lists: One of things in my
price range that I might bid on, and one of things that were impossibly
expensive but was hoping to examine in person just because. The violins
valued at under $10,000 were simply laid out on long tables:
Some of them needed a great deal of work, others were ready to play.
The one I was most interested in I actually won over the phone during
the auction. (Although, ‘winning’ in an auction means I get to pay the
highest amount offered for the item, so I’ve always thought that was an
odd term for it. But, hey, whatever you call it, that instrument is now
mine!) It’s a violin built in France in the mid 19th century that I
thought was just lovely:
But it does need some work. I will have to bush the pegbox, which
essentially means plugging the holes the pegs fit into and creating new
ones to go with new, smaller pegs. All old violins need this at some
point because the pegs work their way through the box over time making
tuning more difficult. See how fat and stumpy the shafts of the pegs
look? Once I bush the pegbox and fit it for new pegs it’s going to look
and work much better. (Plus it needs a new soundpost and bridge and
the fingerboard needs planing…. Can’t wait!)
During the auction I was also able to get a couple of really nice
bows that I’m excited to have in my store. I’m often surprised by how
many musicians don’t even realize how important the bow is to their
playing. Different bows not only handle differently, but they make
different sounds. A good bow is important, and I’m glad to have a
couple of new ones for players in Milwaukee to try.
The people at Christie’s were unbelievably nice. This impressed me
because the place is elegant and everyone is dressed impeccably, and I,
frankly, in my rumpled yoga pants, fleece jacket and sneakers looked
like I’d been sleeping on the street. I’m not a snappy dresser anyway,
because there is no point when everything I wear just gets covered with
sawdust and glue (sort of like the baby spit up years when you’re just
asking for trouble by putting on a nice shirt), but combine that with
living out of a travel bag that week and I was not a pretty sight. The
Christie’s people pretended not to notice and still handed me some of
the rarest instruments and bows on the planet to examine as long as I
liked.
It’s an incredible thing to hold a piece of history in your hands.
The jewel of this particular auction (and the instrument that graced the
cover of the catalog for it) was a Guadagnini violin from 1740 that
wound up selling for more than half a million dollars. They had no
qualms about handing it over to me simply because I wanted to see it.
The remarkable thing is that not only do the specialists at Christie’s
care for these objects, but that they so readily recognize and encourage
the enthusiasm of others for them. They didn’t just let me hold this
violin, they wanted me to hold this violin, even though they were
perfectly aware that I would not be bidding on it. Here are a couple of
my own photos of the Guadagnini in the viewing room:
Non-violin people out there may not be struck by it, but the grace of
those curves is unusually beautiful, and that maple back makes me
swoon. I got to look at that violin closely enough to appreciate how
expertly those f-holes were cut and to marvel at the elegance of the
corners and to be thoroughly envious of the varnish work. I hope its
new owner loves it and gets to play it in some amazing halls.
When all is said and done, with the commission and the shipping and
the labor, I don’t make almost anything on the items I pick up at
auction. I need to make sure that anything I pass along to my customers
is priced fairly, so I price things enough to cover my own costs and
then tack on a tiny bit more so that at least the whole thing isn’t a
wash. From a business perspective I know this is not particularly
savvy, but this is not a business anyone enters in order to be rich
anyway. I don’t care about being rich. I care about being fulfilled. I
run my business well enough that I can afford to keep doing it and
that’s what matters to me. So the thrill of acquiring these pieces has
less to do with any real good it will do my violin store’s bottom line,
and more to do with having really interesting things to offer people, so
they can also hold a bit of history in their hands. The violin I
bought at Christie’s is beautiful and old, and I can’t wait to fix it
up. I get to be the one to make it sing and find it a home. That’s
exciting, and it makes me glad I do what I do.
And that’s the kind of feeling I hope my kids will enjoy in whatever lives they grow up to choose.
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