A Good French Violin, probably Workshop of Charles J. B. Collin-Mezin, circa 1900

A Good French Violin, probably Workshop of Charles J. B. Collin-Mezin, circa 1900A Good French Violin, probably Workshop of Charles J. B. Collin Mezin, circa 1900 With workshops in Paris and, latterly, Mirecourt, the instruments of Charles J. B. Collin Mezin (both father and son), are universally well regarded as a very fine tools of the trade, consistently expertly made and delivering a tone characterised by power, clarity, and brilliance. We know that his instruments were used and praised by the likes of violinists Joseph

A Good French Violin, probably Workshop of Charles J. B. Collin-Mezin, circa 1900

With workshops in Paris and, latterly, Mirecourt, the instruments of Charles J.B. Collin-Mezin (both father and son), are universally well-regarded as a very fine tools of the trade, consistently expertly made and delivering a tone characterised by power, clarity, and brilliance. We know that his instruments were used and praised by the likes of violinists Joseph Joachim and Camilo Sivori, as well as by cellist Auguste Franchomme, and yet remarkably they still remain affordable in a way which a huge number of instruments by Italian makers are not.

This violin, made in either Paris or Mirecourt, bears many striking similarities to the instruments produced by the Collin-Mezins, and most likely was produced in one of their workshops around the turn of the century. An excellent instrument, and until recently used as a second instrument by a concert concertmaster, it would be an ideal violin for a player commencing their final studies or first professional engagements.