In 2004 Professor Nobuyoshi Ozawa at the University of
Cincinnati estimated that the market capitalization for rare stringed
instruments (i.e. those made over 150 years ago by the top 270 makers) is approximately
$12.3 billion and that 100% of this market turns over every thirty years. Of
these, Violin Advisor LLC estimates that there are
perhaps no more than 2000 extant violins, violas, and cellos made by the Amati,
Stradivari, and Guarneri families. These instruments have been coveted by
leading musicians and collectors for over two-hundred years, and there is
increasing worldwide demand for them. Now that we have entered the
twenty-first century, violins made in the late-eighteenth and nineteenth-century
are also beginning to attract collectors and investors, particularly as they are
contemporaneous with the music of the Classical and Romantic periods. The
so-called “modern” Italian violins dating from the late-nineteenth and
early-twentieth centuries are also demonstrating a dramatic upswing (see
Violin
Price Histories).
Some of the problems encountered in purchasing violins
include the relatively high transaction cost of buying from dealers (mark-ups
range from 15% and up) and at auction (20% up to $200,000 plus 12% of amount
above $200,000 at Christie’s and Sotheby’s New York locations) as
well as relatively poor liquidity (in the traditional market, violins cannot be
sold on a moment’s notice by making a phone call to one’s dealer—this process
may take a year or more). At present, there are fewer than a
dozen major dealers world-wide and only two or three experts who are independent of the
trade.
Potential purchasers should also keep in mind that all violins made by a particular maker do not command the same price; for example, early and late period Stradivari violins sell for appreciably less than his “Golden Period” (ca. 1700-1720) instruments. Condition is another important factor (for example, a sound post crack or a replaced scroll will greatly diminish the value of an instrument), and skillful restoration may disguise flaws or underlying damage that may affect value. Because violin dealers and auction houses generally do not reveal physical defects or the nature of repairs when selling an instrument, an evaluation by an independent expert is essential. Furthermore, some instruments sound and play better than others, so if the purchaser is not a musician, the instrument should be evaluated by a concert violinist.
Despite their delicate
construction, violins are fairly robust and generally require very little upkeep.
Insurance premiums
issued by specialist firms are generally much lower on a per-dollar basis than
real estate, automobiles, and many other collectibles. (For example, a violin appraised at $375,000 can be insured today for
approximately $1,200 per annum.) If
violins are lent to players, they typically pay for insurance and basic
upkeep (such as replacement of strings, seasonal tonal adjustments, etc). If
placed in storage, violins do not deteriorate as is commonly believed, but they
should be examined periodically by a conservator to check their condition.
Special precautions can be taken to prevent damage if violins are stored in
harsh climates.
As investments, fine stringed instruments exhibit low correlation with stocks and bonds, gold, and real estate, making them ideal additions to diversified investment portfolios. Because of their portability, they can be readily transported to favorable markets for sale.
The prudent collector or investor, particularly if he or she is not a musician or has little familiarity with violins, should seek outside professional advice before plunging into this market.
For more information see: This Violin is Worth $3.5 Million. Why?, which originally appeared in Money magazine and is now available on the www.CNNMoney.com website.
For an article about the use of scientific testing to determine the authenticity of violins, see False Messiah? in www.Forbes.com.
©Violin Advisor LLC. Stewart Pollens 2007