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.
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....
Collin-Mezin,Charles J.B.
