A Violin By Giuseppe Guarneri del Gesu, 1715, Cremona, Italy

~ The first of all things to consider concerning ''older antique violins'' is this: ~ Neither the presence, or absence, of a ''neck graft'' bears weight in determining the age or authenticity of any violin. Therefore, today, according to ''modern'' expertise this beautiful violin would be looked upon as ''a copy of Guarneri del Gesu'', or ''frowned upon as a fake''. Both are obviously incorrect, because the violin exhibits all of the salient characteristics of a genuine Guarneri del Gesu. Yet, it was constructed during a much earlier period than ''hitherto recognized''. The maker's undisturbed original label glued inside the back is both well preserved and clearly authentic. One then must disregard all protests from ''professional'' experts - whom would - in order to defend at all costs their completely ignorant fantasies vehemently claim that ''it's a fake'', or ''it's wrong''. The first two b/w images depict a slight rib overhang on the lower points of an alleged ''1744'' Guarneri del Gesu, known as the ''ex Grumiaux''. It was not made in that year, but much earlier. The same applies to the ''1741'' ex-Kochanski (3rd image) and the ex-M. Sainton: which was actually made in 1734 according to Ed Herron Allen, who made and published in his book very accurate templates of it. A scan of a modern drawing depicts a German violin maker's interpretation as to how the purfling mitres would appear, when drawn from the ''straight on'' perspective. The pictures and illustrations previously mentioned raises serious questions regarding the actual date of construction attributed to the 'Leduc', which was allegedly made by Guarneri ''del Gesu'' (posthumously) in 1745. Why? The sound holes are much too long and precisely cut for it to have been made during the ''late'' period. The images we have provided, for comparative analysis, also reveal highly important details of construction. But which, apparently, have been deliberately overlooked, or completely ignored by those who claim to possess "Cremonese Expertise", and post in violin related forums on the internet, especially in North America. It is our firm's sole intent and purpose to bring back into focus these ''faux pas'', in order to truthfully educate the general public. But first, we must come to understand the reasons why this ever happened in the first place. One might call the problem ''assumed expertise''. Or, was it simply the pious, jealous ignorance of very prominent, but long deceased British and Continental dealers whom willingly infected their descendants and followers with the same dis-ease. Notwithstanding, a few truly unbiased connoisseurs also left to posterity published manuscripts which fully refute their deceptions. The most experienced and best informed British violin expert, of the 19th century, was Mr. William Horace Petherick, and whom lived and worked in the London suburb of Croydon, Great Britain.