Calling all restorers
April 15, 2008 by Robert Medley
Filed under Restoration
Restoration experts are hard to find if you are an antique horn collector. Looking at it from the perspective of the restorer, he/she wants do make a profit from their skills and the more they can do in a day, the more money they can earn. The time spent in making parts for instruments made over a century ago can take time and skill, and the ability to do research before attempting restoration. If you know collectors like I do, they want the instrument to play like they were new and the cost of repair to be minimal.
Most museums have their own in house restoration expert, a situation the private small collector does not enjoy. So, where does the little guy go when a restoration is needed? Most music stores will laugh you right out the door and consider you a waste of their time. I think European collectors have a better chance of finding a skilled restorer and linking up with them. Sending your horn across the waters to be restored can be risky business.
There is, in the United States the problem of finding an “instrument repair person” why wants to restore your instrument to “like new condition” and actually overdo a restoration with polish and lacquer.
This is that spot between a rock and a hard place that the American collector finds himself in.
Any ideas out there?
Well if you want a Cadillac you gotta pay for a Cadillac!
But, seriously, there are many different flavors of collectors – from those that want affordable if not so rare antiques to those that want highly valued scarcities.
And, there many different flavors of repair services that do full (and maybe over the top) restores, conservative restores, refurbishes, to general fixes.
And the service provided somewhat depends on the hourly wage, but also the time that the work requires. But, just as importantly it depends on the philosophy, principles and approach to the work of the service.
I’ve got a Cadillac and I’m not looking for another one, thanks. I also have given up collecting and playing because of age and health reasons. I thought this website would be a good opportunity to stay in touch with collectors and performers, and to pass along little gems of wisdom that were acquired along 40 years of collecting.
I’m sure you will agree that as a collector, finding someone to do a repair or restoration is a major task. I like your comment about an “over the top restoration”. That happened to me once. The repair person was so taken with the instrument that she went overboard, not in price, but in making the horn look “new”, which was not my goal. I think she fell in love with the horn.
In any case, young collectors are up against high initial prices when acquiring an instrument, and an even harder task of finding a qualified repair person.
One of the best repair persons of my acquaintance quit the business because he became so disenchanted with the work. He did work for a very high priced middle and high school and said he was disgusted with the way the instruments were returned to him year after year for repair. The kids made a habit of trashing the instruments at the close of the school year. It became an annual ritual. It made him sick to see what the kids did to top of the line instruments. I think he sells insurance now, but is happier in his work.
Robb Stewart is the best in the business at restorations. He does many restorations for the US museums. The downside is he is expensive and has a one year wait list. Mark Metzler at MetzlerBrass.com is also very good. He has examples of his work on his own personal collection at his site and is preparing to open his own shop (he is a repairman now).
Steve
I’ve heard many collectors say the same about him. The good restorers are always busy. That is to be expected. I just wish there were more like him.