Ballerina music boxes, inlaid music boxes, musical jewelry boxes, cylinder music boxes, and antique music boxes represent delicate artistry and cherished heirlooms. Preserving these treasures often necessitates expert repair and restoration. In this second part of our interview, we delve deeper into the world of music box restoration with Jim Weir, a renowned specialist in mechanical musical instruments.
Jim’s expertise encompasses a wide array of antique musical box repairs, including comb repairs, releading and tuning, damping adjustments, cylinder repairs, and organ bridge work. He skillfully handles both disc and cylinder music boxes. Let’s continue our conversation to gain further insights into this unique profession.
**6. What do you find the least and most appealing aspects of running your business?**
“Paperwork, particularly dealing with taxes and Customs, though I’ve become rather adept at navigating those processes. The greatest satisfaction comes from completing a complex restoration and, of course, receiving payment.”
**7. Could you share some of your favorite music box or collectible pieces and the stories behind them?**
“A memorable piece was a 26″ consul model Stella, originally owned by the late Bruce Devine. It arrived in disarray, having been dropped by a crane during loading. Bruce initially entrusted it to a trade customer, who then passed it on to me. After the trade customer withdrew, I worked directly for Bruce. It was a challenging experience, but the final result, the box sounded magnificent, with excellent tune arrangements.”
**8. Are there any interesting historical anecdotes associated with pieces you’ve worked on?**
“I don’t personally collect music boxes due to affordability. However, many pieces I’ve restored have fascinating histories. The Stella mentioned earlier is one example. Another is a rare long and short pin Forte-Piano box (maker unknown) that I overhauled for a client in France. It featured a silver presentation plaque commemorating a Mayor’s service to the townspeople in 1847, a period of significant political upheaval in France. One of the most heartwarming stories involves a box I fully restored for an elderly woman in Edinburgh. It had been in her family since new, and she hadn’t heard it play since childhood.”
**9. What advice would you offer to someone considering starting a similar business, either online or offline?**
“I would advise caution. The rapid pace of the Internet clashes with the time-intensive nature of this craft. Developing the necessary skills takes years. I was fortunate to leverage my existing clock repair expertise. If I were to offer advice, I’d suggest pursuing your passion for music boxes while maintaining a backup plan. Recognizing when to quit is not a failure but a pragmatic decision. Some music box repairers might be happier had they transitioned to a different career decades ago. However, I wouldn’t trade my profession.”
**10. Where would you recommend antique and music box collectors, both seasoned and novice, search for valuable pieces, online or offline?**
“Seek advice from knowledgeable friends, but ultimately make your own informed decisions. Subscribe to music box sale catalogs to track market prices. Attend music box auctions to observe trends and understand what factors influence sales. Before purchasing a specific musical box, whether from a dealer, private seller, or auction, have an expert assess its condition and potential repair costs. Most restorers offer this service free of charge, hoping to secure the repair work if the purchase proceeds. For high-value pieces, consider paying a restorer to inspect the box at the seller’s location. A detailed repair estimate provides significant leverage in negotiating the purchase price.”
Jim concludes with his aspirations for the future:
“To increase workload and pay off the mortgage. Of course, life is about more than that, but financial obligations remain. Currently, most of my work originates from dealers. I hope that advertising in the MBSI Journal will attract more direct clients. While I could theoretically increase my public prices, doing so for US customers is impractical due to shipping costs. Regardless of whether a musical box requires comb work, cylinder work, or a complete restoration, there’s a limit to what most people are willing to spend, regardless of the time involved. People must prioritize. Should they repair their car, their washing machine, or the antique music box inherited from their grandmother? That’s the reality. Now, it’s time to return to the workshop.”
I extend my sincere gratitude to Jim for sharing his valuable insights into his business and providing us with a glimpse into the world of music box repair and restoration. Jim Weir can be contacted at combwork@aol.com or by telephone/fax at 01144-1575-572647.