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Elio Severgnini ( see original letter )
"After some trials, I have been using Old
Wood 1700 on different instruments. It does not matter what
varnish one uses, spirit varnish or oil varnish, to get the
optimum result on the preparation of the wood. Particularly on
the work well finished for the later varnish application. It
causes the morphological characteristics of the wood to show
up clearly, and also enhances the acoustics. The combination
of these two aspects of an instrument, makes the job obvious
to the eyesight and the same time, it speeds the response of
the sound."
Elio Severgnini ( see original letter )
Dear José
María,
I
wanted to congratulate you for the fantastic varnishes
that you have developed and gather all the excellent qualities
that must have a varnish: resisting , flexibility,
transparent, beauty, etc...
When I use your Imprimitura Minerale,
The ground Italian Golden Ground becomes more present and
luminous, but with your Doratura Minerale, all this is
ensalced in a incredible way. What a show of light,
colour and sound!.
Must see it and ear it to believe it.
It is fascinating.
Eric Blot (
see original letter )
"Thank you very much for the excellent
product. Your new Old Wood is even better than the one before.
Congratulations! I use it with success."
Favio Volta ( see original letter )
"I have been using 1700 Italian Golden Ground
since I tried it the first time, five years ago. I am very
happy with the results. I have not stopped using it, even
after changing my way of varnishing. It is for any kind of
varnish, oil varnish, spirit varnish, or mixing varnish. I
have never found another product to compare to the 1700."
Giorgio Grisales ( see original letter )
"Since 1999 I have been using Old Wood for my
instruments, after trying a lot of different kinds of wood
treatment products. Only Old Wood 1700 allows me to clearly
show off the quality of the wood and I obtain chromatic
variations that let me create a homogeneous and transparent
background color that is perfect for the later application of
transparent oil or spirit varnish."
Lucca Maria Gallo ( see original letter )
"I use Old Wood 1700, since I first
discovered it. I have always achieved the very best results in
my instruments. It has added light even to wood that is not
particularly beautiful. I believe that this is the product
that all violin makers have been waiting for and I cordially
recommend it. It makes life easier."
Luiz B. Bellini ( see original letter )
"Dear José María Lozano: I thank you for
having dedicated yourself in developing your Old Wood
products, specifically the 1700 Italian Golden Ground. I use
it on my violins, with very good results.
Congratulations!"
Marc de Sterke ( see original letter )
"I have been working with the old wood 1700
products of Mr Lozano and I can vouch for the excellent
quality that he offers. The oil varnish applies easily and has
a very beautiful depth and a wonderful consistency. It dries
and polishes well and remains supple, The sheer beauty of the
Brescia brown varnish (if put on a good ground) impressed me .
The grounding is also of a very high quality and makes the
wood sparkle underneath the varnish. All in all a highly
recommendable range of products. It is rare to meet a person
with such an in depth knowledge of varnishes.
Bravo
Mr.Lozano!"
Michele Dobner ( see original letter )
"The flame's depth, the light that the wood
receives and the winter rings of the spruce of my instruments,
are shown up clearly, very similar to the classical Cremonese
of the 1700s. Thank you, Old Wood!"
Primo Pistoni ( see original letter )
"I write to congratulate you sincerely
because your product (1700) for preparing the wood is
exceptional. I have done different trials of gelatin isolate
for more than a year. Each test has shown that me that colour
attained by the wood is very natural (I use only sunlight).
The instruments acquire a beautiful cinnamon color and the
result of varnishing improves. Bravo! I am very thankful to
you.
Sergio Scaramelli ( see original letter )
"Dear José, With this letter I want to thak
you that, since I use your products, the sound of my basses
has improved a lot.
The varnishes has an excellent
quality, elasticity a beauty.
Thak you.
Marc de Sterke ( see original letter )
To all violinmaker colleagues
re: new
pigments in oil.
JM Lozano's pigments in oil allow one
to achieve wonderful results easily without grinding.
The 12 splendid colours (from venetian red, or alizarin
to golden oak to walnut brown are interchangeable and mix with
any of his or any oil varnish.
Personally I was amazed how
easily I could achieve any colour combination with such
intensity and transparency.
This wonderful addition is
highly recommendable for anyone who works with oil
varnishes.
Bravo JM Lozano!
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