BAADER, F. A.
Worked in Mittenwald (Bavaria), 1808.
Specialised in cellos. Stradivarian modelling conspicuously appealing to the eye as a true replication. Workmanship characteristic of facility of hand certainty. Straight-grained spruce and fine quality maple. Reddish-brown varnish. Tonal quality strong and flexible, but ordinary.

BAADER, J. A.
Factory at Mittenwald, 1925. Established 1790.
Trade instruments of various grades, most reasonably priced, exported to every corner of the world. Trade mark - M.B. double circled. Violins made by skilful assistant luminaries, or by machinery, according to standard. Extremely well and prettily wooded. Various shades of oil and spirit varnishes.
Violas, cellos and double-basses. Designs and workmanship possibly transcending all antecedent mass production for that town.
Guitars, lutes, mandolines and zithers.
Stainer-modelled violins, dated 1854, especially commended.
-----------------------------------------------------------------
Kniglich Bayerische Hof-Saiteninstrumenten Fabrik
von J. A. Baader & Co. Bsitzt Max Baader
Gegrndet 1790
in Mittenwald a/Isar. Bayern
No. 979 1899
-----------------------------------------------------------------

BAARSEN, JOHANNES
Worked at Narvik (Norway), 1800-1830.
Amatese modelling - yellowish-brown varnish.

BAARZ, WILHELM
Worked with Paul Car at Posen, 1920. Established at Bochun (Westphalia), 1925.

BAAS, PETER NIELSEN
Worked at Copenhagen, 1700-1712.
Violins and violas. Constructed on German principles. Combine certain desirable qualities of design and tone. Varnish almost effaced by usage.
---------------------------
Peter Nielsen Baas
in Copenhagen, 1708
---------------------------

BABUTZKY, LEO
Amateur. Worked at Neustadt (Austria), 1890-1912.

BACCA, HEINRICH
Born 1818. Worked at Mannheim. Repairer to the Royal Court. Died 1878. Produced several violins and cellos of the ordinary kind.
-------------------------
Heinrich Bacca
in Mannheim, 1842
-------------------------

BACCHETTA, GUISEPPE
Worked at Cremona and Mantua, 1730-1760.

BACH, ANTON
Worked at Absroth (Bohemia), 1910.
Especially good-looking cellos - commercial class.

BACHELIER, JEAN GASPARD
Worked at Paris, 1775-1789.
Instrments not to be placed as anything beyond common inferiority. Workmanship somewhat coarse and rough. Yellow-brownish varnish.
------------------------------
Jean Gaspard Bachelier
Luthier
rue de la Tissanderie
Paris. 1777
------------------------------
------------------------
Jean G. Bachelier
Luthier
Place Baudoyer
Paris. 1787
------------------------
------------------------------
Jean Gaspard Bachelier
Paris, 1789
------------------------------

BACHMANN
Worked at Kronstadt (Transylvanian Roumania), 1835.
Guarnerian modelling modified by German traits. Scroll narrow in front, weaklooking and indifferently posed. Reddish-brown varnish now degenerated into a very, very dark shade. Well finished internal work. Waist curve linings let into the blocks.
---------------------
Bachmann
Kronstadt 1835
---------------------
(written - placed on rib)

BACHMANN, A.
Worked at Amsterdam, 1845-1860.
Placed by the hand of Providence on a lowly ladder-step, and never awakened to the genial spring of truly artistic work.

BACHMANN, ANTON
Born 1716. Worked at Berlin. Died 1800. Thirty years employment as repairer to the Prussian Court.
Had a reputation and esteem which is not generally justified. Advertised that some of the violins followed Stradivarian and Guarnerian principles, yet the arching is un-Cremonese in being too fully pronounced at the centre, and too abrupt a declension towards the sides. Central thicknesses very thick. Strong tonal quality (highly favoured by present-day orchestral players in Germany), but unripe though of a certain clarified brilliancy. Golden reddish-brown varnish, sometimes excessively dull. Modelling on the whole not prepossessing. Often an indifferent quality of wood. Workmanship unexpectedly neat on some specimens.
--------------------------------------------------
Antonius Bachmann
Knigl: Preuss Hofinstrumentenmacher
in Berlin 1756
--------------------------------------------------
(Sometimes without border and with two letterings; others with decorative border, and italicised lettering).
Also made many guitars.

BACHMANN, CARL LUDWIG
Born 1743. Son, pupil and successor of Anton. Worked in Berlin. Died 1809. Viola virtuoso in the Royal orchestra. Instrument maker to the Prussian Court, 1765. Founded (in conjunction with Ernst Benda) the Amateur Concerts at Berlin, 1770-1797.
Chiefly replicated Stradivarian modelling, though several equally excellent Amati and Stainer types exist. Outline surpassingly well conceived in every instance. Proportions and thicknesses practically perfect. Aroused himself to imbue his new instruments that would look and speak like older ones. Amateurs of fifty years ago were frequently deluded into thinking they had purchased genuine Cremonas or Stainers. Wood invariably attractive. Golden-yellow shade of transparent oil varnish.
Well executed violas. Tonal quality never dull, but having contrast between depth and lightness.
Strongly made cellos, yet possessing the qualities of being graceful in all its varied senses.
Also double-basses and guitars. Inventor of a new system of screwing the double-bass pegs, 1785, which eventually brought the machine heads.
------------------------------
Carl Ludwig Bachmann
Hofinstrumentenmacher
Berlin 1766
------------------------------
--------------------
Carl Bachmann
in Berlin 1773
--------------------
(With decorative border; slanting lettering)
--------------------
Carl Bachmann
in Berlin, 1796
--------------------
(written)

BACHMANN, JOHANN
Worked at Berlin, 1780-1785.
Specialised in the production of cellos.
------------------------
Johann Bachmann
Geigenmacher
in Berlin 1783
------------------------

BACHMANN, JOHANN E.
Born at Amsterdam, 1851. Worked at Sneek (Groeningen, Holland), 1878. Died 1916.
Gaspar da Sal, Maggini, Strad., and Tyroleans well imitated. Varnish generally lacking brilliance. Not a high quality of tone.
---------------------------------
Johann Ernest Bachmann
Fecit Grningen. Anna 19-
---------------------------------

BACHMANN, OTTO
Worked at Quedlinburg (Saxony). Died 1848.
Violins, violas, cellos and bows. Author of small book on violin making, etc. (Leipzig).

BCK, H.
Worked at Niederlangenau (Wrttemberg).
Style quite similar to the Neumrkers of Schnbach. Golden-brown varnish of nice quality.
---------------------------
Hinrich Bck
Instrumentenmacher
Niederlangenau 1840
---------------------------

BACKLUND, CARL
Worked at Porvoo (Finland), 1926.

BACKMANN, CARL
Swedish, 1808-1835. Scarce.

BACKMANN, DAVID
Worked at St. Petersburg, 1832-1843.
Discriminative harmonisation of arching with outline. Facile power of transition from one part to another of the scroll - absolutely no jarring sense of abruptness anywhere.
------------------------
David Backmann
in Petersburg, 1840
------------------------

BCKSTRM, SIGGE
Clever engineer who drifted into a master violin-maker. Resident at Vsters (Sweden).
Produced about 20 up to the year 1950. Each made slowly and subjected to indefatigable criticism from the maker. Superb outline, meticulous workmanship and every little detail rendered attractively, thus offering prelibation of a fine tone. Early instruments made from native woods imported from Austria and Czechoslovakia. Backs especially beautiful - always of straightish flame. Lustrous tint of varnish - a sort of ripe-victoria-plum shade with yellow background. Magnificent sweep accompanied the sound-holes (with prominent notches).
General measurements: body length 355 mm; upper bouts 169; middle 113; lower 209; from corner to corner of waist curves, 83; sound-holes (straight line from top of upper curve to bottom of lower curve) 76.
------------------
S. Backstrm
Vsters 1918
------------------
Inventor of an apparatus for detecting the tonal quality of famous instruments by oscillatory sound waves, density of woods, partial tones etc.

BACON, T. W.
Worked in Endel Street, London, 1895-1920.
Pochettes - slab back - light red-brown varnish.

BACZYNSKI, LADISLAUS
Worked at Cracow, 1902; and Lww (Poland), 1925.
--------------------------
Ladislaus Baczynski
fecit Cracoviae 1902
--------------------------

BADALAMENTI, CARLO
Worked at Detroit (Michigan), 1920.

BADALASSI, PIERO
Born at Forcoli (Pisa), 1915. Resident at Pisa, 1936.
Instruments destined for future fame after being subjected to years of good playing. Yellowish varnish which will grow in splendour. Scrolls especially of fine carving. Various classical models, and one of a personal note paying homage to certain Stradivarian traits.
Won diploma at the Stradivari Competition, Cremona, 1937.
----------------------------
Piero Badalassi in Pisa
Faceva lAnno 1946
----------------------------

BADARELLO, CARLO
Born 1885. Worked at Turin. Died 1931.
Violins and cellos which have achieved considerable popularity in Italy and Austria. Customary standard models.
------------------------------------
Carolus Badarello fecit
in Taurini anno Domini 1927
------------------------------------

BADER, JOHANN
Worked at Mittenwald, 1760-1766.
Excellent workmanship on a model suggestive of the Klotz.

BADER, JOHANN EVANGELIST
Born at Mittenwald, 1876. Studied at the Violin-making School, 1889-1892. Worked at Carlsruhe, Wrzburg, Coblenz and Munich. Settled at native place, 1901. Teacher at the Violin-making School 1910-1914. Medallist at Nrnberg, 1906, and at Munich 1927. Skilful copyist of the Stradivarius, Guarnerius, Amati, and Maggini. Oil and spirit varnishes of superior texture, formulated after several years of experimenting. Occupied chiefly with the production of new solo violins, solo violas, and solo cellos. Also built many guitars and lutes.
----------------------
Johann Bader
Mittenwald 1909
----------------------
---------------------------------------
Johann Evangelist Bader
Mittenwald (Bayern). Badgasse
Anna 1926 257 c.
(With monogram).
---------------------------------------

BADER, JOSEF
Born at Mittenwald, 1748.
Klotz-Amati model very gracefully arched. Sound-holes only moderately interesting. Scroll rather too imposing to be in artistic unison with the general build of instrument. Purfling occasionally patchy. Dark-brown varnish not greatly lustrous.

BADER, JOSEPH
Worked at Mittenwald, 1745.
Imitations of the Amati-Klotz model, but of no distinctive character. Tone likely to be permanently strained if subjected to much vigorous playing.

BADER, MARTIN
Worked at Mittenwald, 1730-1736.
To be viewed as a true disciple of the Klotz school. Everything nicely done, and approaches much of the cleverness of his teacher. Supposed to have made frequent misuse of the Stainer and Amati labels.

BADER, MICHAEL
Worked at Mittenwald, 1770-1780.
Modelling of the long type. Belly wood of straight-grained spruce. Backs of very ordinary unflamed maple. Dark red varnish not especially transparent.

BADGETT, MAYS
Worked at Atlanta (Georgia), 1910-1924.
-------------------
Made by
Mays Badgett
Atlanta. Ga.
January. 1911
-------------------
(decorative border)

BAEHR, RICHARD
Worked at Atterwasch near Guben (Germany), 1885-1910.
Produced various kinds of stringed instruments. Inventor of a sliding apparatus for equalising string fifths.

BAER
Chamber musician at Meiningen (Thuringia), 1917. Produced several very attractive violins.

BAGANY
Worked at Pottendorf (Austria), 1822.
Another of the unfortunate innovators, and deservedly so in this instance. Invented a violin, the top of which consisted of thin strips of sheet-iron. Made no impression on futurity in spite of its ridiculous cheapness - sold to the trade at ten shillings. Peculiarity of material and workmanship not wholesome. Everything scrittyscratchy - touch and go. Such abortive efforts are often the productions of wayward and whimsical geniuses who could have done good work under more healthy and legitimate ideas.

BAGATELLA. ANTONIO
Born at Padua (ancient name - Patirium), 1726. Worked there from 1746-1799. Frequently employed by Tartini.
Made several splendid instruments as well as a few indifferent ones. First period specimens belong to the grand Amati pattern of medium arching. Altogether splendid in grace of curvature. Capitally cut scroll less attractive owing to the frequent use of non-figured wood. Belly wood often fine-fibred at centre and wider nearer the edge. Generally one-piece backs of small figured material. Light shade of golden-yellow varnish. Tonal quality charmingly crisp and clear. One example valued at 1,000 dollars in the United States, 1925.
Second period instruments rather closely adhere to the not large Guarnerius model. Outline and proportions superbly elegant. Magnificently wooded in quality and quantity. Orange-red varnish of Cremonese transparency and elasticity. Tonal quality particularly telling, yet of sympathetic mellowness. Value estimated at 50 to 100. Also produced cellos of grand Amati modelling.
Greatly patronised by several Princes in Germany and Austria. Enjoyed remarkable fame as a restorer, and for some years quite eclipsed other Italians. Guitars and mandolines also bear his label.
---------------------------
Antonius Bagatella
delectans tecit Patarii
anno 1792
---------------------------
-----------------------
Antonio Bagatella
fece Padova 1748
-----------------------
(Italicised lettering)
Some instruments bear the names Bagoletti and Bagoletto, and are supposed to be the work of Bagatella.
-----------------------
Antonio Bagoletto
in Padua 1782
-----------------------
Author of Regulations for Constructing Stringed Instruments (1782). Obtained a prize from the Academy of Arts and Sciences at Padua. A publication creating astonishing attraction of all European connoisseurs and makers of his day, and frequently quoted from through subsequent ages. Probably the first work to elucidate the complicated mathematical evolution of violin construction. Gives practical directions etc., for arriving at a perfect imitation of the Cremonese instruments, more particularly those of Amati. Also presents innovations in theoretical calculations, which have since turned out to be more or less illusory, and now regarded as curious and partially fanatical rather than anything to give makers any sensible reason for forsaking the old and well-proven methods. Expounds the idea that tonal quality is of two categories - one like the human voice the other purely orchestral - and asserts that his scientific experiments and serious cogitation in thicknessing and density of wood ultimately rewarded him by a remarkable timbre which he terms golden.
Unfortunately for the honour of his name these later period instruments have been relegated to the ordinary class of work emanating from Mirecourt and Saxony on account of their somewhat poverty-stricken tone - a tone absolutely of no use to those players who understand the proper nature of strength with maturity and dedicate themselves to the producing of it in their performances. Contrast between his first and second period and the third is in this respect, infinitely in favour of the former, which architecturally also leave the later brethren immeasurably behind.

BAGATELLA, PlETRO
Worked at Padua, 1712-1760. Presumably father or uncle of Antonio. Modelling of very pronounced height. Dark shade of varnish, quite lustreless.

BAGILLO, GAETANO
Worked at Ancona (Italy), 1770-1776.
Workmanship fairly honourable to the artistic. One-piece backs, and widish-fibred belly wood.
-------------------------
Gaet: Bagillo fecit
Ancona Anno 1772
-------------------------

BAGNINI, GRAZIO DE ANTONIO
Lute maker at Florence, 1660-1680.
Frequently mentioned for remarkable variety in design.

BAGOLETTO
see BAGATELLA.

BAHR, ANDREAS
Born at Fuessen. Worked at Vienna, 1679-1722.
Uninviting model - brown varnish.

BAILEY
Resident at Providence (Rhode Island), 1920-1926.

BAILEY, JAMES
Born at Stone, 1856. Resident at Grimsby, 1924. Practically self-taught - first instrument dated 1894.
Stradivarian outline with modified arching until 1919 - Guarnerian model since. Proportions and thicknessing well considered. Workmanship fairly dexterous - sound-holes nicely positioned - purfling less satisfactory - salient features of the scroll well conceived. Varnish of various shades from pale yellow to dark brown. Local violinists concur in admiring the free tone.
Also violas and cellos.
------------------------
James Bailey
Violin Maker
76 Weelsby Street
Grimsby 1925
------------------------

BAILEY, SYDNEY ARTHUR
Born 1890. Resident amateur at Woking, 1924.
Somewhat Stradivarian modelling - golden varnish. One instrument made with a razor, spokeshave and one other tool.
----------------------------------
Date October 1915
Made by Sidney A. Bailey
Boundary Road
Woking - Surrey
England.
----------------------------------

BAILLY, ANTOINE
Worked at Mirecourt, 1760-1791. Principally bows of fair standard. Also violins.

BAILLY, CHARLES
Born 1879. Pupil of Lotte and Mougenot. Worked at Mirecourt from 1909. All stringed instruments made entirely by hand. Artistic modelling and finished workmanship. Effective and transparent oil varnish of reddish-brown shade. Tonal sonority.
Imitations of old master violins. Also bows.
-----------------------------------------
Instruments de Solistes
Charles Bailly
Maitre Luthier
Anno 1926. No. 296. No. 1289
-----------------------------------------
(Name also written across. Several brand marks).

BAILLY, JENNY
Daughter, pupil and successor of Paul. Established at Paris, 1900-1927.
Violins, violas and cellos made entirely by hand - assemblage of details quite harmonious. Clever and faithful imitations of the Cremonas, Lupot and Vuillaume - neatest workmanship. Whole scale of warm-looking varnish shades applied to give an illusion of the ancient. Strong tonal quality - pure and homogeneous.
-----------
No.
J. Bailly
Paris
-----------
(signed: Jenny Bailly)

BAILLY, JOSEPH
Worked at Mirecourt, 1775-1796.
Ordinary modelling and workmanship - brownish-yellow varnish.

BAILLY, PAUL
Born at Mirecourt, 1844. Pupil of Jules Galliard and Vuillaume. Worked at Lille and Douai. Returned to Mirecourt 1871 - moved to Paris 1880 - lived at Brussels - had a brief sojourn in America - worked at Reims - came to London - worked for Harry Dykes at Leeds. Finally settled at Paris 1899. Died 1915.
Exceptionally gifted with rapid dexterity - produced about 2,000 specimens, each of exemplary neatness etc. Particularly expert copyist of the Italians from Maggini to Guarnerius; also built many replicas of the Vuillaume style, made from Swiss chalet pine, 200 years old. Especially successful in imparting a non-new tonal quality. Various shades of varnish - brilliant red perhaps favoured.
--------------------------------------------------------
Paul Bailly, luthier Mirecourt, Vosges
Elve de J. B. Vuillaume de Paris
Luthier de lAcadmie de musique de Douai
--------------------------------------------------------
------------------------------------------------------
10 Mdailles-Or, Vermeil, Argent et Bronze
Paris, Sydney, Melbourne, etc.
No. 1118. Paul Bailly Luthier
Ancien Elve de J. B. Vuillaume de Paris
197, rue de Grenelle, Paris. Anne 1901
------------------------------------------------------
(Autographed on right-hand side).
----------------------------------------------
Ten Medals - gold, silver and bronze
Paul Bailly. Violin Maker
Pupil of Jean Baptiste Vuillaume
86 Wardour St.
London. W.
No. 799
----------------------------------------------
(P.B. double-circled).

BAIN
Amateur at Forfar (Scotland), 1924.
Made a goodly number of violins - some of wood taken from the ancient church at Kirriemuir.
Owner of a fine Carlo Bergonzi.

BAINES
Pupil of Matthew Furber. Worked in London 1780.
No trespass against dignity of contour - details minutely attended to - excellent varnish. Very satisfactory tone.

BAIRHOFF, GIORGIO
Worked at Naples, 1740-1790. A German who settled in Italy and studied with the Gagliano family.
Healthy-looking instruments plainly exhibiting Neapolitan influence. Broad and rather flat pattern certainly of attractive contour.
Also occasionally built Guarnerius-type violins having a body length under 14 inches. Admirable adherence to unobtrusive bossing of the small but elegant scroll. We appreciate the placid and pretty features of sound-holes. Purfling lines finely parallel. Belly wood of choice quality, sometimes of spelt grain, or of very fine wavy filament. Two-piece backs of handsomely flamed maple. Lustrous varnish of an orange-brown shade. Tonal quality bright, clear and well carrying, yet of semi-rich softness.
----------------------------
Giorgio Bairhoiff fecit
Napoli 1758
----------------------------
(name sometimes printed Barthoff)

BAJONI, LUIGI
Born at Milan, 1838. Worked there until 1895.
Specimens generally well esteemed and represent traditional phases of Milanese work with considerable if not glorified success.
Designs happily conceived though not perfect. Scroll stands out manfully. Sound-holes nicely arresting the eye through the visual appreciation of graceful curvatures. Handsome two-piece backs. Rich reddish shade of varnish. Responsively full tonal quality. Some attractive cellos - brownish varnish.

BAKER, CALVIN
Worked at Boston (U.S.A.), 1870-1880.
Realised the ambitious hopes he set out with and by great perseverance achieved a well-deserved name. Produced over 400 instruments. Strikingly effective modelling of the Amatese as well as the Stradivarian. Dark medium-brown shaded varnish on the former and golden-yellow of transparent lustre on the others. Splendidly responsive tone.

BAKER, ERNEST JAMES
Born at Kentish Town (London), 1902. Resident there 1924. Worked for Dykes & Sons.
Copyist of the Tuscan and Alard Strads. Red-brown and orange shades of varnish.

BAKER, FRANCIS
Worked in London, 1696-1700. Probably brother of John. Work quite similar. Specialised in six-stringed viol-da-gambas. Light-yellow varnish. Magnificently constructed and of rich tonal quality.
---------------------------------
Francis Baker
in St. Pauls Church Yard
1696. London
---------------------------------

BAKER, J. B.
Established at Minneapolis (U.S.A.), 1923.

BAKER, JOHN
Worked at Oxford, 1680-1720. Son of William (worked 1673-1683).
Ardent and accomplished enthusiast. Led a life of considerable productive activity in making viols. Made a few highly-arched violins. Full evidence of a carefully skilful hand in the neat workmanship. Light yellow shade of varnish. Clarified tonal quality but only moderately strong.
---------------
Made by
John Baker
in Oxford
Anno 1692
---------------

BAKER, WILLIAM
Worked at Brighton, 1820-1840.
Capricious designer. Some violins approaching the Stradivarian in outline and arching. Others shot up in any haphazard style. Some have grotesque figureheads instead of the customary scroll. Excellent wood and really nice workmanship attached to best specimens. Sound-holes generally weak-looking and wobbly. Golden-brown varnish of fair texture sensibly applied. Brilliant type of tone, but often metallic and sharp.
Received greater approbation for his altogether splendid double-basses. Devoted skill given to beautifying the machine head.
-----------------------------
William Baker
23 George Street
Brighton 1825 (Junior)
-----------------------------
-------------------------------
Made by
William Baker
George Street, Brighton
1827
-------------------------------
(In Roman characters).

BALCAINI
Worked at Milan, 1750.
Small Amatese modelling. Deep shade of yellow varnish. Workmanship not refined. Ordinary small tone.

BALDANTONI, GIUSEPPE
Born 1784. Worked at Ancona (Italy). Died 1873.
Had a preference for the large Stradivarius model. Flat arching perfectly graduated. Sound-holes less satisfactory, not having the beautiful sweep usually associated with the Italians. Purfling neatly carried out. Belly wood frequently of medium grain with a slight wavy line. Generally one-piece backs of broad figured maple. Ribs cut from small figured curly maple. Well designed scroll of similar material. Orange-brown shade of varnish. Tonal quality persuasively rich and soft, also very responsive and of considerable carrying-power. 1,000 dollars sometimes appended to the name.
Also produced of slightly smaller build. Body length
--------------------------------
Joseph Baldantonj
Anconae fecir Anno 1856
--------------------------------
(Decorative border).
--------------------------
Giuseppe Baldantoni
Ancona. 1809
--------------------------
---------------------------------
Josephus Baldantonus
Anconiae fecit Anno 1839
---------------------------------
----------------------------------
Joseph Baldantoni Anconae
fecit Anno 1831
----------------------------------
Some specimens dated as early as 1751. Not his handiwork however - plainly evidenced by the less skilful workmanship, therefore their source is indeterminable and must be attributed to vendors who place fictitious labels in anything resembling Italian emanation.

BALDONI, DANTE
Born at Numana (Italy), 1868. Migrated to South America. Worked at Buenos-Aires, 1900. Presented two of his violins to Kubelik and Von Vecsey.
Splendid modelling, generally Stradivarian. Sometimes used Argentine woods. Also violas and cellos of fine tone.

BALDWIN, THOMAS
Jeweller by trade. Made violins as a hobby. Worked in Wheeler Street, Birmingham, 1850-1856.
Productions of rather poor individual ability. Doubtless laboured quietly, unassumingly and unremittingly, but not intelligently. Had little knowledge of varnishing art.

BALDWIN, WILILAM M.
Born at Neenah (Wisconsin), 1875.
Made first instrument at Chicago, 1895. Self-taught. Produced about 400 violins up to the year 1926. Worked at Racine (Wisconsin), 1926.
Perfected special system of construction and made a few alterations from the Stradivarian. Two models titularised as The Baldwin and The Messie Strad. Varnish of own manufacture, varying in shades through red, brown and yellow. Claims to have obtained two distinct kinds of tone - a mellow flute quality from the Baldwin, and the second an exact duplication of the Stradivarian. Experts give many points for nice workmanship.
---------------------------
Wm. M. Baldwin
Maker
Built at Racine, Wis.
Anno. - No. -
--------------------------
(light brown paper)

BALESTRIERI, PIETRO
Worked at Cremona, 1725-1749. Pupil of Stradivari according to label.
Stradivarian modelling of the Amatese period. Conceptions reflecting no discredit on the well-known prototype whether of outline or arching. Scroll liberally favoured with significance. Sound-holes certainly graceful, but such excellent details are occasionally marred by workmanship not of the smoothest. Frequently one-piece backs. Light shade of golden-brown varnish. Tonal quality fairly rich and clear.
----------------------------------------------
Petrus Balestrieri alumnus Antonii
Stradivarii fecit Cremonae, anno 17-
----------------------------------------------
---------------------------
Pietro Balestrieri
fece in Cremona 17-
---------------------------

BALESTRIERI, TOMMASO
Worked at Cremona, 1720-1750; and at Mantua, 1750-1772. Brother of the preceding.
Supposed to have been a pupil of Stradivari, but his work is many steps below that of his famous predecessor in the matter of luminous harmony and delicacy. Generally conceived very good modelling, full of interest, which in minor matters, has some affinity with the later productions of his teacher. He also was very variable and produced specimens quite carelessly finished in workmanship, yet (such is the craze for Italian emanations) they have received unparalleled indulgence from opulent amateurs.
Finest specimens broadly but rationally patterned without uncomfortable shoulders. Delightful arching of medium curve. Edges and corners natural and artistic. No whimsicalities attached to the scroll and no objectionable protruding of the boss. Full licence of hand in the cutting of sound-holes but judiciously controlled to thwart any tendency towards exaggeration of curvature.
Lapses from accuracy occasionally in the purfling - apparently cut freely by hand, and without aid of a special cutting tool - edge of groove (sometimes made too wide) often above the inlaid purfling. Belly wood mostly of very fine fibre. Backs, generally two-piece, sometimes of broad figured maple, but occasionally of much plainer material. Rib wood not always so rich in flame as the back. Best violins treated to two shades of varnish - a brilliant-looking yellow, and a softer orange-red of nice transparency and splendid texture. Some of the inferior specimens covered with equally inferior varnish of indifferent lustre and as indifferently applied - instances of the remarkable anomalies that proceed from the one individual.
Tonal quality on the whole completely satisfactory for solo performances not necessitating much virtuosity or bravurisms, and is particularly at home in quartet playing where sonorous purity with just a touch of brilliancy is essential. One example, dated 1768, realised 3,000 dollars at New York (1925).
Produced a few violas of positive tonal charm. Also cellos of that splendid individuality immediately appealing to the connoisseur, and having an altogether winsome tonal penetrativeness captivating to the artist.
---------------------------------
Thomas Balestrieri
Cremonensis
Fecit Mantuae anno 1751
---------------------------------
(Decorative border).
Others two-lined, same wording, and without border. Spurious labels quite plentiful.
------------------------------
Thomas Balestrieri fecit
Cremona Anno 17-
------------------------------
Name sometimes fabricated to Balestrici.

BALL. FRANK CANNON
Born at Abbotsford (Quebec), 1881. Worked with Edson and O. H. Bryant at Boston. Resident at Springfield (Mass.), 1925.
Built twenty Stradivarian modelling - over 100 Guarnerian - a few of the Stainer and Amati. Enthusiastic craftsman, precise workmanship; oil varnish with vegetable colouring, red and orange-brown.
------------------------------
Regraduated by
Frank C. Ball
Springfield. Mass. 1922
------------------------------

BALL. F. GRANT
Watch and jewel repairer at Cleveland (U.S.A.), many years. Retired 1944 to a farm at Yenas Ball (Knox County). Started making violins. Made twelve up to year 1950 when in 86th year.

BALL, HARVEY
Born 1818. Worked at Nashua (New Hampshire). Clock maker. Started violin making about 1865.
Made 70 violins - Stradivarian model in French style - very excellent workmanship.

BALLANTYNE, ROBERT
Lived at Glasgow, 1840; and at Edinburgh, 1850-1860.
Modelling rather inartistic, workmanship bordering on mediocrity. Made freak fiddles, some guitar-shape, snake-like sound-holes - generally one-piece backs. Light red varnish of indifferent quality.
---------------------------
R. Ballantyne
Fecit. Glasgow. 1844
---------------------------

BALLARINI
GISALBERTI.

BALLARINI, PIETRO
Succeeded to the business of Castellani at Florence, 1884-1914. Manufacturer of bowed instruments - also strings.

BALLINI, PAOLO
Worked at Brescia and Cremona, 1840-1860.
Violins of trade type - superficial imitations of the Stradivarius and Guarnerius. Sound-holes sometimes with inartistically large lower curves. Reddish varnish - belly wood often of rough grain.
------------------------
Paolo Ballini
Cremona Anno 18-
------------------------

BALLOT, ROBERT
Born at Berlin, 1864. Studied violin playing at the Hochschule. Also profited by advice in violin construction from Riechers and Mckel. Went to America 1891, settled at Boise (Idaho) as a teacher and maker.
Only completed 50 instruments up to the year 1927, owing to periodical visits to gold-mining centres, which naturally interrupted artistic pursuits. Stradivarian outline, but deeper and wider than the usual model. Cherry to light orange shades of varnish. Tonal quality of strong resistance and responsiveness with high prospects of rich mellowness in the future.
Violas of 16 and 18 inches body length.
Cellos of enormous tone and absolutely free of wolf-notes. Believed that his spirit varnish, hard yet elastic, was the best for real brilliant tonal quality.
-----------------------------
Made by Robert Ballot
Boise, Idaho. 1915
-----------------------------

BALMFORTH, LEONARD GEOFFREY
Born at Leeds, 1909. Son and pupil of L.P. Made several violins in early years. Subsequently specialised in repair and restoration etc. and ultimately regarded as the most reliable expert, scrupulous dealer and connoisseur for many miles north, east, west and south of Leeds. Senior partner in the firm of L. P. Balmforth & Son, 1950.
---------------------------
L. G.
L. G. Balmforth
Maker
The Headrow. Leeds
B. 19- No. - L.
---------------------------

BALMFORTH, LEONARD PERCY
Born at Leeds, 1881. Died 1936.
Worked on the Stradivarian model. Backs nearly always two-piece. Deep red or orange-red varnish.
Also achieved considerable popularity for neat restorative work.
--------------------------------------------------------
L. P. Balmforth
(pupil of Paul Bailly-pupil of J. B. Vuillaume)
Maker
No. Leeds 19-
--------------------------------------------------------

BALOGNY, LAJOS
Born at Hatvan (Hungary), 1886. Pupil of Kalman at Kolozsvar. Worked at that town. 1920. Moved to Jassy (Rumania), and finally (1940) settled at Ballagyarmat. Credited with constructing strong-tone instruments. Particularly attractive is the picturesque manner of applying the varnish.

BALTENSPERGER, EMIL
Born at Zrich, 1859. Artist painter at Chur (Switzerland). 1908.
Built 300 violins - also a number of violas and cellos. Established his own principles - determined thickness of top and bottom plates according to wood and model - some following the rational plan of being thicker in the middle than at the sides, while others were exactly vice versa. Superb varnish cleverly applied - bright reddish-golden shade.
Several virtuosi gave the customary eulogium in private, but did not extend their appreciation to publicly performing on them.
------------------------
Emil Baltensperger
Chur. 19-
------------------------

BALTUS, NICOLAS
Worked at Catania (Sicily).
Well-shaped outline, rather high arching, especially fine scroll standing proudly aloft, smooth reddish varnish, and nicely balanced tone.
------------------
Nicolas Baltus
a Catane 1788
------------------

BALTZERSON, PETER M.
Born in Norway. Worked at Boston (U.S.A.), 1924.
First instrument dated 1910. Stradivarian and Guarnerian outline and arching. Special system of thicknessing - high-grade workmanship - oil varnish of his own formula.

BALUFF, ERHARD
Worked at Chicago, 1856.

BANDL, JOSEPH
Worked at Goissern (Tyrol), 1765.

BANKS, BENJAMIN
Born 1727. Studied the art with Peter Wamsley in London. Settled at Salisbury. Died there 1795. Buried in the churchyard of St. Thomas - tombstone near south door on right-hand side.
Finest instruments modelled on the grand pattern of Nicol Amati, with a few modest modifications. Solid and robust construction - workmanship represents the quintessence of elaborate finish achieved by the soul-enthusiastic idealist. Exquisite arching, every point being complementary to the other - splendid margins, edges beautifully rounded, corners full and of true Amati style. Scrolls unfortunately not so ingeniously contrived. Grain of belly wood remarkably even, and of medium width. Varnish either of a dark plum-red or a beautiful purplish cherry shade, finely transparent, and offering a veritable picture on the prettily flamed backs, but sometimes less satisfactory on the bellies, where it somewhat clogs the fibre. Very agreeable tone with far-ringing penetration. Ideal for quartet playing.
Specimen dated 1755 - body length 14 inches, upper bouts 6-5/8; lower 8-1/8.
Also made Stainer-model instruments - probably for the trade as they lack the finish of the Amati models. Most of them slightly over 14 inches in length. Perceptible narrowing of upper part, arching somewhat exaggerated, accentuated ridge between f-holes - not faithful copies of the Stainer. Dark red varnish, thick and muddy.
A few large-size violas known - usual sonority of tone.
Several splendid cellos, large size, having a dark reddish-brown transparent varnish - also some of smaller size. Superb workmanship (especially the former) except the cramped-looking scrolls. Mellow tone of fair magnitude.
Two double-basses known, also some guitar-shaped fiddles.
---------------------------------------------
Benjamin Banks
Musical Instrument Maker
In Catherine Street, Salisbury, 1779
---------------------------------------------
------------------------------------------
Made by Benjamin Banks
Catherine Street, Salisbury, 1770
------------------------------------------
-------------------------------------------
Benjamin Banks
fecit
Catherine Street, Salisbury, 1775
-------------------------------------------
(Sometimes without the street and date)
---------------------------
Benjamin Banks
Catherine St., Sarum
---------------------------
(Sarum - ancient Latin name for Salisbury)
------------------------------
Made by Benjn. Banks
Wm. Salisbury, 1772 Jn.
------------------------------
(Written - Wm. Jn. - perhaps indicates a grandson)
B.B. stamped in large letters on both sides of the pin, sometimes below the button as well as the bottom of the back, also under the finger board, on the blocks and other interior places, and under the tailpiece. Occasionally stamped B. Banks, Sarum. Several specimens unstamped.

BANKS, BENJAMIN (2)
Born 1754. Son of the preceding. Worked at Salisbury, 1770-1780. Moved to Sherrard Street, London, but failed to obtain much patronage. Went to Liverpool. Died 1820.
Violins, violas and cellos - apparently only a few - not highly-finished portraitures by any means - varnish generally of inferior quality.
--------------------------------------------------
Made by Benjn. Banks
No. 30, Sherrard Street, Golden Square
From Salisbury
--------------------------------------------------

BANKS, JAMES
Born 1756. Son of Benjamin (1). Died 1831. Partner of his brother Henry (pianotuner etc.) in a general instrument business at Salisbury until 1811. Both subsequently went to Liverpool.
Violins of James show customary excellence of a well-trained hand. Amatese modelling generally. Similar reddish varnish to that used by his father, though occasionally of darker hue. Practised the deleterious method of chemicalising or baking the wood, consequently impoverished tonal power and quality.
---------------------------------------------------------
James and Henry Banks
Musical Instrument Makers and Music Sellers
Salisbury 1802
---------------------------------------------------------
-------------------------------
James and Henry Banks
Salisbury 1804
-------------------------------

BANNI, GIUSEPPE
Rapallo (Genoa), 1940.

BANTIS, JEAN
Worked at Mirecourt, 1730-1745.
Effective model of rather small proportions. Excellent varnish - mildly persuasive tone.

BNZIGER, PAUL R.
Pupil of his grandfather J. E. Zst at Zrich. Worked at Lausanne and Paris. Established (opposite Cathedral) at Zrich, 1950.
Modelling (Stradivarian, Guarnerian and French) bears the impress of a gifted mind and hand. Much enconium (from connoisseurs) lavished on the varnish (hues of matchless beauty) and tone (conjuring up the Cremonese).
Also master bows of exquisite details.
----------------------
Paul R. Banziger
Luthier
a Zurich. 19-
----------------------
(plain border)

BAPTISTE JEAN
Instruments made at Mirecourt. Stradivarian modelling - neat and medium-sized scroll. Very artistic sound-holes. Yellow varnish. First-class workmanship.
--------------------------------
Lutherie artistique
Jean Baptiste anne 1887
--------------------------------

BAPTISTE, NICLAUS
Seven guinea violins, 1 885-1900.
-----------------------------
Violon dartiste
Baptiste-Niclaus. Paris
-----------------------------

BR, GEORG
Worked at Watzkenreuth near Fleissen (Bohemia), 1907-1925.
Compactly made though not especially neat workmanship - tone of no particular charm.

BARABS
Worked at Cremona, 1770-1792. Scarce.

BARABAS, GEZA
Worked at Nagy-Vrod (Hungary), 1908.
Produced all kinds of bowed instruments and cymbals.

BARACCHI, VENERIO
Worked at San Martino dEste (Modena), 1829. Followed agricultural pursuits during the summer; made violins at other times.
Modelling kept within reasonable imitation of the Modena School. Acceptable but only a moderate standard of merit maintained in workmanship. Manner of varnishing may seem to imply some apology, but we view this rather leniently, knowing that he was one of those experimentalists who perhaps produced better results than those we have seen. Tone courts favour on account of its Sweetness and pleads patronage from amateur players because of its quick and easy responsiveness.

BARODE, G.
Period 1883. Name frequently branded on the back of mute violins.

BARALDI, ALFONSO
Worked at Modena and Bomporto, 1879-1891.
Fairly elegant modelling. Workmanship generally satisfactory. Choice of wood and method of varnishing not especially commendable. Tone makes but slight appreciation on the sensitive ear.

BARALDI, GIOVANNI
Worked at Modena, 1760.
Workmanship presentable enough, but not of any outstanding merit. Want of freedom in the varnishing, which foreshadows a misgiving as to quality of tone - often weak. Productivity very small.

BRNY, DESZ
Born at Buda-Pesth, 1871. Pupil of Pilat and Hamberger. Established his workshop in native town, 1897.
Violins compare very favourably with those of other Hungarian makers. Rather ambitiously conceived particularly in the matter of varnishing - a reddish-brown with transparent tinting, but sometimes apt to be slightly too lurid to completely please. Finely strong tone.
-----------------------
Keszittte
Brny Desz
Bpest. 1897. Op.-
-----------------------
(written)

BARASS
French. Period, 1760.
Workmanship ordinarily excellent. Gracefully posed scroll, and a certain historic simplicity and dignity in the outline. Sound-holes reposefully cut. Good wood covered with dark brown varnish.

BARAT, CAROLUS
Worked at Buda-Pesth, 1720-1740.

BARAT, M.
Worked at Paris and Mirecourt, 1840-1861. Scarce.

BARATURY, ANDRAS
Worked at Buda-Pesth, 1908.
Cremonese models - excellently designed.

BARAVALLI, FRANCESCO
Worked in Italy, 1740-1770.
Workmanship good in every part. Scroll and sound-holes well conceived. Excellent wood varnished with skill and effect. Rather full and free tone. Name of workplace undecipherable on label.

BARAU, JOSEPH
Worked at Lyons, 1820-1840. Scarce.

BARBANTI, FRANCESCO SILVA
Worked at Coreggio (Italy). 1840-1855.
Several fine toned cellos. Body length 30 inches. Impeccable workmanship in every detail. Brilliant orange-red varnish - fiery and transparent. Especially unique material for backs - sometimes with a black thread running through. Tonal quality generally quite rich and sonorously full.
---------------------------------
Francesco Silva Barbanti
fece in Coreggio, an. 1847
---------------------------------

BARBARA, CHARLES
Worked at Orleans, 1810-1850. Written label.

BARBAY
Worked at Paris, 1720-1748.
Amatese model, satisfactory workmanship, thin but good yellow varnish, and mellow tone.
------------------------------------
Barbay. luthier.
rue Sainte-Marguerite. Paris.
------------------------------------
----------------------------------
Barbay. luthier
au Faubourg Saint-Antoine
Paris, 1746
----------------------------------

BARBATEAU, MICHEL
Viola player at Paris, 1822.
Made a few violins of longish and narrow model - belly wood impregnated with some deleterious substance which gave temporary tone sweetness. Varnish of orange shade of secret Cremonese formula, causing considerable controversy for a few months. Italian labels falsely inserted.

BARBI
Trade name of many well-made modern violins, emanating from Mirecourt workshops. Various standard models. Usually bright amber varnish highly po1ished. Priced from 3 to 8 (1910).

BARB, AUGUSTE
Worked at Mirecourt, 1875-1902. Made many excellent bows.

BARB, FRANCOIS
Worked at Dijon, Avallon and Paris, 1840. Son of Jacques. Well developed modelling on broad Strad principles, but not so excessively large as many French instruments of same period. Workmanship receives some justification in beauty of gradation and general finish. Well selected wood; often wide grain for the tables; and prettily figured one-piece backs. Golden amber varnish of soft texture. Nicely balanced tone, rather broad and resonant. Sold for 20 (1920).
-----------------------------------
Faits par francois barb
luthier brevet de la societ
melophile dAvallon Dijon
-----------------------------------
(written)
----------------------------
F. Barb
Membre de la Societ
Melophile dAvallon
----------------------------
(printed)
Name also branded inside.

BARB, JACQUES
Born at Mirecourt. Worked there and at Avallon, 1800-1868.
Proprietor of a regimental canteen for some years, and made instruments at each place the garrison was stationed.
Greater part of instruments signed or branded
-----------------------
Barb dAvallon
-----------------------
Workmanship shows no special fineness of resource.
Cellos and double-basses superior.

BARB. JACQUES
Son of the preceding. Worked at Mirecourt, 1880-1889.
Produced many splendid four-stringed double-basses. Copied standard models, but imparted certain ideas to achieve something other than prosaic transcripts.

BARB, TELESPHORE AMABLE
Born at Dijon, 1822. Son of Jacques. Indebted to Derazey (Mirecourt) for successful initiation in the art. Worked for Jacquot at Nancy; also for Miremont, Gand and Bernardel at Paris, and finally for J. B. Vuillaume. Many of Vuillaumes instruments passed through his hands for the deft little touches of minor parts. Died 1892.
Instruments invariably follow the Messie-Strad model. Red varnish of fine texture. Scroll, sound-holes, and every other part, have the utmost winning grace. Tone typically French, good specimens well worth 30 (1925).
He had a rapid facility, and could produce three or four instruments each week. Many of them, however, were made for other makers and firms and labelled accordingly. Intemperate habits robbed him of the ambition to establish his own workshop and to attain that unrivalled position which his genius could have given. Worked up to 1899.
-----------------------------------------------
Tlesphore Barb
Expremier ouvrier de J. B. Vuillaume
Medaill lExposition de 1867.
Paris
-----------------------------------------------

BARBER, GEORGE MYROM
Born at Kent (Ohio), 1867. Amateur maker. Studied with George Fisk. Worked at Greeley (Colorado) from 1925.
Made first instrument 1908. Productivity restricted to about two a year. Stradivarius and Guarnerius models. Workmanship bears comparison with that of the average amateur efficiency. Orange, brown and red shades of varnish. Thoroughly good modern tone which will ripen as the years age it.

BARBET
Associated with Edmond Granier (Marseilles) 1877-1910.
---------------------------------
Barbet & Granier
Luthiers Brevetes.
Rue Paradis 14 - Marseille
No. 1889
---------------------------------

BARBEY
Worked at Paris, 1746.
Well-trained copyist of the Klotz school. Workmanship and varnish without fault or blemish.

BARBEY, GUILLAUME
Worked at Paris, 1710-1720.
Viols and viol-da-gambas show an artist who knew full well what he was about. Precision of hand, character in outline and scroll, mark each instrument. Splendid realisation of shading beauty in the varnishing.
Inventor of a six-stringed bass viol; preserved at the Brussels Conservatoire.
-----------------------
Guillaume Barbey
fait Paris, 1717
-----------------------
(written)

BARBEZANT, FEREOL
Worked in rue Lupot, Mirecourt, 1908-1920.

BARBEZANT, JOSEPH
Worked at Mirecourt, 1747.
There is a slight want of proportion in the general design. Anatomy of scroll lacks dignity.

BARBIERI, ARMANDO
Born at Asti (Italy), 1893. Established at Forli, 1925.
Three models - Strad, Amati, and his own.

BARBIERI, FRANCESCO
Worked at Verona (Italy), 1695-1750.
Distinctly good model resembles that of an Andreas Guarnerius - workmanship not refined enough to please the fastidious - pretty and effective red varnish - tone generally leaves dissatisfaction.

BARBIERI, GIUSEPPE
Born at Medolla (Italy). Worked at Poggio, 1876-1896.
Maturity of style by a maker having the power of carrying out a subject in necessary detail and consistent completeness. Capital varnish both in texture and colour.
------------------------
BarbieriGiuseppe
liutaio e reparatore
Poggio, 1885
------------------------

BARBIERI, PAOLO DE
see DE BARBIERI.

BARBIERI, PIETRO
Worked at Mantua (Italy), 1821-1864.
Workmanship shows requisite steadiness of hand. Modelling exhibits artistic sobriety with a certain individuality. Transparent orange varnish put on with praiseworthy care. Reliable solo-instruments.
----------------------
Petrus Barbierius
Mantua, 1821
----------------------

BARCHANECK, JOSEPH FRIEDRICH
Worked at Odenburg (Hungary), 1830-1850. Pupil of Kulik at Prague.
Not altogether unskilful, but rather careless in finishing off several minor details of workmanship.
Cellos, however, are of greater interest, and denote a more serious endeavour to build for future results. German dealers do good business with these larger instruments.
----------------------------------
Friedr. Joseph Barchaneck
Odenhurg, 1839
----------------------------------
----------------------------------
Joseph Friedr. Barchaneck.
brgerlicher
Guitarre u Geigenmacher
in Odenburg. A 1845
----------------------------------

BARCLAY, ALEXANDER
Born in Fifeshire (Scotland), 1856. Died at Dundee, 1918.
Followed the trade of baker. Inherited a talent for violin playing and violin making from his father (also a well-known player and an amateur maker).
Produced 9 violins and 2 cellos. Outline not particularly fine, though as good as that achieved by the average amateur.
Workmanship shows a serious attempt to be neat. Sound holes, however, lack the necessary graceful curves of clever craftsmanship. Succeeded in getting a good telling tone, which ought to prevent these few instruments from falling into oblivion.
Dark oil varnish of Whitelaw, also one prepared by James Christie of Dundee.
-----------------------
Alexander Barclay
-----------------------
(written)

BARDELLI, GINO SILVIO
Worked at Cavarzere (Venice), 1937.
Presented several violins at the Cremona Competition.

BARDIN, LESTER F.
Born in U.S.A., 1900. French and English parentage. Self-taught. Head of the Bardin Violin Shop at Arlington (California), 1950.
Strad arching and semi-del Jesu outline. Modified Strad sound-holes. Belly usually 7/64 all over, back 10/64 at centre to 6/64 at edges when put together, but thickness changed when violin is strung up and scraped for tuning while in the white. Plenty of red-brown varnish, shaded to a golden-orange in spots (especially on ribs) - very little shading on back or top. Semi-Strad scroll with fluted outline. Sometimes copies the flat models of J. B. Guadagnini. (Connoisseur, dealer, and expert).
----------------------------
Lester F. Bardin fecit
Arlington. Gol. an 19..
----------------------------
Circled design of the Mormon Temple at Salt Lake City.

BARGAZO, FRANCESCO
Possibly a fabricated name.
------------------------------
Francesco Bargazo fecit
Padua Anno 16..
------------------------------

BARGELLI, GIUSEPPE DI SALADINO
Born 1886. Established at Florence.
Produced 250 violins up to year 1950, many being superb realisations of classical model, others more or less with personal traits prove his facile versatility.
Also 25 violas, cellos and 6 double-basses.
Assisted by son Gaston (born 1921).
--------------------------------
Bargelli Giuseppe
fece in Firenze anno 19..
--------------------------------
(written)
------------------------
Giuseppe Bargelli
fece in
Firenze anno 1947
------------------------
(printed - also signature above name)

BARINI, ARTURO
Worked at Mirecourt, 1784.
Instruments to be considered more satisfactory than the average cheap productions emanating from Mirecourt, particularly in tone - a tone suitable for the second-rate orchestral player.
Model of Stainerish traits. Smallish scroll, not in harmony with general build of the instrument. Sound-holes not graceful. Brown varnish. Wood of coarse grain occasionally. Workmanship not always well finished.
---------------------------
Arturo Barini
Fabricateur de Violon
Mirecourt (Vesges)
France, 1784
---------------------------

BARIZET
Worked at Paris, 1814-1827.
Careless workmanship. Each specimen assumes a cheap trade-like appearance. Wood of indifferent figure and uneven grain. Poor yellow varnish. Mediocre tone.
Branded -
-------------------
Barizet
Luthier Paris
-------------------

BARKER, GEORGE
Born 1870. Worked at Chesterfield, 1923. Excellent Stradivarian modelling. Oil varnish with amber basis - transparent red and brown.
-------------------
Gecrge Barker
Maker
Chesterfield.
No. 19-
-------------------
(Ornamented with stars)

BARKER, M. S.
Worked at Eugene (Oregon), 1927.
Specialist in novelty designs of violins. Invariably used Oregon maple wood.

BARLOW, ARTHUR
Born at Hull, Yorkshire, 1860. Chemist. Resident at Reigate and Brighton, 1924. Capable amateur performer on violin and cello.
Appellation self-taught may be applied to him concerning violin making. First instrument dated 1905. Produced about 30 violins, two violas and three cellos up to the year 1924. Various models - mostly Stradivarius and Guarnerius. Generally red varnish, but occasionally yellow or brown. Harmony of design sought and gained. Workmanship worthy of the enthusiastic amateur. Surprisingly mellow tone, very easy to produce, and has an evenness of quality rare in new violins.
---------------------------
The Chemists Violin
Made by A. Barlow
Braunton. N. Devon.
1919
---------------------------
(Written in ink on the back inside).
-------------
Barlow
Braunton
-------------
(Some stamped).

BARNABETTI, GERONIMO
Excellent examples of the French factory instrument. Ordinary workmanship but everything done with clever exactitude. Made in the workshops of Thibouville Lamy at Mirecourt from 1860. Probably worked alone previously. Tone varies according to the luck of the purchaser. Sale price sometimes reached 10 (1900), for one of the older specimens. Orange-red varnish, or old-brown.
Violas of 15 15/16 inch body length.
---------------------------
J.T.L.
Geronimo Barnabetti
Paris
Medio Fino
---------------------------
(Yellow paper with decorative border)
---------------------------
Geronimo Barnabetti
Paris 1854
---------------------------

BARNARD, L. V.
Resident at Pittsfield (U.S.A.), 1890.
Inventor of the Aquillo - size of a large viola - no upper corners, elevated fingerboard, five strings tuned in fifths played between the knees.

BARNES, ROBERT
Born in London. Fellow apprentice with John Norris at Thomas Smiths establishment in Piccadilly. Went into partnership with Norris, 1765-1780. See under that name.
Several violins and cellos bear his name, but experts and historians concur in assuming that they were made by workmen in his employ.
-------------------------------------
Robert Barnes, Violin Maker
Windmill Street. Haymarket
-------------------------------------

BARNES, WILLIAM FRANK
Born at Gloucester (England). 1884. Lived many years at Munson (Pennsylvania). Died 1922.
Made violins of superior finish and splendidly varnished.

BARNES AND MULLINS
Manufacturers and exporters, London, 1905-1930. Several English workmen employed.
Violins from 3 to 8 - various models and shades of varnish.
--------------------------------------
Made in London by hand.
. . .
Varnished by a secret process
which greatly enhances the
volume and quality of Tone.
Supplied only by the
Sole Proprietors
Barnes & Mullins
No. 9
--------------------------------------
(With signature across the label).

BARNIA. FEDELE
Born at Milan. Worked at Venice, 1745-1780. Said to be a pupil of Peter Guarnerius as some of his instruments suggest that makers influence.
Very skilful copyist, and those specimens which strictly adhere to the prototypes are of commanding appearance and splendid tone. Often one-piece backs of beautiful flame. Attempted some originality in later life and missed his target. Most of these now of slight interest to patrons or players. Outline falls short of the artistry of former efforts. Carving of the scroll either shows carelessness or weak old age. Purfling irregular. Choice of wood sometimes opposed to ordinary judgment.
Yellow varnish always very beautiful. Possibly one of his secrets. Supposed to have used several coats of different colours, the dry softened by the liquid, the opaque glazed into by the transparent, finally producing a warm yellow with a very slight tinge of orange suffusing it.
One example, dated 1775, realised 1,500 dollars in America (1925).
Also made theorbos, cellos and mandolines.
-----------------------------------
Fedele Barnia milanese
fece in Venezia, lanno 1761
-----------------------------------

BARONCINI, MICHELE
Worked at Lodi (Lombardy), 18-.

BARONCINI, GIUSEPPE
Worked at Pistoja (Italy), 18-.
Long and narrow pattern, thick and broad edges, wide purfling. Inartistic sound-holes, very individualistic and deeply-cut scroll. Hard and cold-looking yellow varnish. Non-attractive tonal quality.
-------------------------
Baroncini Giuseppe
Pistoja
-------------------------
(written)

BAROUX
Bow maker at Paris, 1830.
Large and heavy heads. Occasional specimens rather nicely balanced, but generally bearing slight traces of minute finish and other painstaking qualities.

BAROUX, CHARLES
Worked at Mirecourt, 1765-1773.
Substantial-looking violins, several small details not rendered attractive. No trace of personality - cold-looking yellow varnish. Name branded.

BARR, ROBERT
Worked at Belfast, 1900-1920.
Constructively excellent - very old wood - nice quality of varnish. Tonal quality of slight power.

BARREL
Made at the Thibouville-Lamy factory, Mirecourt, 1900-1930.
Acceptable model, fine wood, red or brown varnish. Neat workmanship, satisfactory tone. 6 guineas (1920).
------------------------------
Barrel
daprs A. Stradivarius
------------------------------

BARRETT, JOHN
Worked in London, 1714-1733.
Favoured the Stainer model, but indulged in exaggeration by increasing the length and slightly lessening the width. Prominent arching, and much grooving near the edges. Workmanship not particularly interesting. Quaint looking sound-holes, the lower turn having a long sweep. Ink lines instead of purfling, and very acute fluting. Nicely rounded edges on some instruments. Cramped looking scroll. Varying varnish, sometimes of a warm yellow or brown tint, but more often of a hungry cold yellow. Wood generally of good quality. Sweet tone of medium quality but easily swamped by a modern vigorous player.
Taken as a whole these instruments belong to the unambitious class. Generally valued at 15.
----------------------------------------------
John Barrett, at the Harp and Crown
in Piccadilly, 1722
----------------------------------------------
----------------------------------
Made by John Barrett
at Ye Harp and Crown
in Pickadilly, London, 1731
----------------------------------
Produced several good toned cellos highly favoured by amateurs. One violin known of flatter arching, wider dimensions, ordinarily graceful sound-holes, and golden-red varnish, attributed to this maker.

BARRETT, K.
Enthusiastic worker who quietly strove to produce something worth viewing and playing upon. Stradivarian modelling. Self-compounded varnish - light golden-brown to red.
---------------------
Kershaw Barrett
Haworth 1909
---------------------
-------------------------------
Kershaw Barrett
Moor House, Oxenhope
England. 1924
-------------------------------

BARROW, JOHN
Born at Leicester (England), 1872. Pupil of Ernest Gamble. Picked up notions from several makers in London. Resident at Bridgeport (Connecticut), 1924. Violin making came to him as an inspiration, 1908, and he has laboured for perfection ever since.
Expert copyist of genuine old Italian instruments - more especially those of Guarnerius del Jesu. Consummate artist in designs and workmanship, everything well formed and finely graduated. Italian varnishes closely imitated - orange with russet glint, cherry-red with golden base, also chestnut-brown and deep red with golden base. Soft texture and velvety to the touch. Believed that varnish was the crowning factor in good tone production, and mellow sonority only obtained by age and use.
Crisp tone of non-rasping timbre, becoming incisive, reedy and far-carrying by regular playing, but the Italian sonorous liquidity belongs to their future.
-----------------
John Barrow
Violin Maker
Bridgeport
Conn. U.S.A.
-----------------
---------------------
John Barrow
Fecit Bridgeport.
Conn.
1924. U.S.A.
---------------------
John Barrow, 1924 stamped inside on both plates.

BARRY, FREDERICK DRENNAN
Born in London, 1870. Irish parentage. Professional violinist, cellist and harpist. Resident at Wood Green. Died 1926. Studied violin-making with Frank Howard and Bonclie.
Stradivarian and Guarnerian modelling. Compounded own varnish - light orange, yellow, and chestnut brown. Produced ten yearly - and found a ready sale among orchestral players. 20.
Also rather expert at bow-making.
------------------------------
Maker
F. D. Barry
Wood Green. London.
Date 1922
------------------------------

BARTK, FRANZ
Worked at Znaim (Moravia), 1885-1898.
Instruments having considerable value, particularly in Germany, and many connoisseurs of that country speak in the most flattering terms. Much praise can certainly be bestowed on the carefully studied workmanship. Varnishing also displays true artistic knowledge, but unaccountably, the tone remains unsatisfactory.
---------------------------
Bartak Fr. instrmach
Znaym. 1886
---------------------------
(written)
---------------------------------------
Franz Bartak
Instrumentenmacher
Oberer Platz No. 10 in Znaim
---------------------------------------
(printed)

BARTEK, EDUARD
Born at Buda-Pesth, 1852. Pupil of Engleder. Also worked with various Hungarian makers. Established own workshop before 20th year. Exhibited at the Paris Exhibition, 1878, and received gold medal. Forced (being very poor) to eke out a living and scrape along somehow by doing odd jobs of mending anything that came his way, hence the comparatively small productiveness. Overtaken by mental trouble, 1883. and died soon after at the early age of 31.
Instruments that certainly vindicate his claim to lofty and generous aspirations. Promptly responded to the call of the beautiful models of Stradivarius and Guarnerius. Scroll has a voluntary and unstinted natural sweep. Varnish too invested with splendid tint.
Connoisseurs would do honour to their judgment if they rescued a few specimens from the sterile darkness which seems to be enveloping them.
-------------------------
Eduard Bartek fecit
Pestini Anno 1878
-------------------------
(written)

BARTER, C.
Born at Dalby (Sweden), 1894.
Professional violinist and conductor.
Produced first instrument, 1927 - Vuillaume-Strad model. Unblemished workmanship and capital tone. Yellow, red-brown, and red varnish. Won medals and diplomas at Stockholm (1938) and The Hague (1949).
-----------------------
Christer Barter 19
Nr.
-----------------------

BARTH, LUDWIG
Born 1875. Pupil of Fiorini. Founded factory at Munich, 1894. Assisted by son. Production of olden-style models - old yellow varnish. Six-lined label (like a business card). Also, L. Barth, Mnchen branded in oval frame.

BARTHELL. EMILE
Worked at Ble, 1890; also for the Nug firm at Zrich.

BARTL
PARTL.

BARTLOW, HIRAM CORNELIUS
Worked at New York, 1925.

BARTOLOTTI
see BORTOLOTTI.

BARTON
Worked in London, 1768-1779.
Workmanship having all the usual characteristics of the period which keen eyes and faithful tools secure. Brown varnish, clean and smooth. Tone of reasonably good quality.
----------------------------
Barton
Greek Street, London
1773
----------------------------

BARTON, GEORGE
Worked in London, 1772-1790. Repairer, supplied instruments for music shops. Altogether of slight consequence. Very ordinary workmanship often quite slovenly. Poor quality of brown varnish obliterating any idea of a possibly decent tone. Also made guitar-shaped violins, and violas (body length, 15.3/16) sometimes branded.
----------------------
George Barton
Elliot Court
Old Bailey, 1780
----------------------

BARTON, JOHN
Brother of George. Worked in London, 1780-1810. Employed in 1784 by C. & S. Thompson.
Variable workmanship. Best instruments, usually dated after 1790, belong to the Grand-Amati model. Altogether splendid arching with perfect grading. Bold scroll. All outside details well finished, but sometimes very rough and crude inside; also gauge-cuts under the breast frequently go across like a ploughed field. Splendid wood, finely even and straight grain for the top, and often a onepiece back with a nicely marked figure of broad curl running on the slant from left to right. Neat purfling. Golden-brown or yellow varnish.
Other productions of flatter arching with a kind of moat near the edges. Insignificant scroll hurriedly and carelessly shaped. Straight, wide, and decidedly ugly sound-holes. Poor quality of wood, sometimes very coarse. Dirty yellow varnish.
Makers name occasionally to be found on the breast under the finger board.
----------------------------
John Barton
Maker. London, 1810
----------------------------
( written)
----------------
Made by
John Barton
1780
----------------

BARTON, JOSEPH EDWARD
Born in Lincolnshire, 1846. Made his first instrument 1869. Ultimately settled at Llanelly (South Wales), working there, 1925. Won the gold medal at the Barry Eisteddfod.
Enthusiastic maker, workmanship belonging to the best. Early instruments give a suggestiveness of originality, but later ones follow the Stradivarian model. Scroll and sound-holes forcibly drawn. Entire model has vigour and free fling - in fact everything artistic. Eyes attracted by the contrast of colour in the varnish. Always excellently figured wood. Tone satisfies the most fastidious.
--------------------------
J. E. Barton
Maker. Llanelly.
N. J.E.B., 1917. 18
--------------------------

BARTSCH, ALFRED
Born in Silesia, 1868. Trained at Markneukirchen. Worked at Mnsterberg, and at Dessau, 1890. Established at Essen, 1908-1925.
Violins and cellos showing all the resources of skilled craftsmanship.

BARZELLINI, SEGIDIUS
Worked at Cremona, 1670-1720.
Obviously influenced by the Amatis - did not succeed in absolutely learning their fine art, but workmanship deserves a certain measure of appreciation.
Imparted considerable interest to the scroll. Taste shown in the clever handling of the sound-holes. Arching rather dexterously done - back sometimes slightly flatter than table. Suggestion of hardness in the varnish. Not a powerful tone, but rather penetratingly clear and of pleasing quality.
---------------------------------------
AEgidius Barzellini
fecit ecolle Amatius Cremonen,
1680
---------------------------------------
---------------------------
Aegedins Barzelloni
Fece in Venetia, 1700
---------------------------
(doubtlessly forged to deceive the unitiated)

BARZONI, FRANCOIS
Trade instruments made at Chteau-Thierry (France), exclusively for Beare & Son of London, 1880-1920.
Modelling taken from best example of Cremonese art, with perhaps a preference for the Guarnerius model. Carefully selected Swiss pine and handsome sycamore. Various grades. Cheaper ones invariably varnished yellow; better class with richer reddish-brown. Thousands floating about - generally good of their class - but the upper bouts of the cheaper kind are not always nicely outlined.
Also violas, cellos, and double-basses.
---------------------
Francois Barzoni
---------------------
--------------------------------------------
Francois Barzoni
Manufacture spciale de la Maison
Beare & fils Londres
B&S L
fecit-anno 1908
--------------------------------------------
Each instrument branded F.B. at foot of neck. Bows also stamped Barzoni - well-made affairs.

BASCHOV, IVAN ANDREJEVITCH
Also known by the name of BATOV. Born in Russia, 1767. Serf in the service of Count Scheremtov, made instruments for the orchestra of that dignitary. Subsequently given freedom, and lived at St. Petersburg.
Produced many guitars and balalaikas. Also violins of Guarnerian modelling which rather depart from the original in several details. Workmanship generally executed carefully, though the edges may not quite satisfy the critical eye. Cellos of similar construction.
Label with his name sometimes seen in violins plainly of the workshops of Saxony.

BASSI, A.
Worked at Scandiano (Modena), 1850.
Violins in which the inaccuracy of thickness is apparent when the non-freedom of tone is realised.

BASSI, LEANDRO
Worked at Rome and Milan, 1900-1920. Good modern instruments, often made to have an old appearance, and certainly with none or but few transcriptural mistakes when in imitation of any particular model.

BASSIOT, JOSEPH
Excellent trade violins at small cost imported by Beare & Son of London. Finely-bold modelling somewhat Guarnerian. Red varnish of dark tint and nicely shaded though perhaps too bright. Considerable attention given to sensible and graduated thickness of the plates.
------------------------------
Modele
Joseph Bassiot, Luthier
B.S. Lyon. Anno. . . .
L.
------------------------------

BASSLER, RICHARD
Born 1891. Pupil of Pfretzschner. Worked at Markneukirchen, 1945. Really superb bows - standing on the highest pinnacle of any moderns.

BASSOT, JOSEPH
Born at Mirecourt (France), 1740. Worked at Paris, 1764-1810; at the Quinze-Vingt until 1783; and from 1784 in the rue Chabanais. Died 1808.
Tackled everything with enthusiasm, but left unconquered the finer points. Lupot-Stradish outline generally without anything particularly striking, though as a sort of emancipation from these ordinaires, workmanship of scrolls and sound-holes fulfils an artistic intention and is good to look at.
Early instruments somewhat more arched than later ones and varnished yellow of quite ordinary quality. Those of later date have the increased experience of many years craftsmanship, being covered with a splendid brownish varnish often tinged with a delightful reddish tint, which is neither too oily or too dry. Invariably well-chosen wood, back and front. One outstanding feature is the scroll which is frequently less robust than general contour of instrument. Expecially agreeable tone which should appeal to those players not too enamoured of the Italian.
Violas altogether worthy of recognition. Easy and light tone - nothing thick or cloudy. Also very convenient to handle - slightly under the usual full size.
Instruments dated after 1808 cannot be accepted as genuine and come into the category of trade affairs. Edges given a gentle rise, gluey dark varnish, altogether of common appearance. Often label appears to be genuine, but they were bought by a Mirecourt firm who acquired Bassots stock at his death.
-----------------------------
Joseph Bassot. Luthier
Paris, 1764
-----------------------------
(With and without decorative border).

BASTIEN, E.
Worked for Deroux at Paris. Later settled at Nancy. Died 1910.
--------------------------------
Repar par
E. Bastien Nancy 1905
--------------------------------

BATELLI, ALFIO
Pupil of Zozzi. Worked at Florence. Went to Chicago 1947.
Made several good violins dated from Florence, of good tone. These instruments will increase in value.

BATI
Worked at Arezzo (Italy), 1660.

BATIAZZA, ANTONIO MARIA
----------------------------------------
Antonio Maria Batiazza fece in
Milano in Contrada Larga, 1707
----------------------------------------

BATHO, W. J.
English - l 860.
Known for excellent cellos and double-basses.

BATOW
see BASCHOV.

BATTIONI, ALBERTO
Born at Ferrara, 1890. Son and pupil of M. A.
Well-equipped. Genuine artistry in modelling.

BATTIONI, MARCO ANTONIO
Born at Foligno, 1850.

BAUDIS
Worked in Bohemia.
Label in a viol-damour
-------------------------
Sidvab Svalsecnew
fecit anno 1780
Wenceslaus Baudis
-------------------------
First line is name spelt backwards.

BAUER, ANTON
Born 1860. Worked at Linz (Austria), 1884; and Vienna, 1910. Returned to Linz, 1918.
Produced a few violins. Renowned for splendid guitars and balalaikas.

BAUER, CARL ANTON
Born 1835. Died 1884. Established a workshop at Dresden, 1854.
Violins not altogether satisfactory - of a peculiar thinness of tone of rather poor quality. Workmanship bears incontestable marks of clever handling. Varnish not especially rich in texture or colour.
Cellos rather heavily built - little to rivet attention. Necks too short. Spasmodic and nasal tone.
Double-basses undeniably excellent and show a striking tapering to enable the player to conveniently reach the higher positions.
-----------------------
Carl Anton Bauer
Dresden, N. 189
-----------------------

BAUER, CHRISTIAN FRIEDRICH
Worked at Klingenthal, 1778-1790.
Violins not remarkable, but the maker has assembled all the characteristics that simultaneously accrue in embellishing the well-known type of Klingenthal fiddle. Medium-high model which compares favourably with, if not superior to, anything produced in that busy violin-making centre. Used good wood - usually close and even-grained for able, and backs of one piece. Imposed no peculiarity in the sound-holes. Scroll coincides with fair artistry. Varnish of orange shade - approaches richness of quality. Nice warm tone though not especially penetrating. Molique frequently used one, and afterwards sold it to his pupil J. T. Carrodus, who passed it on to his son Bernard, and that violinist was proud of his possession. Bauer also made several pretty viol-damores.
--------------------------------
Christian Friedrich Bauer
Cremonalis baviebat, 17-
--------------------------------
-----------------------------------
Christian Friedrich Bauer
Erfunden von Jacob Staider
in Absam
-----------------------------------
(written)

BAUER, JOAN
Established at Angers (France), 1949.

BAUER, JOSEPH
Working at Ergoldsbach (Bavaria), 1925.
From an architectural point of view there is a largeness of manner quite superlatively attractive. The onerous undertaking to secure a fine tone has been successfully accomplished.

BAUER, HERMANN
Working at Bublitz (Pomerania), 1921.
Inventor of a new form of violin.

BAUER, PAUL ALBIN
Born at Oschatz (Saxony), 1866. Son of Carl Anton. Trained at Markneukirchen. Succeeded to fathers business at Dresden.
Produced many fine-toned double-basses. Workmanship unmistakably artistic, enhanced by varnish of deep lustre.
Made violins and cellos with heads representing Beethoven and other composers.
---------------------------------
Gef von P.A. Bauer
inh: der Firma C.A. Bauer
Dresden. 1892
---------------------------------

BAUFAYS, A.
Worked at Charleroi (France), 1927.

BAULAIN
1900. Dealer, who did repairs and made a few instruments.

BAUMANN, HEINRICH
Born 1853. Studied at the Polytechnic Institute, Prague. Worked at Stein-Zehrowitz (Bohemia).
Amateur maker whose Stradivarian and Guarnerian models are amply worthy of being classed with the best professional work. Also the double-basses holding their own among many competitors. Workmanship finished with the utmost nicety. Wood chosen with judgment and taste. Varnish of fine colour and texture. Tone equally happy.
Author of a book entitled Cremona, published by Scholz at Kladno (Bohemia), wherein he gives lucid explanations of his investigations in violin construction.
-----------------------------------------------
Genau nach Ant: Stradivarius gemacht
von Heinricli Baumann anno 189-
-----------------------------------------------

BAUME, WILLIAM
Born at Berlin, 1842. Descendant of very poor people who occupied their winter months making cheap fiddles for the market. Went to America, 1864. Violinist in Ernest Ottos dance-band at Davenport (Iowa). Established a violin repairing shop in that town, 1874. Died 1910. Did not make many instruments, but tonally they all do considerable honour to his name through the workmanship is not of the highest finish.
Inside minor details received as much thought as the greater.

BAUMGARTNER, FRITZ (1)
Born 1891. Established at Basel, 1920. Won high praise at The Hague Exhibition 1949.
Strad and Guarnerian modelling - everything mathematically balanced. Yellow to red-brown shades of varnish with light yellow background. Made about 300 violins, violas, and cellos up to year 1948.
------------------------------
Sub disciplina
F. Baumgartner Basilea
Factum Anno 19-
------------------------------
-------------------------
Baumgartner. Basel
-------------------------
---------------------------
F. Baumgartner Basel
fecit anno 1925
---------------------------

BAUMGARTNER, FRITZ (2)
Born at Basel, 1924. Son of (1).
Generally Strad modelling of 1713 period. Workmanship of desirable neatness. Attractive backs. Oil varnish - orange-yellow or brownish-red on a golden-yellow background. Some specimens have a particularly sonorous tone.
---------------------
F. Baumgartner
Junior
Basel Anno 19-
---------------------
(Border of small rings - also signature)

BAUMLER, CHRISTOPH
Born at Crawinkel 1820. Died there 1879.
Violins and a few cellos of quite ordinary type. Generally light-brownish varnish.

BAUER, ADOLF
Born 1840. Died 1873. Son and pupil of Martin. Worked for some time with J. B. Vuillaume.
Many instruments similar to those of the great Frenchman except in the varnish. All details of workmanship skilfully and carefully calculated. Shades of varnish all thoughtfully harmonised. Unfortunately he artificially dried the wood, and the tone has now lost its power Even the necks are warped owing to the strength being taken out of the wood. Frequently imitaied the Guarnerius-model Vuillaume owned by Edmund Singer of the Royal Orchestra, Stuttgart.
--------------------------------
Adolf Baur fecit
Stuttgart. anno 1868 A+B
--------------------------------

BAUER, CHARLES ALEXIS
Worked at La Tour (Upper Savoy), 1789-1810.
He invited criticism by becoming one of those unwise innovators who departed from the classical shape, and came to grief as regards public appreciation. Ordinary workmanship. Tone never quite satisfactory. Also tried to abolish tail-pin.

BAUR, MARTIN
Born 1793. Died 1875. First repairing shop to be established in Stuttgart, 1824. Maker to the Court orchestra.
Modelling forms a judicious compromise between Italian and French. Robustness of the scroll seems slightly forced. Beautiful varnish. Greatly patronised by Molique (professor there) who asserted they were the finest toned new violins of his time.
Also produced many rather heavy but finely balanced bows.
------------------------------------------
Martin Bauer, Kgl: Hofinstrumen-
tenmacher in Stuttgart
------------------------------------------
------------------------------
Martin Bauer fecit M.B.
Stuttgart anno 1863
------------------------------

BAUR, T.
Worked at Mirecourt, 1888-1905.
Instruments partaking of the commercial character in every essential quality of that category. Light brown shade of spirit varnish - five guineas.
-----------------------
Lutherie artistique
T. Baur. Luthier
Mirecourt 1892
No.
-----------------------

BAUSCH, EMANUELE
Worked at Florence.
Broad and flat Stradivarian model, light orange-brown varnish, ordinary tone. Ten guineas.
-----------------------
Emanuele Bausch
* Firenze *
-----------------------

BAUSCH, JOSEF
Born 1880. Trained at Markneukitchen. Worked at Schwerin 1921, at Bad Doberan 1926, and at Rostov 1928.
Another claimant to the discovery of Stradivaris secret.
In his published formula he states The plates should not be out in relation to the length of the fibre as previously done, since on shaping the plates they get a cross-grain structure, as result of which the wood loses its strength and the tone is weakened. This can be avoided if one carries out the shaping towards the top and bottom, working from the shaped middle of the breast, then bent down at both ends. In this way the length-fibres of the wood are obtained lengthwise over the whole surface of the plates, and the elasticity of the wood (and therefore the velocity of sound) comes into full strength. From 1700 Strad used a strong purfling, and furthermore plugged the plates with a strip of maple.
My specially elastic (not glass hard) varnish which closes the pores of the wood, as well as my method of applying it ensures a quality of tone equal to the Cremonese; also the internal varnishing increases the vibrational power of the wood, and protects it from effect of moisture.
Produced several splendid models of the Joachim Strad and Guarnerius. Received much publicity and laudatory notices from Vsa Prihoda and other famous virtuosi.
------------------------------------
Tinctura vere Cremonensi
sonum reddidit meliorem
Josephus Bausch anno 1927
------------------------------------

BAUSCH, LUDWIG CHRISTIAN AUGUST
Born at Naumburg, 1805. Pupil of Fritzsche at Dresden, 1818-1822. Worked for Engleder at Munich 1822. Established workshop at Dresden 1826-1828; at Dessau 1828-1839; at Leipzig 1839-1860; at Wiesbaden 1861; and finally at Leipzig 1863. Died 1871.
Made violins in early days, but did not add much lustre to that particular art. Splendid workmanship but ideal quality of tone could not escape from all his careful measurements.
Also produced several pretty guitars, nicely ornamented and varnished yellow.
---------------------------
Ludwig Bausch
in Neustedt, Dresden
Ao. 1820. No. 6
---------------------------
(written)
------------------------
Ludwig Bausch
Neustedt, Dresden
1825
------------------------
Came in contact with Spohr (1836), who gave him some sound advice on the construction and requisite balance of bows. From that date he practically devoted his talent to rivalling that of Tourte. Received silver medal at Dresden Exhibition, 1840. Beautifully made bows, unusually strong sticks, yet full of elasticity and carefully modulated balance. Many of them slightly longer than those of the French, and often dark-chocolate round sticks. Ultimately sobriquetted as the German Tourte. Joachim, Wilhelmj, and other Germans preferred them to the French, but perhaps this was due to patriotism. Stamped Bausch. Leipzig, or L. Bausch, Leipzig. Many stamped on stick under nut.
Several present-day German firms export hundreds of bows branded Bausch.

BAUSCH, LUDWIG
Born 1829. Died 1871. Son of the preceding. Worked at New York for some years. Finally settled at Leipzig and ultimately (1860) succeeded to the business then known as BAUSCH AND SONS.
Principally made violins. Not remarkably successful. Tone lacks brilliancy. Contour not architecturally perfect.
------------------------------
Ludovicus Bausch filius
fecit Lipsiae. anno 18-
------------------------------
(With double-circled monogram)

BAUSCH, OTTO
Born 1841. Died 1875. Brother of the preceding. Pupil of father; also worked for Vauchel. Succeeded to the business at Leipzig, 1871.
Lacked the abilities of his relatives, and produced little of real merit. Pretty backs. Orange-red varnish.
----------------------------
Otto Bausch
filius Ludovici sen:
et frater Ludovici jun:
fecit Lipsiae Ao. 18-
----------------------------
(Initials double-circled)

BAWDEN, JOHN QUICK
Born at St. Ives (Cornwall), 1842. Died 1911. Non-conformist minister. Commendable workmanship for an interested amateur. Amber varnish.
---------------------------------
No. 1
J. Q. Bawden, maker.
Sheffield. Sept. 5th 1892
--------------------------------

BAYEUR, ROSARIO
Born at St. Paulin (Quebec), 1875. Apprenticed, in 15th year, to a woodworker. Worked as cabinet maker in several Canadian towns - studied violin construction - experimented on 15 instruments, and settled at Montreal as professional maker, 1907.
Produced 30 Stradivarian models up to year 1919, which show careless workmanship though of brilliant tone. Went to Paris 1920 - studied with Emile Germain - returned to Montreal 1923. Died 1944.
Subsequent instruments show the influence of French training. Various models - Stradivarius, Guarnerius, Amati, and Maggini. Pale golden or light-brown varnish. Some specimens made of Canadian woods.
--------------------
Rosario Bayeur
Montreal 1925
--------------------
Bayeur branded on the back.

BAZELAIRE, JOSEPH
Worked at Mirecourt, 1750 - and Versailles, 1785.
Ordinary modelling of the period.
----------------------
Bazelaire
Versailles 1801
----------------------

BAZIN, CHARLES
Born 1907. Son and pupil of Louis. Established own premises at Mirecourt 1946. Bows unquestionably well adapted to needs of any soloist. Stamped C. Bazin.Very difficult to distinguish them from those of his grandfather C.N.

BAZIN, CHARLES NICOLAS
Producer of many bows much in demand by French players. Established workshop at Mirecourt 1869. Died 1915.
Bows forming a resuscitation of the manner of Tourte. No weakness anywhere. Much in demand by French players. Stamped C. Bazin.

BAZIN, GUSTAVE
Son of Charles. Worked at Mirecourt 1889. Died 1920. Worked for Collin-Mzin.
Surmounted all the insuperable difficulties of violin and cello-making. Splendid examples of French work. Of service to the best orchestral players. Very commendable varnish. Name sometimes spelt Bazino, thus giving it an Italian designation.

BAZIN, LOUIS
Son and successor of Charles. Born at Mirecourt 1881. Started in twelfth year. working there 1929.
Magnificent reputation for bows. Perfectly made affairs, richly mounted (some ivory mounted instead of silver), Pernambuco sticks, often splendid imitations of the Tubbs. French virtuosi reciprocate the makers genius by widely advertising the products of their countryman. Stamped Bazin - sometimes in two places. No better bows made by any contemporary maker.

BAZIN, REN
Born at Mirecourt, 1902. Son and pupil of Louis. Also trained by A. Dieudonn in violin making. Worked for Vatelot at Paris; for Darche at Brussels, 1928; lived at Lille, 1929. Prisoner of war 1939-1942. Worked at Hamma at Stuttgart, 1943.
Stradivarian modelling - red-orange oil varnish. Also made good bows.

BEADLE, ELDRED
Born in England. Went to Melbourne (Australia), 1889. Played violin in several orchestras. Conceived the idea of making his own violins. First attempt occasioned surprise - became further fascinated with the art, studied it seriously, and ultimately achieved considerable success. Produced (solely as a hobby) about 30 violins, several violas, and 2 cellos from 1899 to 1924. Guarnerian model generally favoured. Body length just under 14 inches; upper bouts 6 9/16; middle 4-3/8; lower 8-1/8. Back, frequently a full 1/4 down the central middle, tapering to 1/8 outside the edge. Tonal quality gratifyingly sonorous and responsive. Workmanship and design highly satisfactory.
Succeeded (after several years experiments) in making and colouring an oil varnish, no matter what gum drier or oil is used - beautifully transparent - two thin coats being sufficient to give greatest depth of colour. Splendid variety of shades.
------------------------------------
Eldred Beadle
Maker
East Kew, Melbourne, 1924
------------------------------------

BEALE, WILLIAM
Freaks of lost and disordered thought. Outline, scroll, and sound-holes precipitated into abominable ugliness. Plain wood, disastrous varnish, frightfully hollow tone.
---------------------------------
William Beale
Maker. Manchester, 1840
---------------------------------

BEAMISH, JOHN
Worked in London, 1900-1925. Assistant to Glenister. A man of alert intelligence in tonal matters.
Made several violins having an astonishingly free tone, though some outside details may cause slight condemnatory remarks from amateurs who only look for neat workmanship.

BEARE, JOHN AND ARTHUR
Expert connoisseurs, dependable valuers, and repairers in Wardour Street, London, 1893-1950. Excellent bows stamped with their name.

BEAU, P.
Worked at Bordeaux, 1920-1932. Violins of good ordinary type. Strad modelling.

BEAUJARD, AUGUSTE
Born 1830. Worked at Mirecourt. Died 1888.
Bows show that he had a penetrating understanding of what a soloist requires. Specimens very scarce. Stamped A. Beaujard.

BECANI, STEFANO
Worked at Mantova (Italy), 1890. Fairly well-made trade instruments.
--------------------------------------------
Stefano Becani
Fabricatore di instrumenti
ad arco
Premato con medaglio dargento
via Enrico Tazzoli, No. 3, Mantova
--------------------------------------------

BECCHINI, R.
Born at Pisa, 1911. Worked at Livorno.
First instrument dated 1932. Modelling inspired by that of a Strad. Wooded, etc., for natural tonal maturity to occur in future years, and quickened by a rich oil varnish of yellow or red shades. Also first-class repairer.
-------------------------------
Renzo Becchini - Pisano
fece in Livorno - l 947
op XVI
-------------------------------
(shield on left)

BECHON
Worked at Rouen and Paris, 1739-1753.
Thoroughly good workmanship. Contour nicely and evenly balanced. Yellow varnish with a faint blending of orange tint. Few instruments known.

BECK, ADOLF
Born 1891. Pupil of Schult at Lbeck. Established at Dsseldorf, 1916-1930. Very conscientious and clever maker - achieved considerable popularity.
Author of The Proportional Construction of the Violin (Leipzig, 1923). Two laws - 5/8 ratio used for determining points vital for external beauty; 4/5 ratio for points concerning the vibrating surfaces; height of ribs and arching determined empirically according to the tone required. Considers it a mistake to lay down the thickness of wood by calculation - it should be a matter of feeling and experience, altogether depending on the nature of the wood employed.

BECK, HERMANN
Bow-maker at Hohendorf (Saxony), 1925.

BECK, MAX JEUNE
Worked at Berne. Died young, 1893.
Made several attractive violins which show carefull workmanship.

BECK, VINCENZO
Born 1804. Worked at Glatz (Silesia). Died 1862.
Supplied factory-like violins for dealers. Produced many hundreds - assisted in his output by three sons and nine daughters.

BECKER, A.
Worked at Landsberg (Germany).
Flat model, Stradivarian sound-holes, well-cut scroll, golden-red varnish. Clean workmanship, everything properly curved and poised, wood and varnish wellconsidered.
-----------------------------
A. Becker
Geigenmacher
Landsberg, Anno 1895
-----------------------------

BECKER, CARL
Born at Chicago, 1887. Son of a well-known violin-teacher in that city. Worked with John Hornsteiner for 15 years.
Having the ambition common to all novitiates, produced first instrument in 1904, and accomplished a pronounced cleverness in conception as well as a thorough mastery of manipulation. Thus foreshadowing a fame which has since become universal in America. Reward of enterprise numbered over 300 violins, violas, and cellos up to year 1937. Stradivarian and Guarnerian modelling. Every detail perfectly synchronised. Brown-orange shade of varnish entirely of own compounding - of very soft texture, ensuring a lasting tone for future years.
Ten or a dozen members of the Chicago Symphony orchestra use his instruments. Also the Selinger String Quartet Party (noted for their fine tonal effects on the radio).
Worked for William Lewis & Son at Chicago sincc 1924.
--------------------------
Carl Becker
Chicago, anno 1902
--------------------------
(decorative border)
---------------------------------
Carl Becker
with William Lewis & Son
No. Chicago 1925
---------------------------------
-----------------------------------------------
Carl Becker and Son
Associated with William Lewis & Son
No. Chicago. 1947
-----------------------------------------------

BECKER, H. E.
Amateur at Carlton (Melbourne, Australia), 1924.
Guarnerian and Stradivarian modelling - splendid designs and neat workmanship. Accurately cut channel for masterful laying of that tantalising little fillet called purfling. Oil varnish of own formula - carefully applied, but inclined to chip. Local violinists quite voluble concerning thc tonal sonority and brilliance.
------------------
H. E. Becker
Maker
North Carlton
------------------

BECKER, WILHELM
Resident at Adorf (Saxony), 1900. Studied violin structure and cello playing at Dresden.
Invented a so-called elegante-violine. Profusely decorated and inlaid with various woods. Attractive only as a curiosity.

BECKERT
Bows stamped Herman Beckert.

BECKETT, JOHN
Worked at Faversham (Kent), 1880-1896. Design and workmanship not perfect, but sufficiently exact to attract the influential regard of connoisseurs.

BECKMAN, SVENO
Worked at Stockholm, 1704-1758.
Violins of which no especial reference can be made beyond remarking that they are inimical to good taste in design and workmanship. One cello preserved in the Museum at Stockholm.
More famed for nicely-decorated lutes. Also for guitars with smart sculpturing of fancy heads. Instrument maker to the Swedish Court.
------------------------------------
Sveno Beckman i Stockholm
Anno 1758
------------------------------------
(Name sometimes given as Bekman. Brand mark frequently of surname only).

BEDDOW, THOMAS
Worked at St. Louis (Missouri), 1908.

BEDIN, CESURE
Worked at Venice, 1885-1908.

BEDOCCHI, MARIO
Born at Reggio Emilia (Italy), 1880. Self-taught.
Satisfactory Cremonese modelling and workmanship - nothing of questionable merit. Discretion exercised in the application of good texture varnish; various shades from yellow to brilliant red. As time advances, many examples will find enthusiastic admirers.
First instrument dated 1897. Produced 200 violins, 12 violas, 8 cellos, and 8 double-basses up to year 1948.
------------------------------
Mario Bedocchi
fece
Anno 19.... in Reggio-E.
------------------------------
(printed)
------------------------------------
Mario Beddocchi B.M.
fece
lann 19.... in Reggic Emilia
------------------------------------
(written)

BEE, ARCHIE
Born 1836. Harpist for dancing parties, and dealer in violins, strings, and accessories at Wolverhampton. Died 1895.
Bought violins from a firm at Markneukirchen, in which his label was placed. and traded with them (at a guinea each) to theatre-players, etc., in the several towns around Wolverhampton. Good-class merchandise for such a modest price - Strad and Maggini models, golden-yellow varnish highly polished.
------------------------
Archie Bee
Harpist and Dealer
Tettenhall Road
Wolverhampton
------------------------
Made in Saxony.

BEEBE, BYRON E.
Born 1864. Worked at Franklin Park (Illinois) 1908, and at Muskegon, 1910. His secluded workshop (often visited by famous touring virtuosi) had a settled old-world atmosphere of artistry and enveloped by an aesthetic ideality. Up to the year 1924 he made 289 violins. Various Italian models - nearly all having symmetry and grace, each line blended with its neighbour without flaw or break - everything of exquisite proportion and perfectly positioned. Handsome backs (varnished by his own secret compound - very transparent) shimmer and twinkle. And nearly all his instruments have been termed tone-smooth with flexible responsiveness. Artist Violins priced up to 500 dollars in 1924.
----------------------
Bryon E. Beebe
Muskegon. Mich.
No. 264 1918
----------------------
(No. 264 - number of instrument).

BEEBE, EMMETT W.
Son and pupil of the preceding. Known as Beebe Junior. Worked at Muskegon, first with his father, and later formed his own establishment.
Similar variegated modelling like that of his parent - but slight differences in contours, arching, curves, edges, and sound-holes, noticeable only to experts. Prolific productivity - many of them look almost like genuine Italians, and have a remarkably warm and sensitive tone, together with considerable power. Clear peach-red or amber-brown shades of varnish.
------------------------
Emmett W. Beebe
(Beebe Jr.)
Muskegon. Mich.
1911
------------------------
(written)
----------------------
E. W. Beebe
Muskegon. Mich.
No. 183. 1925.
----------------------
(written on brown paper).

BEEMAN, HENRY W.
Born 1858. Amateur. Resident at New Preston (U.S.A.) Expert woodworker. Produced 60 violins and 10 cellos between years 1900 and 1940. Generally Strad modelling. Good workmanship, choice woods, fairly brilliant varnish, and satisfactory tone.
An enthusiast who was happily recompensed by making presentations to friends rather than advertising them for sale.

BEER, A.
Established at Iglau (Moravia), 1885-1920. Son and partner of Gabriel.

BEER, ADAM JACOB
Son of Anton. Died 1895. Worked at Brnau.

BEER, ANDREAS
Born at Frauchgau, 1650. Worked at Vienna. Died 1722.
Violins of Tyrolese style with brownish varnish.

BEER, ANTON
Born 1764. Died 1836. Son and pupil of Ignatz. Worked at Brnau (Bavaria). Modelling derived from his fathers ideas. Workmanship not worthy of much praise.

BEER. GABRIEL
Established at Iglau, 1875-1930.

BEER, IGNATZ
Born 1719. Died 1807. Worked at Brnau. Son and pupil of Johann Michael (worked 1754).
Modelling somewhat reminiscent of the Salzburg and Mittenwald schools. Arching sometimes inartistically excessive in height. Excellent belly wood and less attractive backs. Indifferently cut scroll of pear tree material. Wide sound-holes traced tyronically. Dull red-brown shade of varnish utterly opaque. Faulty purfling - sometimes entirely absent. Tonal quality surprisingly good.
------------------------------
Ignatij Ber, Instrumnen-
talischer Violinmacher
in Bernau 1782
------------------------------
Some instruments labelled as though made at Vienna.

BEER, JOHAN (Jean) DE
Worked at Amsterdam, 18th cent ury.
Pocket fiddle in the form of a rebec, pentagonal back, fanciful head representing a horse, and brown varnish. Preserved at the Conservatoire, Brussels.

BEER, JOHANN GEORG
Born 1758. Died 1829. Eldest son and pupil of Ignatz. Worked at Brnau and Breslan (Silesia).
Some instruments of pretty backs and transparent yellow varnish.
----------------------------------------
Johann Georg Beer, Lauten und
Geigenmacher in Breslau 17-
----------------------------------------
(German lettering)

BEERSELMANN, F.
Name found in a pocket fiddle preserved in the National Museum at Nrnberg.
-------------------------------
Friedericus Beerselmann
1624 (or 1374)
-------------------------------

BEGGS OTTO
Violin dated 1904.

BEHNKE, NORMAN
Resident at Astoria (Oregon), 1935.
Violins built on the principles of Justin Gilbert.

BEHRMANN, FRIEDRICH AUGUST
Worked at Gotha, 1795-1809.
Model almost without arching - commendable workmanship - dark-brown varnish.

BLA
see SZEPESSY.

BLAWSKY, G. B.
Worked at Warsaw, 1856-1890.
Excellent modelling, deep red varnish, satisfactory tone, fairly brilliant.
-----------------------------
Instrumenty strunowe
G. B. Blawsky
Warszawa. Anno 1883
-----------------------------
-----------------------------
B. G. Blawsky
Warschau
reperowae Anno 1886
-----------------------------

BELCIONI, ANTONIO DI STEFANO
Worked at Modena (Italy), 1663-1673.
Rather graceful outline, unmarred by affectation. To be regretted, however, that the general workmanship is not a little more finished. Scroll seems clumsily set. Considerable prettiness about the yellow-brown varnish which comports with sobriety of effect. Rather sweet tone.
---------------------
Antonio Belcioni
Modena 1671
---------------------
Better known for excellent lutes.

BLDIN, FELIX MARIE JOSEPH
Born at Nantes, 1864. Son of Cathedral organist. Worked for Gand and Bernadel (Paris). Established at Nantes 1885. Died 1922.
Instruments do not partake of ultra refined workmanship but offer an excellent average.
--------------------------------
F. Bldin
Luthier du Conservatoire
Nantes. Anne 1912
-------------------------------

BELL, A.
Resident at Camborne (Cornwall), 1920.
Violins and cellos - excellent specimens, from which a really good tone springs.

BELL, CARL
Worked at New York, 1925.
Formulated an unequalled oil varnish giving perfect results.

BELL, HENRY
Patented, 1858 a contrivance for tonal improvement - insertion of a sheet of glass (through body of instrument) supported on two end blocks, also with a hole to admit the sound-post. The desired ennobling of tone was not consummated by this foolish freak.
Made a further attempt, 1866 - tonal sonority increased by applying a flattened cylinder to the interior of violin. Resulted in another failure.

BELL, JOHN M.
Worked at Birkenhead, 1910.

BELLAFONTANA, LORENZO
Born at Genoa, 1906. Studied with Cesare Candi. Also a capable violinist. Won medals at various expositions.
Strad and Guarnerian modelling, also one or two more individualistic. Ruby red varnish with golden background.
Estimable bows stamped with his name.
------------------------------
Laurentius Bellafontana
Fecit Genuae
A.D. 1938. N.
LB
G
------------------------------
(With signature, and very dark border).
--------------------
L. Bellafontana
Genova
--------------------
(Branded)

BELLANGER
Pupil of Le Breton. Worked at Caen (Normandy), 1830.
Violins of nicely proportioned liberality. Purchasers rewarded by a splendid tone, freely responsive to energetic or caressive bowing.

BELLAROSA, RICCARDO
Born 1871. Worked at Naples. Died 1941.
Cremonese and Neapolitan models - average workmanship with no ungraceful features.

BELLAROSA, VITTORIO.
Born 1907. Son of R. Studied (in 15th year) with Vito at Rotello. Made 50 violins before reaching 20th birthday. Further studied at Mittenwald and Rome before returning to Naples. Modelling after the style of Januarius Gagliano. Independent of fine architectural details, there is something about the tone which excites interest. Generally an orange shade oil varnish - sometimes a golden-reddish spirit varnish on a base of dragons-blood and some resins.
---------------------------------------
Vittorio Bellarosa
Napoli Anno 1950
Via Michele Cammarano N. 10
---------------------------------------
(Decorative border signature on left).
--------------------------------------
Vittorio Bellarosa - Liutaio
Unico allievo del Mo. Liutaio
Cav. Rodolpho Fredi di Roma
fece lanno 1932
in Napoli
--------------------------------------
(with signature on left).
Also design of two hippocampus (Grecian mythical sea-horse) on each side of the tailpiece button.

BELLE, W.
Dutchman. Worked at Weltevreden (Java), 1925.

BELLEVILLE
Violin in the Paris Conservatoire Museum - eccentric model, yellow varnish, clumsily sculptured head.
----------------------
Fait par Belleville
amateur Paris
en 1823
----------------------
(design of a lamb in centre).
Another at the Brussels Conservatoire - somewhat of guitar form.
--------------------------------------
Segon violon fait par Belleville
talier boucher
anno 1812
--------------------------------------
(talier boucher - butchers boy).

BELLINGHAM, THOMAS J.
Born 1853. Amateur. Resident at Leeds. Died 1927.
Produced 90 violins from the year 1903. Entirely self-taught - achieved reasonable success. Disdained the use of the recognised working tools - trusted more to the eye and sense of touch - nice medium-size modelling. No templates used. Arching entirely freehand, scrolls and sound-holes cleanly cut, and quite artistic in character. Clear oil varnish. Nice quality of tone, favourably commented on by Kreisler, Sir Edward Elgar and other reputables. Some specimens realised 30 towards the end of his life.

BELLONE, PIETRO ANTONIO
Worked at Milan, 1684-1699.
The creation of the beautiful is the function of the imagination. Primarily then, such things as violins must come as the offspring of the imagination - that faculty which, of all others, is creative and beauty-loving. Everything should be consonant with poetic thought. Liberty (proverbially the privilege of the poet or the painter) can also as naturally be claimed by the creative violin-maker. But though imagination be the very life, yet every technical facility and clever tricks of manipulation, the opposition of opaque to transparency in the varnishing, etc., are equally necessary to enhance ideality. Bellone was blest with all these attributes.
Conceived a beautifully elegant and completely graceful model. Belongs to the Brescian school, though arching is slightly fuller, and perhaps a little wider. Lovely symmetric balance of the whole. Delicately cut scroll of fine modelling - standing out in statuesque isolation altogether captivating. Sometimes used pear wood for this part. Naturalistic sound-holes. Handsomely-figured material for backs; ribs generally of plainer flame; and very fine-grain spruce for table. Golden-yellow or light brown varnish of splendid texture. Flexible and clear tone of contralto quality.
----------------------------------------------
Pietro Antonio Bellone detto il
Pescorino fece in Contrada Larga in
Milano 1690 al Segno di S. Antonio
da Padoua
----------------------------------------------
This label has often been unscrupulously pasted in violins of inferior construction, and which never emanated from his workshop.

BELLORSI, MICHEL. ANGELO
Worked at Turin, 1675-1684. Modelling and outline rather feminine. No detail offends fastidious critics. Tone eminently suited for drawing-room chambermusic.
----------------------------------
Michel Angelo BellOrsi
fece in Torino lanno, 1681
----------------------------------
(decorative border)

BELLOSIO, ANSELMO
Pupil of Santo Seraphino. Worked at Venice, 1740-1789.
Instruments occupying a rather insignificant place among the galaxy of renowned Italian makers. Broad and flat model, yet length is sometimes 3/8 inch shorter than usual. Workmanship unequal and often faulty. Intensely-marked pine and pretty maple. Frequently a dull and thick varnish, but occasionally one of a fine deep red-brown. Tone does not impress as being very penetrating, but is large enough for small halls, though its quality is decidedly not overpoweringly captivating. Also produced several cellos.
-------------------------------
Anselmus Bellosius fecit
Venetiis, 1 776
-------------------------------
(large size; decorative border)
---------------------------
Anselmij Bellosil fecit
Venetiis, 17..
---------------------------

BELLOSIO, GIOVANNI
Father of the preceding. Supposed to have been a pupil of Montagnana. Worked at Venice, 1730-1740.
Modelling and workmanship justify us in saying he was worthy of following in his masters footsteps. Used a nice varnish of warm tint.
Lithographic label.

BELLUOMINI, MAURIZIO
Worked at Pisa (Italy), 1884-1890.
Connoisseurs would do well to appreciate the instruments of this maker, whose powers and resources have never received adequate appreciation. Stradivarius model. Minor details all delicately handled. Varnish of rich and resplendent harmony. A really fine vigorous tone with considerable mellow quality.

BELOE, W. L.
Born 1819. Resident at Coldstream (Berwick). Excellent violinist, had a good local reputation as a teacher, made splendid fishing-rods, and was a first-class taxidermist. Died 1897.
Strad and Guarnerian modelling with a few trifling modifications. Sometimes used a peculiar varnish and material, of which he had an unwarranted high opinion. A few cellos known.
----------------------------
Made by W. L. Beloe
Coldstream, 1886
----------------------------
(written)

BELOSI, ANTONIO
Worked at Venice, 1734.
Good quartet instruments - 35 (1930).

BELT, DR. WALLACE E.
Born 1857. Resident at Dodge Center (Minnesota), 1920-1927. Commenced making violins for love of the art, 1903. Self-taught. Made improvements in tools and methods of construction. Purchased the formula of the Succinum varnish. Strad and Guarnerian modelling - all traits splendidly accomplished. Gum-oil varnish on some - others spirit.

BELTRAMI, GIUSEPPE
Worked at Vescovato (near Cremona), 1870-1880. Commercial products now (1925) emanating from the firm of Aristide Cavalli at Cremona, though dated as originally.
Very ordinary designs, medium arching, commonplace scroll, slanting sound-holes, dark-brown varnish, strong tone. Seven guineas.
-------------------------------------
Joseph Beltramius
Faciebat Cremona anno 1872
-------------------------------------
A.C. - initials of Aristide Cavalli.

BELVIGLIERI, GREGORIO
Worked at Bologna, 1742-1772.
Workmanship details, especially the execution of sound-holes, show the customary handling of capability. General appearance raises expectations that the tone will be sweetly agreeable.
Better still are his fine-toned violas and viols.
--------------------------------
Gregorius Belviglieri fecit
Bologninae villa Bononiae
in:jan:an: 1772
--------------------------------

BNARD, NOEL
Member of the Acadmie Royale orchestra, Paris, 1822.
Amateur maker whose instruments have no special charm of tone or much workmanship art. Scroll singularly unhappy without the slightest approach to dignity. Arching, too, has little of that exactitude of grading which comports with beauty. Evidently a man who should not have indulged in an art requiring a better aim than the one of putting a few pieces of wood together.
------------------------------
Nol Bnard
Luthier dilettant
rue du Clery, 84. Paris
------------------------------

BENCK, GEORGE
Resident at Handsworth (Birmingham), 1925.
Violins made of three-ply wood.

BENDEGARD, H. G. A.
Born at Hejnam (Gothland), 1909. Amateur.
Strad and Guarnerian modelling - little to criticise - yellow-brown or reddish varnish.

BENDINI, GIAMBATTISTA
Worked at Milan, 1665-1672.
Workmanship not of strongly pronounced character. Outline and grading typical of the period. Apparent artlessness of sound-holes very attractive. Varnish altogether faultily applied and without lustre.

BENECKE, S.
Norwegian. Period 1805-1830.
Ordinary violins. Cellos and double-basses much more esteemed by many players throughout Scandinavia.

BENEDEK, LASZLO
Born at Kolozsvar (Hungary), 1902. Studied with Kalman and Baloghy. Established at Buda-Pesth, 1933.
Cremonese models - no touch of the inartistic - hand never checked or thwarted by lack of confidence.

BENEDETTI, G.
Worked at Piacenza, 1706-1727.
Good-toned violins though workmanship is generally unrefined. Golden-yellow varnish sparsely applied.
------------------------
Giuseppe Benedetti
fece Piaentia, 1712
------------------------

BENEDICT, JOSE
Worked at Cadiz (Spain), 1697-1744.
Regarded as the best of the few violin-makers in his country. Especially famed for grand guitars. Used by many Spanish virtuosi.
-------------------------------------
Compuesto en Cadiz p.
Jose Benedict, anno del 1738
-------------------------------------

BENEDICTI, DONATE DE
Worked at Cremona, 17th century. Mentioned in many books of reference. However, his work is unknown to me.

BENETTO, LUIGI


BENGTSON-KIBY, NILS
Born at Stockholm, 1889. Amateur.
Lutes, pocket fiddles, guitars, and small rustic fiddles (much used by Swedish villagers).
Produced several proper violins wedded to real artistry. Reddish-yellow varnish.
---------------------------------
N. Bengtson-Kiby
Musik-Instrumentmakare
-------------
Stockholm
-------------
Violiner-Lutor-Gitarrer
No..... Ar 19..
---------------------------------
Large - with photograph of violin (left), and a lute (of rebec shape) on right. Signature at foot. Also signed on the interior.

BENGTSSON, CARL LEONARD
Born at Orebro (Sweden), 1877. Amateur.

BENGTSSON, WIMAR
Born at Gteborg, 1888.
Violins highly praised by northerners.

BENJAMIN, S. B.
Resident at Bloomington (U.S.A.), 1930.

BENKEL, JOHANN
Born at Ottesberg (Prussia), 1885. Worked for Fischer at Bremen. Principal repairer for Lulsdorf at Berlin, 1930.

BENNETT, J.
Lived at Cork (Ireland), 1880-1890.
Exhibited violins without side ribs - back and belly joined together in accordance with a vibratory theory of his own - no edges or corners. Satisfactory tone though the varnish is of poor quality.

BENNETTINI
Worked at Milan, 1865-1890.
Stradivarian model, no hesitation or indecision in workmanship, red-brown of excellent quality. Orchestral tone. 20 (1935).
---------------------------------
Bennettini. Milano 1887
S. Giovanni alla Corsa. 15
---------------------------------

BENNINGTON, JAMES
Born 1868. Scotch parentage. Worked at Mercer (Pennsylvania), 1920.
Strad modelling. Oil varnish. 100 specimens. Chiefly used by children in schools.

BENOT
Second-rate instruments emanating from Mirecourt.
-------------------------------
Benot
Luthier de Paris
Dsseldorf anno 1800
-------------------------------

BENOT, EUGNE
Worked at Brussels, 1750-1760.
Instruments rather freely circulated. Style touches on the large Mirecourtian. Very ordinary wood and non-transparent reddish-brown varnish.
--------------------
Eugne Benot
Bruxelles. 1754
--------------------

BENOT, PIERRE
Worked at Chlons-sur-Sane (France), 1900-1910.
Flat model of large proportions - average workmanship for low-priced merchandise - brown or red-brown varnish.
-----------------------------
Pierre Benot
Luthier Chlon, 1901
-----------------------------

BENOZZATI, GIROLAMO
Born at Cittadella (Padua), 1860. Started as carpenter, gilder and house painter. Studied violin making with Engenio Degani at Venice. Ultimately lived at Rome.
Good transcepts of classical models. Future generations will undeniably cherish them.

BENSANDE, DR. ALFRED
Amateur at Lisbon, 1905.
Violins and indigenous lute-like guitars.

BENTE, MATTEO
Worked at Brescia, 1599-1637.
Tartini played on one, and was greatly enamoured with its wonderful sonority. Ole Bulls specimen forcibly reminds one of a Gasparo da Sal - tone not sonorously big but of a peculiar flute-like character.
One owned by Willy Burmester was more of the Maggini type. Body length 14-3/8 inches. Tonal quality quite viola-like.
Another, played by Miss Monica Gardner (London), was quite broad and flat - sound-holes crudely cut, similar to those on paintings of Rembrandt and Teniers. Curiously irridescent varnish, sometimes appearing dark brown and sometimes with a reddish and yellowish hue.
-----------------------
Matteo Bente
fecit Bresiae 1601
-----------------------

BENTIN, HENRY
Born at Nakel (Province of Posen), 1857. Learnt dexterity under the guidance of his father (a maker who had migrated to America, and settled for some years in Iowa). Established own workshop at St. Louis, 1889. Removed to New Orleans 1896. Died 1928.
Modelling after that of a Stradivarius or an Amati. Every little detail characteristically copied. Scroll and sound-holes touched up with a little independent originality. Yellow varnish with red shading, rather Cremonese in appearance, altogether of refreshing lustre. Succeeded in getting rather mature tonal qualities. Attracted the attention of Jan Kubelik, 1921, and presented that virtuoso with a perfect replica of the Emperor Strad. Since then his fame travelled fast and wide throughout the United States.
Also produced many fine bows.
-------------------------------
H. Bentin
New Orleans. F.A. 1920
-------------------------------
(with design of a violin).
Sons affiliated with the firm, 1928.

BENTZE, IGNATIO
Instruments have a complete German character. Quite possibly the label was invented and used by Johann Georg Lippold.
----------------------------
Ignatio Bentze in Italia
Croemona 1797
----------------------------

BENVENUTI, PAOLO
Worked at Pisa (Italy), 18th century.

BENVENUTI, SILVIO
Born at Pergola (Pesaro), 1904. Worked at Ancona. Died 1948.
Produced first violin in 18th year. Several of his 30 subsequent examples have received considerable praise. Oil varnish beautifully shaded.
-------------------------------------------
Silvio Benvenuti
Liutaio pergolese facera in Ancona
lanno 1946
-------------------------------------------
(written)

BERAND
Stradivarian model. Oil varnish. 8 (1910).

BRARD, L.
Mirecourt, 1920. Trade mark of Charles Bailly. Red or yellow varnished.

BERARD
Worked at Montpelier (France), 1840-1852.
Outline, arching and scroll have the accepted conventialities of grace. Amenities of careful manipulation completely apparent. Tone rather fails to satisfy on account of its lack of mellowness.

BERARDI, PASQUALE
Born at Imala (Italy), 1807. Worked there, also a short time at Modena. Died at Alassio 1896. Small productivity.
No special beauty of tone redeems them from the ordinary class though much care seems to have been bestowed on the varnish - a nice yellow-brown.
------------------------------------
Berardi Pasquale fece lanno
1861 - Imola
------------------------------------

BERAZONI, FRANCOIS
Violins belonging to the best factory work. Quite possibly made at Mirecourt. Excellent replicas of the Bergonzi model. Workmanship highly skilled. Orange-red varnish somewhat similarly applied as we see it on a Vuillaume or Chanot.
-------------------------------------------
Franois Berazoni
Manufacturer. Sauchiehall Street
Glasgow, 1891
------------------------------------------

BERENDSEN, ARN. W.
Established at Enschede (Holland), 1925. Born 1884. Made first instrument 1905. Conveniently small form of an Amati. Workmanship without especial distinctiveness. Brown varnish of nice texture but not very transparent. Very good tone indeed, considering that the maker offered them for the modest sum of 8. Extremely popular in native country. Produced about 200.
------------------------
Enossi. Anno 1924
------------------------
(Golden background)

BERERA, GIOVANNI ANTONIO
Worked at Trient (Italy), 1760-1774.
Careful workmanship is always praiseworthy, and this maker seems to have bestowed considerable thought on the matter; yet, it must be admitted, the art merits of the instruments are rather slender. He seems to have purposely eschewed all the peculiar traits of the Italian school.
------------------------------------
Johannes Antonius
Berera
Faciebat Tridenti Anno 1761
------------------------------------

BERETTA, FELICE
Worked at Como (Italy), 1760-1790. Pupil of Giuseppe Guadagnini.
Flattish modelling, rather indifferent workmanship. Contour robust looking but without grace. Scroll likewise bold and fairly accurate. Sound-holes rather over-slanted, too wide to be artistic. Generally used wood not properly seasoned: often wide-grain pine and maple almost plain. Transparent amber-yellow varnish of rather poor texture, sometimes a brownish-yellow. Deep mezzo-soprano tone quality without brilliance. Best period 1782-1784.
---------------------------------------
Felice Beretta
allievo di Giuseppe Guadagnini
fece in Como dAnno 1782
---------------------------------------
Sometimes two-lined. Early labels have o for last letter of Guadagnini.

BERG, ALBIN OSSIAN
Born at Strngns (Sweden), 1886. Amateur.

BERG, CHARLES LOUIS VON
Born at McGregor (Iowa), 1863. Worked for and studied with several makers in Europe and the United States. Established at Lemars (Iowa), 1882. Produced first instrument 1887.
Modelling after Guarnerius, also a few with some original ideas. Also several cellos, and seven double-basses. Orange and yellow varnish of splendid texture and richness. Workmanship testifies that he was never involved in any difficulty. Scroll and sound-holes free from the infirmities which frequently beset makers in these particular departments. Old seasoned wood always used. Finely graduated plates, but never too thin in any place. Tone quite reasonably pure in every register. Also proprietor of a harp industry of importance.
---------------------------
Chas: Louis von Berg
1927
---------------------------

BERG, G. E.
Worked at Copenhagen. Died 1900. Violins, violas and cellos. Had premises in the Reventlowsgade, and later in the Klosterstraede.
------------------------------------------
G. E. Berg
Violinbygger og Strengeinstrumter
Kbenhavn, 1891
------------------------------------------

BERG, OLOF
Swedish Norwegian Consul at Knigsberg (Prussia), 1835.
Formulated many ideas rather opposing the general principles of violin building. Made no instruments himself, but had his inventive revolutions carried out by Schnbach makers. Practically no success resulted, and his assumptive notions have, like many others, departed, and shared the common fate of oblivion.

BERGA, OTTO
Born 1878. Amateur at Stockholm.

BERGBOM, C.
Worked in Sweden, 1760.
Chose to somewhat adhere to the Stainer modelling, but with a slight originality which avoids actual tautology. Workmanship executed with conscientious pride of refinement.

BERG
Worked at Toulouse, 1760-1780. Lutes, viols, and violins.
Branded Berg Toulouse, 1771.

BERGDAHL, CARL VIKTOR
Born at Kristdala (Norway), 1873. Amateur.
Somewhat Amatese modelling - reddish-brown varnish.

BERGER
Worked at Ghent.
Violin of ordinary type (dated 1823) preserved in the Museum at Brussels.

BERGER, HORST
Born at Kiel, 1893. Worked at Hamburg, 1919-1925. Merchant. Stimulated, through intercourse with August Deihl, to interest himself in violin-building. Quickly made satisfactory progress, relinquished his former trade, and opened professional premises.
Design treads nearly in the footsteps of Italian models. Workmanship very respectably executed. Excellent oil varnish of own preparation.

BERGER, JOHANNES
Born 1655. Worked at Landshut (Bavaria) up to 1726. Viols, lutes, and violins.

BERGER, KARL AUGUST
Born at Basel (Switzerland), 1893. Studied with Postiglioni at Naples; worked for Silvestre and Maucotel at Paris; and at Mittenwald. Established at New York, 1926. Built first instrument, 1922. 15 instruments produced yearly.
Some specimens splendidly modelled on Stradivarian lines. Others somewhat Guarnerian with a strong infusion of original ideas concerning the thicknessing. Tonal-quality of the latter particularly sympathetic. Accurate discrimination in choice of wood, minute consideration of the different acoustical relations, and both plates perfectly reconciled in attunement. Varnish of own preparation applied with no inconsistencies of brush, and in shades of light-brown to red. Violins well paraded by the best symphony orchestra players in the United States.
------------------------
Karl August Berger
Liutaro
Basel. New York
------------------------
(beautifully engraved)
Bearing (1) on the left, a portrait of his uncle who was a great painter; (2) on the right, design of a dancing-girl representing harmony and beauty; (3) in the centre, a plaster-cast face of the maker and his initials C.A. B.

BERGER, KAPRALIK JULIUS
Born at Lemberg (Poland), 1864. Worked there until 1834. Exhibited attractive French model violins, 1894.

BERGER, LORENZ
Worked at Landshut (Silesia), 1780. Died 1807.
Various instruments (dated from 1808 to 1820) were completed by Franz Kriner for the widow of Berger.

BERGER, MAX
Born 1869. Pupil of Heberlein. Worked in various places for nine years. Established at Markneukirchen, 1892-1926.
Produced all kinds of violins modelled after all the Italian and Tyrolean old masters. Each instrument labelled with name of the maker whose model is replicated.

BERGER, RICHARD
Born at Markneukirchen, 1889. Established at Stralsund (Pommerania) 1921. Died 1950. Estimable modelling - usually Guarnerian.

BERGER, THEODOR
Born at Petrograd, 1877. Pupil of Geisser in that city, and Otto at Markneukirchen. Established in the Saxonian town, 1918.
Cremonese modelling and rich brown oil varnish on which the maker must have gazed with exultant pride. Instruments deserving of a good army of devotees. Also equally praiseworthy violas and cellos.
-----------------------------
Theodor Berger
Geigenhauer
Mlarkneukirchen. 19..
-----------------------------
(with monogram - also branded)
Assisted by his daughter Sonja. (Born 1926).
-----------------------
Theodor Berger
Geigenbaumeister
Th. Berger
Markneukirchen
-----------------------
(large design representing the figure 3, with a violin in centre, on T.B. on top)

BERGLUND, WILHELM
Born at Stockholm, 1886. Amateur. Gained knowledge from various makers in the city, 1909-1926.
Stradivarian modelling with one or two personal significations. Reddish-yellow or reddish-brown varnish of own formula plentifully applied. Everything compares readily with the contemporaneous of his period.
------------------------
Wilhelm Berglund
Stockholm ar 19..
------------------------

BERGMAN, JUKKA
Resident at Helsinki (Finland), 1945.
Instruments considerably appreciated in that country.

BERGMANN, ANDREAS (1)
Born at Nagy Maros (Hungary). 1862. Pupil of Bartek; and worked a long time with Pilat. Established own workshop at Buda-Pesth, 1898. Shop-sign - The Cremoneser. Died 1934.
Built 100 violins on Stradivarian, Guarnerian, and Maggini models. Ultimately found that he achieved the best tonal results with the Guarnerian - therefore gave greater preference to that model, particularly in constructing violas and cellos.
Workmanship conducted with singular acuteness and felicity. Scroll boldly but very neatly carved. Sound-holes beautifully positioned. Oil varnish of various shades.
(1) - instruments entirely his own work.
-----------------------------
Bergmann Andrs
Legedj kszit
sajt kezu kszitmeyne
Budapest, 1898
-----------------------------
(with signature)
(2) - those made by assistants.
------------------------------------
Kszitette Bergmann Andrs
Leged kszito
Budapest, 1901
------------------------------------
(3) - Pupils productions.
---------------------------------
Bergmann Andras
Leged kszit tanitvnya
Budapest, 1901
---------------------------------

BERGMANN, ANDREAS (2)
Born 1887. Son and pupil of the preceding. Studied violin-playing at the Conservatorium; also became a good guitarist. Served in the war. Then returned to Buda-Pesth and has worked beside his father since 1919. Gold medallist at the Hungarian Industrial Exhibition, 1925.

BERGONZI, BENEDETTO
Worked in Cremona at Stradivaris old house in the Piazza San Domenico, 1810-1840. Had considerable reputation as a repairer.

BERGONZI, CARLO (1)
Born at Cremona, 1683. First apprenticed to Hieronymus Amati (son of Nicol). Also a pupil of Joseph Guarnerius (son of Andrea). Afterwards worked with Stradivari, and eventually became his greatest pupil. As fine as a Strad - an expression frequently applied to a Bergonzi - also one greatly abused (to our way of thinking) for though a fine specimen is particularly splendid, it will never reach the remarkable tone of a Stradivarius, nor ever have such a perfect appearance. It is not definitely known when he left the establishment of his teacher and started for himself in a house a few doors removed from that famous habitat facing the square in the city of Cremona, but was probably round about 1716. On the death of Omobono Stradivari, 1742, Bergonzi inherited all the working materials belonging to Antonio Stradivari. Removed into that masters workshop, 1746. Died 1747.
Model generally large and very flat, though there are a few specimens of the rather smaller Amatese pattern which are slightly more arched. Outline of early dated instruments is practically replica of the Stradivarius; but later in life he had the natural ambition to indulge in little points of originality. Upper portion, from the curve of the centre bouts, is increased in length, therefore necessitating the sound-holes being placed slightly lower than usual - lower portion also increased, but in breadth, and in consequence the middle curves had to be placed at a greater angle. Some experts have declared that in this matter Bergonzi did not work in consonance with true artistry. Others think differently. So the controversy goes on.
Sound-holes unusually long, rather far apart, therefore nearer the purfling - also having a strident slant, more sharply pointed, with a decided droop in the corners, and a fairly wide but beautifully graduated central aperture. Cleverness, dexterity, keen knowledge, and perfect graduation likewise distinguishes the wonderful arching - probably the most felicitous part of his workmanship. Edges give incontestable proof of his ability - purfling also irresistably splendid.
Boldly cut scrolls (quite in keeping with the rest of the instrument) magnificently carved with true art appreciation. In this department of embellishment Bergonzi gives a pronounced peculiarity. It will be noticed that the eye (as sometimes designated) or the boss of the volute seems to come out rather suddenly, yet the immediately previous turn fits its natural place perfectly. These scrolls may not be so perfectly rounded as those of the Strads, but there is a character undeniably and solely belonging to the Bergonzis.
Believed in plenty of wood; and such soundly solid construction premises a longer life than the average Italian instrument, a Guarnerius perhaps excepted. Wood always of the choicest description - that for the front never being other than that of unblemished even-grained spruce of superb quality (which testifies to his thoroughness) - for backs, a broad figured and handsome maple - and for ribs, material of corresponding prettiness.
Varnish differs somewhat in several respects. In some instances it is put on rather thickly, thereby giving a semi-blotchy appearance (which various people greatly admire, and liken to one of the sun-set creations of the painter Turner); and on others rather thin and very transparent - the former frequently having the fiery character of a Guarnerius application. Colour varies - sometimes a deep ruby-red, also a rich and ripe victoria plum shade - occasionally he favoured the palest orange-red, and lastly a very bright yellow of warm texture. The deeper coloured instruments often show striking irregularities, thus affording an illustration that Bergonzi had ups and downs (like every other genius) and occasionally departed from his almost invariable scrupulous care. Moreover, the varnish on these instruments gives unmistakeable signs of being less carefully prepared, though it as certainly gives to each instrument a peculiar type and tone of its own - something impossible to be associated or confounded with any other maker. After this tiny bit of cavilling we willingly subscribe our unreserved approbation of the generally unequalled richness and beauty of his varnish. Fine physical condition of Bergonzi violins has now brought the tone up to that fine sonority and power coupled with penetrating mellowness and purity so captivating to forcible soloists. If there is a slight defect it is in the dullness of a few high notes on the fourth string; but several minutes daily of vigorous bowing on such notes ought to brighten them; or perhaps a slight re-adjustment of something which is only known to an expert repairer will remove the temporary hardness. Almost needless to state that there are quite a large number of spurious examples floating about the universe; therefore it behoves would-be purchasers to exercise all their powers of judgment before exercising their pen on a cheque. Excessively fancy prices are the order of the present day - even as far back as 1928 high-water mark was reached by an American firm who catalogued a specimen at the interesting figure of 12,000 dollars.
-----------------------------------
Anno 1733, Carlo Bergonzi
fece in Cremona
-----------------------------------
(decorative border)
-------------------------------------------
Anno 17.. revisto e corretto
da me Carlo Bergonzi in Cremona
-------------------------------------------
-----------------------------------------
Carlo Bergonzi, allieva di Amati,
fecit Cremonae, anno 1714
-----------------------------------------
General dimensions of a Bergonzi violin, period 1740: body length l3-7/8 inches; upper bouts 6 11/16; lower, 81/8. String length 13 15/16.
One dated 1739: body length 14 inches: upper bouts 6 9/16; lower 8 3/16; depth of ribs, 1-1/4 to 1 5/16.
Produced several particularly fine violas.
Few cellos bear his label. One especially fine-toned one belonged to August Theodor Muller (of the famous Muller Brothers String Quartet), the label having the interesting addition of Sotta la disciplina Antonius Stradivarius.
Double-basses (having a wonderfully powerful tone) are of ungainly large pattern. Some have been cut down to meet the requirements of modern players. Every line and angle of his instruments betoken strength and force. They have received due eulogy. The bent of his genius was towards grandeur yet tinged with gracefulness, and led him to that ideal beauty which may be considered as the most noble of the Italian makers since Stradivari and Guarneri. He appears to have been more solicitous to advance his art than to greatly multiply instruments - a kind of fastidiousness, a longing after an excellence which he considered he could attain - and he arrived at that truth which he thought necessary to perfection. Stradivari excited in him a spirit of emulation which called forth all his powers, and led to that perfection we now contemplate with admiration. His superior talent gave a grandeur to the outline, a grace to the arching, a brilliance to the varnish, and a style to the scroll which cannot be found in other specimens perhaps excepting those of Amati and Stradivari. It seems to be admitted by all, that these early Cremonese attained that which is considered as maturity in violin making; and, as it were, became at once the arbiters of an unalterable standard of form. The Italians at that period were more refined than any other nation, and this aided their excellence and superiority in the arts. Then again, the Italians always had a peculiar admiration and study of beauty in every way and it followed that violin makers endeavoured to invest their instruments with the most perfect form. The beauty of Bergonzis is not enthroned today and dethroned tomorrow by something finer. We have to acknowledge that their harmonious whole, that unison of parts to one end, enchants us as it did connoisseurs of 150 years ago - probably more so. These Cremonese set up a standard not to be surpassed. This is confirmed by the submissive verdict of subsequent imitation.
Baillot owned a Bergonzi dated 1737. This found its way to America, and in 1920 was valued at 8,000 dollars. Todays prices, 800 to 1,250.

BERGONZI. CARLO (2)
Son of Michael Angelo. Born at Cremona 1780. Died after 1820.
Made a few primitive-looking instruments. Workmanship and material altogether inferior. Sound-holes straight and ugly. Not a single specimen will ever spread a halo of universal immortality around his name like those of his famous predecessors. Body length 35.5 cm.
More industrious in the making of guitars and mandolines.

BERGONZI (BERGANZI), FRANCESCO
Probably the father of Carlo. Supposed to have worked at Cremona, 1687.

BERGONZI, GIUSEPPE
Worked at Cremona, 1740.

BERGONZI, LUDOVICO
Body length of a violin, 35.8 cm.
------------------------
Ludovico Bergonzi
Nepos di Michel
17-
------------------------

BERGONZI, MICHAEL ANGELO
Son of Carlo. Born 1722. Died 1770. Worked at Cremona.
Instruments having several imperfections deviating from the exactitude of father. General proportions of contour point to a heaviness foreign to real artistry. Body length 14 inches; upper bouts 6-1/2; lower 8. Flatter model than that created by father, imperfect outline. Middle bouts exaggerated and set deeper than usual - factors possibly antagonistic to thc realisation of theoretic perfection. Shaky purfling lacking decision of hand. Slightly unequal sound-holes, moderately graceful, and longer than those of a Carlo Bergonzi. Varnish often thick and hard, but a few specimens are known having a better quality and colour - orange-red. Usually curly maple of small figure for ribs and back - for breast, not always judiciously chosen. Tone often of that densely nasal kind so repellent to soloists; but there are a few specimens advertised from time to time for which a fine mellow tone quality is claimed.
Produced two models - one large, one small. Workmanship in both gives a feeling of massive strength, and though there is an individuality of a certain kind it is not one in which highly finished craftsmanship shines. Some of his violins have had to have a small sound-post patch added by a repairer. Notwithstanding the various defects above recorded, exorbitant prices are catalogued.
Double-basses really very fine and powerful in tone, and eagerly sought after. Lord Howard de Walden possessed a Lutina (Pandurina), dated 1755, inlaid and ornamented with the arms of the Dosi family.
Todays prices 600 to 800.
-------------------------------------
Michel Angelo Bergonzi
figlio di Carlo
fece in Cremona lanno 1746
-------------------------------------
--------------------------------
Michel Angelus Bergonzi
fecit Cremonae 1753
--------------------------------

BERGONZI, NICOL
Eldest son of Michael Angelo. Worked at Cremona, 1755-1782.
Indefatigable worker who produced a very large number of instruments. Numbers more than quality counted with him, consequently many productions condemned wholesale by discriminating connoisseurs.
No consistency of graduation in the arching. Workmanship generally even less skilful than that of father whose model he imitated; but there are a few specimens that have more artistry. General appearance not embellished (with few exceptions) by the crampy and ill-posed scroll. Often good pine for table, but also often too close-grained. Nicely figured maple for back and ribs. Rather thin orange-red or yellow varnish, sometimes negligently applied, occasionally of a richer wine-coloured red. Pleasingly resonant tone with fair power.
Outstanding example of his work has been named Bonjeur de Paris by an enthusiastic collector. Dimensions: length, 14 inches; upper bouts 6-3/4; lower 8-1/4. Lovely wine-coloured red varnish. Catalogued in America at the astounding sum of 5,000 dollars.
---------------------------
Nicolaus Bergonzi
Cremonensis faciebat
Anno 1760
---------------------------
(without border)
Also produced a few violas.

BERGONZI, ZOSIMO
Brother of Nicol. Worked at Cremona, 1745-1777.
Immeasurably superior instruments to those of brother, though falling a long way short of Carlos. Arching particularly well done, and rather pronounced. Splendidly large and broad pattern with a slight suggestion of an Amatese outline. Body length 35.8 cm. Scroll and sound-holes rather nicely executed. Dullish red or reddish-brown varnish of fairly soft texture rather plentifully put on. Large and brilliantly healthy tone.
Cellos and double-basses quite superior instruments.
-------------------------------------
Fatto da me Losimo Bergonzi
lanno 1777, Cremonae
-------------------------------------
(Ornamental border similar to that of Carlo)
Several labelled as by Andrea Guarneri.

BERGSTROM, AXEL FREDRIK
Born at Tystberga (Sweden), 1854. Builder and amateur violinist. Extended his enterprising abilities by ambitiously making a few violins which he presented to friends. Died 1943.

BERGSTRM, G. A.
Established at Greely (Colorado), 1925. Used the splendid varnish of J. G. Thomas.

BERGSTROM, J. A.
Worked at Nykoping (Sweden), 1828.
Modelling teems with interest, though not of especial individuality. Gentle repose of sound-holes praiseworthy. Brilliancy of carving characterises the scroll. Not happy in selection of wood. Effective varnish, used sparingly.

BERGSTRM, KARL JOHAN O.
Born at Gllivare (Sweden), 1876. Amateur.

BERINI, MARCUS
Well made trade violins, made exclusively for Beare & Son, London. Excellent Stradivarian models. Capitally finished workmanship. Nicely figured backs and good acoustical pine for tables. Dark brownish-red varnish on those bearing the first and second labels; orange-amber on the third. The usual forty-shilling tone. Popular merchandise exhibited at all the principal music shops throughout the country.
---------------------------
Berini Violin
No. Fecit-Anno 1920
---------------------------
----------------------
Marcus Berini
No. 6 Anno 1924
----------------------
---------------------------------
Modle
Marcus Berini
Luthier
Rue dArgenteuil, Mantes
Anno
---------------------------------
Each bears the trade mark B & S L.
Bows also stamped Berini.

BERIO, FAUSTO
Amateur. Resident at Genoa. Pupil of Candi.
-----------------------------
Fausto Berio Genovese
fece in Genova 1896
-----------------------------

BERKEMEYER, JOHANN FRIEDRICH
Worked at Amsterdam, 1790-1835.
Sensibly designed violins, with neat workmanship. Belly wood often of poor quality, but fine material for backs, ribs and scroll. Tolerably good reddish-brown varnish.
-----------------------------
J. F. Berkemeyer
Amsterdam. Ao. 1806
-----------------------------
(written)

BERLAND, PAUL
Toll-house keeper at Vannes. Resident at Nantes. Died 1909.
Made several violins and cellos of ordinary trend.

BERLY
Seven members of this family. Worked at Mirecourt, 18th century. Dominique (1750-1789), achieved the best reputation.
Large and broad model; average workmanship; yellow-brown varnish. Name branded on back inside, also below button.

BERNARD, ANDR FLORENT NICOLAS
Born at Lige (Belgium), 1870. Passed through a thorough training with Gand and Bernardel at Paris. Established own workshop at Lige, 1889, and adopted the sign A la Guitare royale. Received medals, gold and silver, at Paris, Brussels, Lige and Bordeaux Exhibitions.
Absolutely a master craftsman. Modelling and varnishing somewhat similar to the Nicolas Lupot style, bringing all possible delight to the eye. Tonal qualities worthy of exploitation by any soloist.
Specialist in violas damore and viol-da-gambas, with cleverly arched backs, and a remarkably fine imitation of old varnish.
-----------------------------------------------------------------------
Maison fonde en 1889
Andr Bernard
Luthier
Fabricant dinstruments de musique cordes.
Mdailles Or et Argent
Expositions internationalles de Paris 1900, Brussels 1897.
Lige 1905
Ex-ouvrier de la maison Gand & Bernadel
Luthiers du Conservatoire de Paris.
Lige Anne 1925. Numro
-----------------------------------------------------------------------

BERNARD, JACQUES
Worked at Mirecourt, 1773-1780.
Excellent credentials for finely balanced bows.

BERNARD, JAMES
Born at Springfield, near Cupar (Fifeshire), 1865. Followed the profession of hairdresser at Cupar, 1924. Amateur fiddler of strathspeys and reels.
Made first instrument 1922, and produced ten others during the succeeding eight years. Modelling follows that of a Guarnerius with a few of W. J. Farrells ideas. Creditable workmanship. Red-brown and dark-brown varnish enthusiastically applied. Those dated after 1929 varnished with Harriss preparation of lighter colour. Excellent (though plain) material for backs, and Canadian pine for tables. Tone quite a good achievement, seldom meeting with hostile comment from the experts to whom he submitted his instruments.
--------------------
Maker
James Bernard
Cupar. Fife
No. 3. 1924
--------------------
(written)
-----------------
Berno
Jas. Bernard
Cupar. Fife
No. 9. 1930
-----------------
Name also written with a marking pencil on the inside of the plates at the narrow ends.

BERNARD, JOSEPH
Born at Lige, 1911. Son and pupil of Andr.
Instruments worthy of considerable attention from present-day players. They do not reveal any new wonders, but carefully travel (in the superb modelling) on the foot-treads of famous predecessors, and have full tracing of the lines mapped out by them.
-----------------------------------
Joseph Bernard
Medaille dor, Lige, 1930.
No. 81. Lige. Anno 1930
-----------------------------------
In a unique frame, with coat-of-arms crowned.

BERNARDEL, AUGUSTE, SBASTIEN PHILIPPE
Born at Mirecourt, 1798. Remained there as apprentice until 1820. Proceeded to Paris. worked for Nicolas Lupot and finally for Gand. Established own workshop in the rue Coquillire, 1826. Entered into partnership with two sons, 1859, firm called Bernardel et fils. Retired 1866. Died at Bougival, 1870.
Made many strongly-built instruments - now mounting the steps of steadily increasing prices. Those of Stradivarius modelling are credited as best productions; but some people have preferred those of Guarnerius principles. Maggini models have a body length of 14 7/16 inches. Really handsome wood covered with a lovely oil varnish, usually of reddish tinge. None of his violins show the slightest falling-off from the splendid sense of proportion suggested by a cunning scale of gradation. Scrolls never disfigured by the introduction of anything feeble or inartistic. The eye is also captured by the beauty of the sound-holes. To the absolutely just value of the tone a gold medal may be awarded, although, naturally, there is a certain element of comparative newness in the timbre of it. This, however, is wearing away with age and playing.
Of course, some makers attain a higher position in the scale of opinion than others. Many instruments are not viewed through the calm medium of unbiased judgment. We all have our prejudices. Many persons purchase certain violins simply because of certain names. There are hundreds of us who only believe in the Italian school, and French violins have been repeatedly criticised as not having the sweetness, warmth, and pliability of the Italians. But we have never yet seen an Italian violin, of the same moderate price and of the same period, that approaches a Bernadel either in appearance or tonally.
Violins with a remarkably finely full resonance, and a quick mellowing refinement. The best symphony orchestral players in France use them because the rapid passages come clearly through the mass of sound. This is more than can be truthfully stated of many Italian violins. A good judge must possess taste and discretion, fostered by enthusiasm for wealth of tone as well as for purity. And it is as well to explore the wide surface of enquiry into the value of the tonal qualities of the various schools.
Occasionally Bernardel unwisely experimented with various chemical preparations of the wood in seeking to arrive at the so-called Italian tone. Also sometimes used American wood but failed to attain his ambition with it even though he saturated it with some coloured preparation of his own concoction. Varnish generally red or brown of really excellent quality, thickly put on.
Cellos and double-basses, robustly constructed, always in great demand, and rank with the finest in France. Violins 80 to 100; cellos 150 to 200.
---------------------------------------
Bernardel, luthier
ex-ouvrier du St. Lupot
rue Coquillire, No. 44 Paris
lan 1826
---------------------------------------
----------------------------------------------
Bernardel, Luthier Elve de Lupot
Aux Croix des Petits Champs No. 23
Paris. 1835
----------------------------------------------
-------------------------------------------
Medaille dor et dargent
aux Expositions de 1844 et 1849
Bernardel, Luthier Elve de Lupot
rue Croix des Petits Champs, 21.
Paris. 1855
-------------------------------------------
This has an autograph signature inscribed diagonally on the right-hand side. Sometimes inserted fictitious labels in his Guarnerius and Gagliano copies, but signed his own name in ink on the inside of the back.
------------------------
Repar par
Bernardel. Luthier
------------------------
-------------------
Bernardel ain
Paris, 1833
-------------------
Also known as Bernardel pre.

BERNARDEL, ERNEST AUGUSTE
Son of the preceding. Born at Paris, 1826. Died 1899. Associated with father and brother, 1859-1865; and with Gand, 1866-1887. Label will be found under Gand.

BERNARDEL, GUSTAVE ADOLPHE
Brother of the preceding. Born at Paris, 1832. Died 1904. Associated with father, brother and Gand. Succeeded to the business of Gand, 1892, and became maker to the Conservatoire, to the opera orchestras, and to the Ministry of Fine Arts. Chevalier of the Legion of Honour, 1900.
Fine-wrought Lupot-Strad modelling. Supremely neat workmanship. Red varnish similar to that used by father, also a red with brownish tint.
The talent which his instruments proclaim ought to be widely recognised and the area of his fame extended, for he truly maintained the prestige set up by his parent. Tone very invigorating and sonorous.
Also produced many bows. Invariably octagon sticks of dark brown colour. Often realised five guineas (1920).
----------------------------------------------
Gustave Bernardel
Luthier du Conservatoire de musique
No. .... Paris. 1891
----------------------------------------------
------------------------------
Gustave Bernardel
Paris. 1896. No. 1751
------------------------------

BERNARDEL, LOUIS
Born at Mirecourt, 1805. Brother of Auguste Sebastien. Worked at Amsterdam, 1836-1847.
Talented maker who produced violins idealistic in appearance. Varnish a panorama of colour.
Unfortunately died at the early age of 42.
--------------------------
fait par L. Bernardel
Amsterdam, 1843
--------------------------

BERNARDEL, LON
Born at Paris, 1853. Son and pupil of Ernest Auguste. Worked with Derazey, and with Gand. Founded own establishment, 1899. Decorated officer of the French Academy, 1900. One of the directors of Couesnon and Co. (large exporters of musical merchandise) Paris, 1914.
Perfect modelling, outline, scroll, and sound-holes, all following the design known as the Lupot-Strad. Splendid oil varnish somewhat similar in texture and colour (red) to that associated with the Gand violins. Thoroughly fine-toned creations extensively used by French players. Labels of those made entirely by himself.
-------------------------------
Lon Bernardel. Luthier
Paris
-------------------------------
-----------------------------------
Lon Bernardel. Luthier
40 bis. Faubg. Poissonnire
Anne 1899. Paris. No. 3
-----------------------------------
Later labels have the word Monopole within a design, and are autographed L. Bernardel. These instruments were priced by him at 30. Others named Conservatoire catalogued at 38.
Violas, cellos, and double-basses likewise bear these names.
Name is also associated with two kinds of trade merchandise:
(1) Students violins, priced from 2 to 7, and bearing the label
------------------------------
Choisi par
Lon Bernardel, Luthier
Paris
------------------------------
(2) Artists violins - six series - 8 to 18 in value, labelled
-------------------------------
Fait sous la direction de
Lon Bernardel, Luthier
Paris
-------------------------------
(3) Bows, stamped Lon Bernardel. Todays prices up to 15.

BERNARDEL, LON
Son of the preceding. Born 1882. Established at Mirecourt, where he produced much of his fathers exportations.

BERNARDEL, REN
Trade name of violins made at Mirecourt for the Parisian firm known as LIndustrie musicale in the Faubourg Poissonnire. Claimed to be made entirely by hand.
Bows stamped Ren Bernardel-Peccatte. 10 to 15.

BERNARDEL, ROUSSEL
Worked at Paris, 1830-1840.
Stradivarius modelling without distinction.

BERNDT, ERDMANN and MAX
Brothers. Bow makers at Remtengruen (Saxony), 1925. 5.

BERNDT, WALTER
Son of Willy. Worked with him 1923. Good violinist - also successful violin maker.

BERNDT, WILLY
Born at Stettin, 1876. Grew up in poor circumstances owing to early death of father. Made a violin (in boyhood) without previous tuition or assistance, as his mother could not afford to purchase one. Attempt proved very successful. Determined to become a real fiddle maker. Apprenticed himself to cabinet making (as there were no violin makers in Stettin), and in spare time did all he could to perfect his knowledge by reading technical books and working out some of the several theories, etc. Subsequently studied with Pfretzschner. Established at Berlin-Neukolln, 1907-1926.
Stradivarian modelling. Gracefully arranged arching. Scroll of the strong and beautiful type. Sound-holes altogether elegant facsimiles of the original ones. Workmanship executed in such a manner as faithfully to represent every iota of Stradivarian characteristics. Oil varnish of own formula.
--------------------------------
Gebaut von
Willy Berndt
Berlin-Neuklln
Geigenmacher-den-1924
--------------------------------

BERNER (PERNER), SAMUEL
Worked at Kloster Neustift and Brixen (Tyrol), 1735-1754.
Violins and cellos of unostentatious modelling. Reposeful varnish proves that it was applied with readiness of resource directed by judgment. Workmanship allies him with the best traditions of the Tyrolese.
Theorbos especially fine. These usually have the shell-like body composed of 21 narrow strips of yew-tree wood, neck and peg box of pear-tree wood, three pretty rosette sound-holes, 24 pegs, three peg boxes and well-carved fancy head. Body length 47cm.; greatest width, 31.5 cm.; diapason length 64.5 cm.
-----------------------------------
Samuel Berner, Lauten
und Geigenmacher im
Kloster Neustift Anno 1741
-----------------------------------
(written)

BERNHARD, AUGUST
Established at Fleissen (Bohemia), 1884-1925.
Violins of considerable nobility, particularly considering that they belong to the commercial order. Workmanship reflects the highest credit on this conscientious producer. Enjoyed renown as an excellent teacher.

BERNHARD, CARL
Born 1857. Established at Stadthagen (Germany), 1884-1929.
Productivity up to year 1905 amounted to 180 violins, 35 violas, 20 cellos and 60 double-basses.
Most specimens admirably follow the Stainer model. Sound area arranged elliptically, as otherwise (according to his opinion), the abrupt falling-away of the arching cut off the straight-running fibres of the wood too short. Flatter arched examples have the sound area as prescribed by Bagatella. Workmanship generally careful if not of absolute neatness. Tonal quality rather full and of very acceptable sweetness.
------------------------
Carl Bernhard
Geigenmacher
Stadthagen Ao. 19-
------------------------

BERNHARD, JOHANN GEORG
Worked at Mark-Biberbach (Swabia), 1740-1748.
Modelling somewhat Tyrolean in style. Full scene of structural disorder here on view. We wonder what denomination the projector assumed to himself or his scheme. Thoroughly bad belly wood, as destructive to tone as the plague is to humans, and now an inviting playground for the worm. Backs also of very unattractive material. Thicknessing extremely inaccurate. Varnish affords a humiliating record of his judgment in material and skill in application. Very poor tone, not possible to be demephitised by any player no matter how clever he may be with the bow.
-----------------------------------------
Joann Georg Bernhard
Lauten und Geigenmacher
in Marck-Biberbach. Anno 1746
-----------------------------------------

BERNHARDT, ARNOLD
Born 1874. Pupil of Lederer. Worked for a short period under Dr. Stelzner at Dresden. Opened premises at Markneukirchen, 1905. Established at Adorf (Saxony), 1926. Assisted by son (Arnold jnr., born 1902).
Stradivarian outline and sound-holes, with certain originalities in arching and scroll. No incorrectness or blemish in workmanship. Well conceived sound-holes - very neat purfling. Excellent wood covered with a transparent varnish of own preparation. Everything made entirely by hand. Tonal quality having that power of rapid maturity which future players will appreciate.
Branded A.B.H.T. in fanciful letters and stroky scrolling.
Also recognised as a violinist out of the common order.

BERNS-GO-DUS
Period 1795. Modelling of small proportions. Yellow shade of effective varnish. Interesting and curious label.

BERRETTA. ADOLFA
Worked at Turin, 1860-1880.
Connoisseurs and players concur in justly commending these instruments. Elegant modelling - most scrupulous workmanship. Light-brown varnish on yellow ground. Tonal quality convincing in clarity. 20 (1925).
----------------------
Adolfa Berretta
Fecit Turin 1870
----------------------

BERRO, AMBROSIO
One viola known.

BERRY, ARTHUR
Ironmonger at Great Harwood (Lancashire), 1910. Produced violins during all available spare time. Also made several while serving in the war, 1918. Resident at Barrow-in-Furness. 1924.
Succeeded in giving nicely worked versions of graceful contour.
----------------------------------
Arthur Berry
Made during the Great War
----------------------------------

BERRY, F. C.
Born in Noble County (Ohio), 1866. Made first violin at the age of ten. Perused all books he could lay hands on. Gained further insight by working with a maker named Reed. Resident at Urbana, 1890-1926.
Built about 300 instruments mostly on the Messie Strad.
Experimented very assiduously with varnish. Liquified four ounces of crystal glass to every quart, which gives a gloss and a wearing finish unobtainable by any other means, also ameliorates tonal sonority. Inventor of a form for building a violin - an all-metal contrivance - from which anybody (after preparing the various sections) may assemble an instrument of perfect shape. No guesswork or measurement to be done. Also invented a voice producer by which he claimed assurity of obtaining any desired tone. Device placed within the instrument, and invisible. Guaranteed to change a harsh tone into one of Italian mellowness, requiring but three months for mature development instead of a hundred years or so.
Best quality of maple and spruce consistently chosen. Most of his work being ordered, he varnished in whatever shades desired by his customers. His ordinary violins priced at 150 dollars - resonated ones at 250.
----------------------------
Copy of the Messiah
Strad, 1716
By F. C. Berry
235 East Reynolds St.
Urbana, Ohio....
----------------------------
--------------------------------------
This violin.....
Repaired by
F. C. Berry
642 S. Main St. Urbana, Ohio
--------------------------------------

BERRY, PETER
Born 1879. Resident at Kirkcaldy (Scotland). Talented amateur who produced several violins not to be censured by the most severe connoisseur.
Modelling slightly departing from the customary. Scroll also of original conception but without opposition to ordinary dignity. Workmanship executed by a hand practically unlikely to err. Button cut in the form of a shoe. Wood always of exceptional quality. Educated himself to have a profound veneration for the Italian varnish, and endeavoured to replicate it with an oil preparation of a deep golden-brown tint. Tonal quality not very powerful, but agreeably reedy and very responsive.

BERRY, R. W.
Resident at Chesterfield. 1890. Died 1916.
Stradivarian model of fairly accurate workmanship.
---------------------------------------------
Made by
Richard W. Berry
Thornlea, Hepthorne. Chesterfield
---------------------------------------------

BERTANI
Established at Modena, 1880.
Produced several violins coinciding with nice artistry.

BERTANI, VITO
Established at Cosena (Italy), 1922.
Endowed with natural talents prodigiously cultivated by critical examination of the fine Cremonas brought to his atelier for repair. Productions built on a system of well-digested tenets. Nothing veiled by the slightest imperfection in workmanship.

BERTASIO, LUIGI
Worked at Piadena (near Cremona), 1795-1820.

BERTASSI, AMBROGIO
Worked at Piadena, 1712-1730.

BERTET, JOSEPH R.
Worked at Paris, 1730-1764, then moved to Nantes. Shop sign Au Roi David. Instruments exhibiting considerable deftness in workmanship. But tone has little claim to any of the potent requisites of a solo instrument. Thick yellow varnish. Violas have a deep and sonorous tone - more highly valued than the violins. Body length 44 cm.
-----------------------------------
Joseph R. Bertet
au Roy David
rue Neuve St. Roch Paris
1753
-----------------------------------
------------------------------------
Bertet. Luthier au Roi David
rue Dauphine Paris. 1764
------------------------------------

BERTHELOT, ROBERT
Worked at Mirecourt, 1840.
Modelling undeviatingly Mirecourtian. Design not truly artistic in having broad upper bouts. Brownish-red varnish almost opaque, and of hard surface. Tonal quality more harsh than healthily strong. 10 (1930).

BERTHERAT
Worked at Geneva, 1890-1930.
Specialised in really superb replicas of the famous Maggini owned by Henry Marteau (professor at the Conservatoire). Each specimen made from specially procured old woods.

BERTHOLINI, NICOLAS
Violins accurately modelled on the established principles of the great masters. Built by one of the many most skilled craftsmen at Mirecourt, who probably employed several assistants as the yearly output since 1880 has been enormous. Various standards of excellence from two to ten pounds.
Style and workmanship not inferior to the several well-known emanations from the French industrial town. Usually red varnish brilliantly polished - occasionally dark-brown. Made from specially selected and well-seasoned wood; generally one-piece backs of pretty marking. Very serviceable instruments for the average player.
Some early specimens exorbitantly priced at 20 by certain dealers.
------------------------------------
Nicholas Bertholini
Luthier de S. M. lempereur
et de la Cour du France
Fecit Anno 1880
------------------------------------
(sometimes bearing a design on the left)
Many examples autographed. Also occasionally anti-dated to 1805 and thereabout.

BERTI, ANTONIO
Worked at Cortona (Italy), 1721.

BERTOLAZZI, GIACINTO
Born at Santia (Piedmont), 1910. Pupil of Peluzzi at Milan, 1837. Also a capable violinist.
Cremonese models and one more personal, each showing exclusively that he has all necessary aptitude. Especially attractive varnish.
----------------------------------------------------------
Liuteria eseguita sequendo le Teorie costruttive
del Prof. Euro Pehuzzi
Giacinto Bertolazzi Fece
in Milano lAnno, 1945 - N. 17
----------------------------------------------------------
(unusually long, with monogram)
--------------------------------------------------------
Ad normam constnuctionis Prof. Euro Peluzzi
Hyacinthus Bertolazzi fecit
Mediolani Anno Dom, 1948
--------------------------------------------------------
(with monogram)
Also branded G.B. M (beautifully scrolled).

BERTOLETI, ANTONIO
Worked at Brescia, 1790-1800.
Modelling of small proportions. Small scroll with very pronounced boss. No particular glory has redounded to this maker, owing to somewhat unfinished workmanship. Straight and wide sound-holes, disconcertingly ugly. Golden-brown varnish. Excellent belly wood of fine grain, and two-piece back of neat figured material. Tonal quality dull in sonority and feeble in clarity.
---------------------------
Antonio Bertoleti
fece in Brescia, 1798
---------------------------
(printed and written)

BERTOLINI, ANGELO
Born at Reggio (Italy), 1881. Pupil of Pollastri at Bologna.
Produced about 35 violins; distinctively good in workmanship, varnish, and tone. Eminent virtuosi such as Prihoda, Franzoni, and Zaturesky have given high testimony. Won several diplomas at Italian Exhibitions.
---------------------------
A. Bertolini
fecit
Reggio Emili, 1949
---------------------------
(upright writing)

BERTOLINI, NICOLAS
Mirecourtian commercial instruments, 1890-1926.
Red varnish highly glossed.
----------------------------
A la Villa de Cremone
Nicolas Bertolini
----------------------------

BERTOLOTTI, FRANCESCO (1)
Son of Santino. Father of Gasparo da Sal. Artist-painter. Known by the sobriquet Violi. Resident at Polpenazze and Sal, 1520-1570. Amateur violinist, prominent citizen, and possibly ventured on building a few primitive instruments.

BERTOLOTTI, FRANCESCO (2)
Born 1564. Son and pupil of Gasparo da Sal. Worked at Brescia. Died 1620. Fellow assistant in fathers workshop with Maggini.
Violins of small proportions, and narrow waisted. Double purfling, and golden-brown varnish. Also made lire-da-gambas and lutes.
---------------------------------------
D. Francesco q Gaspar da Sal
in Brescia
---------------------------------------
----------------------------------
Francesco e Gaspar di Sal
in Brescia
----------------------------------
His name preceding that of father somewhat deviates from customary rule.

BERTONI
Quite possibly a fictitious label.
-----------------------------------
Bertoni Alumnus
Antonius Stradivarius, 1725
-----------------------------------

BERTOZZI, ALFREDO
Resident at Ripa Seravezza (Lucca), 1937.
Presented a violin and viola at the Cremona Exposition.

BERTRAM, ALEXANDER
Born 1801. Resident at Eddlestone (Scotland).
Produced 100 violins - all mediocre.

BERTRAM, G.
Worked at Portland (Oregon), 1925.

BERTRAM, WILLIAM
Scottish amateur. Made 17 loud-toned violins in the last years of his life, 1790-1810. Several Strathspey players (including the famous Peter Baillie) used them.

BERTRAND, NICOLAS
Worked at Paris, 1686-1735.
Scarce violins of high arching. Generally of poor material which brings them down to a very commonplace level. Dark brownish-red varnish rather thickly applied - of fairly good quality. Workmanship just passable. Tolerably sweet but weak tone. Taken as a whole his few specimens are not wanted, though dealers catalogued them at 20 (1925).
His various viols, particularly the bass-viols (viol-da-gambas) much superior. One of the latter preserved in the Crosby-Brown Collection, New York. Deep model, with the back sloping in the upper part, otherwise flat. Sound-holes crescent shaped. Reddish-brown varnish. Peg box terminates in a sculptured human head. Seven strings passing over an ornamental bridge. Length, 49 inches; width, 16; depth, 5-1/4.
Labels distinguished for brevity and large lettering - some written.
--------------------------------------
Nicolas Bertrand Paris, 1708
--------------------------------------
----------------------
Nicolas Bertrand
Paris, 1716
---------------------
Name sometimes branded.

BERTRAND, THOMAS
Worked at Paris, 1680-1730.
Branded
-----------------------
Thomas Bertrand
Paris, 17..
----------------------

BERTRAND, LOUIS
Established at Paris, 1928. Beare & Son (London) imported many of his productions.
Workmanship clever and altogether satisfactory. Modelling typical of the French school. Faithful transcript of the Vuillaume style in varnishing - rich dark-red shade. Thicknesses of wood very carefully graduated; material thoroughly seasoned, acoustically good, and prettily marked. Catalogued at ten guineas.
----------------------------------
Louis Bertrand
Maitre Luthier Paris, Rue
Croix des Petits Champs.
B&S L. Anno.
----------------------------------
(decorative border)

BERTUCCI, CONSTANTINO
Born at Rome, 1869. Worked at the Fabbrica Peune Tartaruga (Tortoise Shell), Rome, 1900. Later at Pesaro. Died 1930. Guitar soloist. Principally made guitars and mandolines.
----------------------------------
Prof. Constantino Bertucci
Villa Morselli
Pesaro
----------------------------------
-----------------------
Chitarra Classica
Modello Bertucci
Roma. anno
----------------------

BERTUCCI, D. GIUSEPPE
Resident at Mont Orsello (Italy), 1748-1777.
Scarce instruments - nearly all quite ordinary.

BERTUCCI, FAUSTO MARIO
Born at Rome, 1897. Descendant of the ancient house L. Bertucci and Son. Stradivarian modelling mostly consistent with good art. Golden-yellow varnish, causing no defamatory remarks to be said against it.
Also many excellent bows, fully attested by Italian players. Created several innovations in the form of guitars.
------------------------------------
F. M. Bertucci
Liutaio
Roma - Via del Greci N. 28
No. 46. Anno 1926
------------------------------------
----------------------------
Lavorazione
F.M.B. Violini Italiani
Roma, 1949
----------------------------

BESANCENOT
Painter. Resident at Dijon. 1765-1780.
Several violins of ordinary design and workmanship. Some adorned with painted arabesques. One (dated 1776) with copper ornamentation preserved at Paris Conservatoire.

BESSIERES, G.
Worked at Lyons, 1912-1918.

BESSLER, ADAM
Worked at Eperjes (Hungary), 1670-1690. Town trumpeter and general musician. Made viola-barytons and ordinary violas generally considered as rather fully realising dignity. Many bear Italian labels.

BESSOLAZ, JEAN
Worked at Chambry (Savoy), 1902-1914.
----------------------------------
Jean Bessolaz
Luthier
2 rue Roche Chambry
1908
----------------------------------

BETRANCOURT, C. D.
Frenchman. Worked at Brussels, 1900-1920.
Several violins and violas which promise little satisfaction in tone. Third-class workmanship.
-------------------------
C. D. Betrancourt
St. Josse.
Ten-Noode.
-------------------------

BETRANCOURT, LOUIS
Worked at Brussels, 1820.
Violins of heaviness in detail - chestnut varnish.

BETTENCOURT, G. HENRI
Worked at Horta (Portugal), 1900.
Violins and guitars.

BETTI, GIOVANNI BATTISTA
Born 1845. Worked at Sarzanna. Died 1920.
Violins not without a few artistic features - bright tonal quality.

BETTS, ARTHUR
Brother of John Edward, and successor to his business. Violinist and teacher - not an actual maker, but employed several workmen to repair and make instruments.
Stradivarian modelling principally: body length 14-1/8 inches; upper bouts 6-3/4; middle 4-5/8; lower 8 3/16; ribs 1 3/16.
------------------------------------------
Arthur Betts, No. 2 North Piazza
Royal Exchange. London, 1837
------------------------------------------

BETTS, EDWARD
Nephew of John Edward. Known as Ned. Worked with uncle. Died 1817. Capitally trained by Richard Duke.
Well copied all the Cremonese violins, but had a strong predilection for the Nicol Amati. Outline absolutely the personification of grace. Edges and corners delicate and neat. Arching faultless in graduation. Finely finished scroll, perhaps lacking individuality, as though made by machinery. No touch of discordancy pervades the sound-holes. Purfling matchless. Whole contour a picturesque edifice. Subdued shade of transparent golden-brown varnish. Tonal quality generally bright, resonant, rather sweet, but never strong.
Strad-modelled specimens not so free from disturbing elements of unevenness and immaturity of tone.

BETTS, JOHN EDWARD
Known as Old John Betts. Born at Stamford (Lincolnshire), 1755. Came to London and studied the art under Richard Duke. Soon developed a keen business capability, opened inviting premises, and at different periods, employed notable men such as Panormo, Fendt, Carter and Tobin. Died in 1823. Buried at Cripplegate Church.
Made few instruments himself - early productions characterised by Amatese outline and arching. Sound-holes rather inartistically wide. Scrolls always neatly finished. Excellent wood in quality and prettiness. Subsequent instruments bearing his label were most probably made by the above-mentioned workmen. Advertised that he makes in the neatest manner, violins the patterns of Ant. Stradivarius, Hieronymus Amatus, Jacobus Stainer and Tyrols. Equal for the fine, full, mellow tone to those made in Cremona. But the larger proportion of instruments emanating from his workshop were Amatese, and he instructed assistants to continue working in the metier which brought him the best reputation and quicker increased his banking account. Doubtless quite justified in not striking out for the patch of originality, apparently being conscious of his own fluctuating skill, as well as not underrating the caprices of the public.
These instruments, whoever actually made them, give the index of the varying planes of the Amati structure. Arching beautifully done, ease and grace very discernable about the waist curves. Workmanship wholly refined. Scroll of fine volute and a perfect approach to the boss - often of broad aspect. Sound-holes also of ideal curvature. Frequently backs of an especially beautiful close-striped figure. Varnish applied as though worn and aged. Tone never brilliant or strong, but often exceedingly suave, warm and of silvery clarity.
Violas sometimes inlaid with various decorations.
Cellos perhaps superior to the violins, and steadily gaining in the estimation of experts.
---------------------------------------
John Betts, No. 2 North Piazza
Royal Exchange, London, fecit
January 9. 1782
---------------------------------------
------------------------
Jo. Betts, No. 2
near Northgate the
Royal Exchange
London, 1789
------------------------
Usually branded Betts London on button. This has been fictitiously used in a wholesale manner, and may be seen on common factory fiddles. Many specimens with a Betts label are often of the five to ten-pounds inferior order, and indubitably not genuine, not even as having been made by the most elementary of the many apprentices in his workshop.
Cello bows also stamped Betts.
English violins ought to and deserve to have better recognition. The failure of our older makers to successfully compete with those of other countries was not caused by indifferent talent, for they availed themselves of every opportunity of seeing and measuring Cremonas and Tyroleans, and had sufficient skill to minutely copy every detail. Why they were so frequently ignored has never been satisfactorily ascertained. Perhaps it was the invasion of so many continental players who impressed possible purchasers with the tone of their instruments - in consequence, these admirers naturally desired violins with a similar tone, forgetting that the artist is often the special tone-producer rather than the instrument itself. So, of course, as it was impossible for everybody to have Cremonas, they fell back on the Tyrolean, not much troubling about anything except that they came from a foreign land. Thus an innumerable quantity, often of weak and inferior structure, found safe harbourage in this country, springing up and taking root with astonishing rapidity to supply the demand of the many credulous purchasers - and ever since inundating our markets. Many of them have feeble tone, nothing particular in the way of contour, and frequently very much bruised.
Yet they were preferred to the English productions - instruments superior from every point of view to anything from the Klotz-world. Perhaps all this had a serious effect upon the financial affairs of some of our makers, and as pecuniary difficulties often prove a stumbling block to the successful practice of any art, several of them eventually became dealers, thus still furthering the popularity of foreign goods. Todays prices, 60 to 100. Cellos 120.

BETZ
see PETZ.

BEUTHNER, ADOLF
Established at Markneukirchen, 1895. Died 1917.
Pupil of Paulus; worked at Leipzig, Berlin, and Copenhagen. Produced all varieties of trade stringed instruments.

BEUTHNER, JOHANN ULRICH
Worked at Hamburg, 1710.
Instruments not only deficient in what is the first requisite, namely tone, but their structure is inelegant, indifferently proportioned, and carelessly executed.

BEVAN, THOMAS
Resident at West Bromwich (Staffs.), 1860-1900. Had a small shop in Dudley Road. Sold cheap fiddles and bows, strings and other accessories. Also gave elementary violin lessons, and did odd repairs for the numerous colliers and iron-workers in the district.
Conceitedly made about 30 preposterous-looking fiddles from any woods he could lay his hands on. Nondescript model of the very bulgy order. Belly wood of wide grain, backs and ribs of unflamed material - no scroll, but a head like an oblong trough, rectangular slits represented the sound-holes, very irregular red ink lines instead of purfling, and a sickly pale yellow varnish concoction boiled at home.
---------------------------------------------------
Thomas Bevan
Repairer and Dealer
Dudley Road, Swan Village, West Brom.
---------------------------------------------------

BEVERIDGE, WILLIAM
Born at Craig (Aberdeenshire), 1821. Youthful years occupied as a labourer at Tough. Ultimately became curator of the Free Church College Museum, Aberdeen. Also known as a naturalist, and a skilful taxidermist. Died 1893.
Made a large number of instruments although only working in spare time. We cannot but remark the admirable character of the design. Scroll well cut and considerable art displayed in its poise. Sound-holes not without merit. Workmanship generally well finished. Structural relationship of back and front splendidly accomplished. Red and amber varnish. Made own tail-pieces, and frequently elaborated them with fanciful carving. Tonal quality generally disappointing.
------------------
W. Beveridge
fecit
Tough. 1870
------------------
Branded Beveridge, Tough on the back.

BEYER, F.
Worked in Naumberg (Saxony), 1815.
Specialised in large-sized double-basses. Workmanship tending towards the rough. Very dark and opaque varnish.
-------------------------------------------
F. Beyer
Instrumentenmacher in Naumberg
-------------------------------------------

BEYER, EMIL
Worked at Erfurt (Saxony), 1890. Died 1925.
Violins and cellos aspiring to a rather exalted position. Beautifully marked wood meets with equally beautiful reciprocity from the varnish.
Also produced bows on the Bausch model. Stamped E. Beyer.
Patented a new bridge, 1899.
Assisted in his work by his wife Zigarren Bertha Beyer, 1908.

BEYER, GEORGE W.
Born at St. Paul (Illinois), 1887. Studied and worked with Albert Karr and Johnson. Established at Bloomington (Illinois), 1926.
Produced first instrument 1912. Only built two yearly owing to repair activity. Stradivarian modelling. No label - name stamped on the back.

BEYER, ROBERT
Established at Berlin, 1905-1924. Seldom made instruments himself, but employed several assistants.
Produced magnificent replicas of the celebrated Cremonese violins. Varnish and mode of application superbly imitated. Recipient of gold medals at exhibitions, and testimonials from eminent virtuosi.
Patented a bridge with five ovalish apertures in the centre, and two innovated side streams, 1914.
Trade mark R.B. and a violin in white, with a triangular background and circle in thick black.
Formulated a new process in striving for the Cremona tone, which aimed at harmonically tuning the plates by an impregnating compound - not by its quality but by its quantity - which (by suitable. apparatus) is drawn into the plates freed from water and air. After hardening of the compound the proper tone of the plates is raised to a definite pitch. But he failed to get the tone that the old Italians did in a more simple and modest manner.

BIALAS, G.
Worked at Oppeln (Silesia), 1925.

BIANCHI, ALBERTO
Born at Nice, 1871. Died 1948.
Produced 500 violins, 60 cellos, many guitars and mandolines. Many of these (variously modelled after old Italian types) have a refreshingly vigorous tone of seldom-achieved maturity in new instruments. Varnish of Cremonese transparency.

BIANCHI, GIOVANNI
Worked at Florence, 1746.
Rather plumpish model strongly wooded. Workmanship throughout quite reasonably accurate. Nicely figured wood covered with yellow varnish. Cellos also have convincing attributes.
-----------------------------
Giovanni Bianchi fec in
Firenze, anno 1746
-----------------------------

BlANCHI, NICOL
Born at Genoa, 1796. Pupil of, and worked for Ceruti, Guadagnini, and Pressenda. Settled in Paris, 1842, attained great reputation as a repairer and expert at his establishment in the Rue Croix-des-Petits-Champs. Had a serious quarrel with other Parisian makers, 1868 - returned to Genoa. Finally established himself at Nice, 1872 - died there, 1881.
If his instruments fail to excite the wonderment of the buyer, they are at least so excellent that the most fastidious connoisseurs can hardly take exception to any particular point in workmanship.
Stradivarian, Guarnerian of rather large proportions, and Amatese models. Frequently copied to give the appearance of old instruments. Sound-holes and purfling show freedom of manipulation. Scroll exhibits all the experience of practised cleverness. Those who have a true sense of the beautiful will appreciate the texture of the brown varnish. Inside work most carefully and minutely finished. Tone generally comes up to the fair standard of modern Italian violins. Cellos built on models likely to give the best tonal results. Invariably covered with a rich orange or deep red varnish.
Viol-damours of seven strings and seven sympathetic strings - masterpieces of decorative work.
Violins catalogued at 45 (1930). Orchestral players who want a strong penetrating tone without absolute newness will here find something to meet their requirements. He was succeeded by his foreman Franois Bovis.
----------------------------------
Nicol Bianchi
Rpare par Bianchi Nicol
luthier dcor
in Parigi, 1850
----------------------------------
(sloping lettering)
(surrounded by a thin line)

BIANCHINI, VINCENZO
Excellently-toned violas - splendid varnish.

BIANCHINI, SECONDO
Born 1928. Studied at the violin-making school, Cremona, 1943. Worked for a short period at Sal. Returned to Castlevetro Piacentino (birthplace). 1949. Produced 60 violins, violas, and cellos up to year 1951. Excellent modified Guarnerian modelling.
------------------------
Bianchini Secondo
fecit Sal, 1949
------------------------
---------------------------
Bianchini Secondo
fecit Cremona, 1948
---------------------------
Both written.

BIASIO, CARLO DE
Born at Sottoguda di Rocca Pictore, 1909. Studied with Contavalli.
Made first instrument, 1937. Produced over 50 violins up to year 1951 of attractive design. Generally a personal model. Good textured varnish, yellow or reddish shades.
----------------------------------
Carlo de Biasio
Sottoguda - Rocca Pietore
Prov: Bellumo. Italia.
----------------------------------
(block lettering)

BICHET, MANSUY
Bow-maker at Mirecourt, 1780.
Generic type of the Tourte bow. Workmanship superior to other productions of the same period. Stamped Bichet.

BICKHAM, RICHARD
Amateur at Southampton (England), 1816.
Arching and outline quite ordinary and roughly executed. Acoustically poor wood - very wide grain for table, and plain maple for back. Typically amateurish scroll, imperfectly shaped and carved. Sound-holes wide, and far from being symmetrical - one being wider and straighter than the other. Further disfigurement by absence of purfling. Amber varnish of rather superior quality.
------------------------
August 15th, 1816.
Made and sold by
Rd. Bickham
Southampton
-----------------------

BIDDULPH, HARRY
Born at Aberystwyth (Wales), 1866. Amateur. Resident at Wandsworth (London), 1925. Died 1949. Studied violin-making with Frank Howard, 1920.
Early specimens belong to the smaller Guarnerian model - pretty outline and graceful arching - orange-brown varnish of dark hue. Subsequently adopted and adhered to the large Guarnerian design. Body length, nearly 14 inches; upper bouts, 6-5/8; middle, 4-1/2; lower, 8-1/8; ribs, 1-1/4 to 1 3/16.
Splendid outline - diversity of curvature admirably harmonised. Noticeably and praiseworthily wide across the waist. Interesting arching - not merely the result of book-rote. Exquisite waist curves; perfect corners. Workmanship entirely enthusiastic in favour of strength and neatness. Nothing intolerable or laborious about the scroll - no constraint to the whole flight of the volute - full from boss to boss - everything showing the practised hand of a skilled woodworker. Purfling without hesitation of thought or embarrassment in tracing. Further eulogy for the typical sound-holes - perfectly graduated opening to the centre, lower and upper curves delightfully conceived. Golden-yellow varnish of fine texture, most patiently and artistically applied. Strong and penetrating tonal-quality, freely responsive, and affording assurance of a brilliant future.
Also violas and cellos.
------------------------------------
Mor O Gan Yw Cymru Igyd.
Y Chwechfed
Gan un O Feibion Cymru
---
19 Llundain 22
------------------------------------
Also bearing design of the Welsh Flag.
Translation:
-------------------------------------
Wales is a Sea of Song
The Sixth
By one of the Sons of Wales
(autograph monogram)
19 London 22
--------------------------------------
Second line denotes number of instrument - No. 3 being Trydydd, etc. Monogram (in Indian ink) also on button (under the varnish). Written with same ink on the inside of back and front:
-------------------------
No. 6
H. Biddulph
Aberystwyth 1866
London 1922.
-------------------------

BIEDERMANN, R. A.
Worked at Detroit (Michigan), 1908. Died 1916.
Natural and free modelling. Varnish very splendidly applied. Tonal quality refreshingly clear and easily animated.

BIEDERMANN, WILHELM
Bow maker at Raun (Saxony), 1908-1925.

BIENFAIT, PAUL EMILE
Born at Rouen (France), 1857. Originally a professional violinist. Went to Paris and became enamoured with art of bow making, 1893.
Conscientious study coupled with knowledge of handling a bow, gave rise to productions of estimable value. Perfect balance and ingenious workmanship will be felt and seen by lucky purchasers.
Stamped P. E. Bienfait.

BIENFAIT VIOLINS
Cheap trade instruments exclusively made for Haynes & Co., London, 1895-1907. Excellent value for a guinea. Everything nicely proportioned. Also violas, cellos, and double-basses.
----------
Bienfait
----------
(ugly, and with blotchy border, name surmounted on a well-drawn sound-hole)
Also bows at six shillings, stamped Bienfait.

BIGOURAT, JEAN
Son of Nicolas, worked at La Havre (France), 1870-1890.
Appreciated fathers work, borrowed his ideas and improved upon them. Admirable modelling - all details bear impress of thought and fixity of principle. Exercised discriminating judgment in selection of wood. Used a similar varnish to that of father.

BIGOURAT, NICOLAS
Born 1800. Pupil and successor to Thibouville. Worked at Moulins-sur-Allier (France), from 1823 to death, 1880.
Only made a few new instruments, chiefly after a Guarnerius model. Must be credited with doing his work in a thoroughly intelligent manner. Used a light-brown varnish of own preparation; and nothing but crass ignorance could enable anyone to dispute that he possessed the true principles of varnishing. Rather clear tone but not very refined.
-------------------------------------
Rpar par Nicolas Bigourat
Moulins en 1823
-------------------------------------
------------------------------------------------
Nicolas Bigourat Luthier prs lHorloge
Moulins, 1869
------------------------------------------------

BIGNAMI, OTELLO
Born at Bologna, 1914. Studied with Bonora, and followed his model. Exhibited at Cremona, 1949.
Satisfactory design and workmanship. Amber varnish.
--------------------
Bignami Otello
fece in
Bologna
--------------------
(magnificently artistic design, with signature and number of instrument)

BIKSZEGI, FERENC
Born at Buda-Pesth, 1877. Studied with Andres Bergmann. Splendid reputation throughout Hungary, 1939. Many instruments especially rewarding to players desiring quick response brilliance.

BILLOTTET, LOUIS FERNAND
Born 1895. Worked at Paris. Died 1948. Modelling of exceptional beauty and significance. Italian woods. Varnish of superlative texture, yellowish-orange or very bright red.
----------------------
Fait Paris
par L. F. Billottet
Anne, 1942
No.
----------------------
(with cross)

BILMARK, AMON
Born at Copenhagen, 1894. Pupil of Sacconi (Rome). Established at Durban (South Africa), 1929.
Violins, violas and cellos. Modified Strad modelling. Instruments making a strong impression, which is not effaced when a sensitive bowist tries the tone. Golden-brown and reddish-brown varnish.
-----------------------------
Amon Bilmark
fecit Durban anno 19..
-----------------------------

BIMBI, BARTOLOMEO
Worked at Sienna (Italy), 1753; and at Florence 1760-1769.
Smallish model, somewhat with the high-built characteristics of a Stainer. Very handsome wood. Orange-red varnish of attractive quality. Rather charming instruments for amateur lady violinists whose performances are generally restricted to drawing-rooms.
-------------------------------------
Bartolomeo Bimbi Florentinus
fecit lanno 1760
-------------------------------------

BINA, JOHANN NEPOM
Born at Prague, 1826. Studied with Lehner. Subsequently worked for several makers in Austria and Hungary. Lived at Prague from 1853 to death, 1897.
Instruments presenting several points worthy of commendation, and bear comparison with those of any Prague maker of the period. Outline, arching, and general contour characteristically belong to the Prague school. Varnish (rather ingeniously applied) completely satisfactory in texture and colour.
-----------------------------
Johannes Bina
Prague
fecit anno Domini. 18-
Opravil Reparirt Bina
J. Bina v Praze
-----------------------------
-----------------------
Johann Bina
in
Prag anno 1877
-----------------------
-------------------------------------------------------
Johann Bina
Musikinstrumentenverfertiger und beeideter
Schtzer, Anno 1885
Prag
Wenzelsplatz No. 5 neu
-------------------------------------------------------

BINDER, ADOLPH
American - 1925.
Stradivarian outline. Excellent construction. Careful varnishing.

BINDERNAGEL, JOHANN WILHELM
Born about 1770 at Remstdt (near Gotha). Died 1845. Originally a carpenter. Worked at Gotha (Thuringia). Apprenticed to F. A. Ernst, and subsequently imitated his style.
Made guitars on the model of J. A. Otto of Weimar.
Favourite pattern for violins was the Amatese, but occasionally he changed to the Stradivarian. Instruments appreciated by Germans - perhaps because he was a countryman of theirs. No other reason can be assigned, for the workmanship falls short of being first-class. Colour and texture of varnish quite ordinary. Tone not particularly powerful, or sweet, but has that kind of dull quality invariably associated with German violins - a peculiarly unresponsive tone if handled by a brilliant player, though often acceptable to the slow stroke amateur violinist.
Also made harps and lutes.
-------------------------------------
Johann Willhelm Bindernagel
Instrumentenmacher in Gotha
1798
-------------------------------------
--------------------------
Prope Straduarius
von
J. Wm. Bindernagel
in Gotha. 1828
--------------------------
(written)

BING, O.
Worked at Mirecourt, 1870. Opened premises at Paris, and had Lantez for partner, 1880.
Violins of the usual commercial class, but demanding a modicum of respect for structural solidity. Moreover they have a strong tone which is ripening to happier days.
Recipient of silver medal at Amsterdam Exhibition, 1883.

BIONDI, CARLO
Born at Cesenatico (Italy), 1868. Died 1920. Distinguished himself as an ebony worker.
Encouraged by Frontali (violin virtuoso) to construct stringed instruments. Presented a group of violins and cellos at Ravenna Exhibition, 1904, and triumphed by receiving gold medal. Similar honours at Naples and other cities.
Splendid instruments. Yellowish-brown spirit varnish. Many specimens destroyed during World War I.

BIRCH, THOMAS
Worked at Hereford, 1840-1860.
Not wondrous affairs, but the modest Amatese modelling and truly excellent yellow-brown varnish should beguile a few amateur quartettists.

BIRD, RICHMOND HENRY
Born at Walsall, 1869. Worked at Wolverhampton until 1914. Chief maker and repairer for Rushworth and Dreaper at Liverpool since 1914.
All Cremona models successfully imitated. Every conceivable shade of varnish employed. Particularly accurate workmanship, inside and outside. Minute attention given to graduation of the plates. Accredited with unravelling the mystery of Italian tone, and has achieved fine results in evenness, brilliance, and sonority. All violins, violas and cellos made by him and his pupil assistants at Liverpool bear the name of The Ardeton.
Label of earlier specimens:
-------------------------------
Richmond H. Bird
81 Raleigh Rd.
No. 50. Wolverhampton
-------------------------------
March 1913

BIRLAUF, B.
Born 1901. Amateur. Resident at Basel.
Designs, woods, workmanship, varnish, and tonal quality completely praiseworthy.
-------------------------------
Bernardo Birlauf
fecit Bosilea anno 1948
-------------------------------

BIRLOTTI, GIOVANNI
Pupil of Sgarabotto. Worked at Vincenza. Died young 1920.

BIRMETTI, GIOVANNI BAPTISTA
Worked at Florence, 1770-1775.
Stradivarian model of rather large proportions, but wanting the exactness of the more perfect original. Scroll and sound-holes indicate facile skill. Good wood treated to a very nice reddish varnish.

BIRTLES, W.
Worked at Stoney Green, Great Salkeld, Penrith (Cumberland), 1900-1905.
Advertised his Grand Victor Violin (at 10) as being a rival, if not superior to the most famous Cremonese.

BISCH, PAUL
Born at Mirecourt, 1893. Pupil of Mougenot; also worked for Caressa and Franais at Paris.
Modelling somewhat similar to that of a Gand. Wins attraction by its refinement. Workmanship has all the subtlety of experienced skill. Scroll, sound-holes and purfling, all neatly done. Red-brown oil varnish on yellow ground - of sparkling effect. Tone completely in accordance with modern requirements.
Won the Grand Prize at the Exposition de lArtisanat, Paris, 1927.
--------------------------------------
Paul Bisch. Luthier No.
Rue Chantaire, Mirecourt. 19-
--------------------------------------

BISCHOF, JOHANN
Born in Saxony 1707. Worked at Haarlem (Holland). 1760-1775. Chiefly repairs. Made a few good double-basses.

BISCHOFBERGER, HERMANN O.
Son and pupil of Oskar. Born 1922. Worked at Zrich. Moved to Copenhagen 1946. Went to Chicago, 1948.

BISCHOFBERGER, OSKAR
Born 1888. Pupil of Zst. Worked for Mckel at Berlin. Returned to Zrich 1941.

BISCHOFF, E.
Worked at Orleans (France), 1912-1925.

BISHOP, D. C.
Student of the Bretch school of violin making, 1919. Established at Boston Corners (New York), 1925.

BISIACH, CARLO
Born 1892. Son of Leandro. Co-operator with his father at Milan for several years. Established at Florence, 1926.
Resplendent workmanship - often handsome slab backs and very fine grain for breasts - orange-red varnish. Gold medallist at various exhibitions.
---------------------------------
Carlo Bisiach Di Leandro
Fece in Milano. P.A. 1925
---------------------------------
-------------------------------
Carlo Bisiach di Leandro
Milanese fece in
Firenze lAnno 1942
-------------------------------
(With monogram and signature)

BISIACH, LEANDRO
Born 1864. Pupil of Antoniazzi. Established at Milan, 1890. Occupied the second floor of a beautiful old palace with large and lofty rooms - choice examples of antique instruments in one room, specimens of his own work in another, and a restoration room occupied by his three sons - Andrea (born 1890), Giacomo (1900), and Leandro Jnr. (1904).
Became the most esteemed Italian maker of his time. Died 1946.
Made many perfect replicas of old instruments, also many of new appearance (measurements generally based on those of the Messie Strad). Varnished from a long-lost Strad recipe dated 1704 which came into his possession, and subsequently caused much controversy among connoisseurs as to its authenticity. Lovely textured and lustrously transparent of orange-red shade, irresistibly urging the onlooker to immediately draw the bow across the strings, and finds viola-like sonority on the G and D with brilliant clarity on the A and E.
Several specimens realised 40 in 1924. Today 80 to 100 and more.
----------------------------------
Leandro Bisiach da Milano
Fece lAnno 1922
----------------------------------
(with signature and monogram)
---------------------------------
Leandro Bisiach in Milano
1909
---------------------------------
--------------------------------------------------
Leandro Bisiach della Scoula Cremonese
fece in Milano 1917. Piazza del Duomo
--------------------------------------------------
(Italian Crown in right-hand corner, also full name written in greenish-black ink).

BISIACH, ANDREA
Born at Milan, 1890. Son of L. Did considerable travelling in Europe and America before settling at his fathers workshop, where he did much experimenting, also an expert in judging old master violins.

BISIACH, GIACOMO and LEANDRO
Brothers: G. (born 1900), and L. (born 1904).
-----------------------------------
Giacomo e Leandro Bisiach
Fecero in Milano lA. 1947
-----------------------------------

BITTEREN, JOSEPH
Born at Schnbach. Trained at the violin-making school and became master there 1926. Went to Mittenwald 1927, where he had the assistance of his son Georg.
Ordinary good-class trade violins.

BITTNER, ALOIS
Worked at Kladno (Czech), 1909-1950.
Italian models - 1733 Guarnerius favoured - most attractive sound-holes with slight originalities. Oil varnish, golden yellow, golden brown, golden red and deep red.
--------------------------------------------------------------------
Zhotovil mistr houslar roku 1918
Alois Bittner v Kladn, (decorative border)
prisezny znalec c k okr. soudu
Jedin vlastni vyroba smyccovych hudebnech nstrojn
--------------------------------------------------------------------
---------------------------------------------------------
Mistr A. Bittner
Lousler Luthier Reparater prisez. scud. znalec
zak vidensk houslarsk skoly
Fecit Kladno a Pragae Anno 19..
opus cis
---------------------------------------------------------

BITTNER, DAVID
Studied in Italy. Worked at Vienna from 1845. Died 1887.
Instruments breathing a spirit of the pure Cremonese in outline and arching. Scroll and sound-holes in perfect unison with whole contour. Oil varnish of fine texture and transparency. Had great vogue in America from 1860 to 1890.
Cellos similarly excellent.
Appointed maker to the Viennese Court and Royal Opera House.
--------------------------------------------
David Bittner
Geigenmacher in Wien Anno, 1846
--------------------------------------------
--------------------------------------------
David Bittner
Geigenmacher des K.K.Hof.Op.Th.
in Wien, 18..
--------------------------------------------
(striking fanciful, bearing designs of crowned heads, and double-eagle in centre)
Branded D.B.
Establishment carried on for a short period by his son Theodor.

BIZA, GIOVANNI BATTISTA
Worked at Treviso (Italy), 1770-1780.
Lutes and violins. Some of the former artistically arabesqued.

BIZAN, F.
Lute-maker at Brussels, 1749-1755.
Also a performer at the Royal Chapel.
Made a few violins of flat modelling and orange-red varnish.
------------------------
Faiet par F. Bizan
Brussele, 1753
------------------------

BIZZI, EGIDIO
Worked at Finale Emilia (Modena), 1937. Exhibited violins at the Cremona Exposition, 1949.

BJORKLUND, E. H.
Born at Stockholm, 1868. Amateur. Violins and guitars - ordinary conceptions.

BJORKMAN, OLAF EDVIN
Born at Gvle (Sweden), 1900. Amateur.
Violins and viols. Won silver medal at Stockholm, 1948.
---------------------
Edvin Bjorkman
Gvle 3.
1950
---------------------
(written)

BJORKMAN, AXEL-NASSJO
Sweden. Amateur violin maker. Born 1880.

BLACK, JAMES
Meritorious negotiation of the Hardie-Strad model, yellow varnish, loud but not particularly penetrative tone.
-------------------
Made by
James Black
Dundee, 1841
-------------------
(written)

BLACKBURN, J. H.
Colne (Lancs.) Modern luthier who has made few instruments, being mostly occupied with repairs.

BLACKSTONE, J.
Period about 1760.
Amatese modelling of really nice workmanship. Scroll and sound-holes admirably done. Belly wood of fairly wide grain. Very fine and thick brown varnish typical of the old English school.
-----------------
J. Blackstone
-----------------
(written)

BLAEN, JOHN
Game-keeper. Resident at Creetown (Scotland), 1910-1921.
Produced a few violins of very ordinary modelling. Admiration not heightened by a display of neatness. Varnish not too well managed.

BLAHOWETZ, WILLY
Born at Markneukirchen, 1887. Son of Joseph (1857-1909). Worked at St. Gall, Magdeburg, and at birthplace.
Violins having great popularity throughout Saxony and other parts of Germany.
------------------------------
Willy Blahowetz
Knst Geigenmacher
gpf Meister anno, 1942
------------------------------
(written)

BLAHOWETZ, JOSEPH
Born 1907. Son and pupil of Willy. Similar work to his father. Also made plectrum instruments.

BLAINE, LANCASTER S.
Born in America, 1869. Scottish ancestry. Learned violin making in boyhood from an uncle who was a maker and repairer. Established some years at Chicago. Worked at Muddy Creek Forks (Pennsylvania), 1920.
Most successful producer of instruments, particularly as regards tone. Perfect outline, and dexterously-executed workmanship. Varnish evinces many years of careful study. Drawing of scroll unexceptional and original.

BLAIR, GEORGE HARVEY
Born in State of Vermont (U.S.A.) 1868. Scottish-English parentage. Made first instrument, 1885. Established at Spokane (Wash), 1906-1940.
Made enthusiastic efforts to extend the influence of violin-making art in his locality. All his 300 instruments (including 10 violas) show much taste in outline, some slight originality in the arching, combined with a perfect knowledge of the various technicalities in workmanship, and a faithful adherence to uniform beauty in wood and varnish. Rare acquisitions in the future. Idaho spruce and Oregon maple. Orange or red varnish having about 100% spruce-gum.
Also produced exceedingly satisfactory bows which fully demonstrate his understanding of what solo players really want.

BLAIR, JOHN
Worked at Edinburgh, 1790-1820.
Model invariably follows that of a best-period Stradivarius. Arching very carefully graded. Scroll may not be noble, but undeniably artistic. Sound-holes tastefully cut. Purfling accurately laid. Workmanship throughout nearly reaching the acme of refinement. Choice figured wood, seems too thin, and robs the tone of complete roundness. Quality, however, fairly satisfactory. Dull spirit varnish, originally yellow, but now faded to a pale brown. There are a few instruments with a dark brown varnish, and these seem to have more wood in them, consequently a fuller tone. Value somewhere around 25.
Did not use a label, but usually wrote his name or the inscription John Blair, maker, Aberdeen across the table on the inside.
Initials J.B. also to be found stamped upon the table under finger board.

BLAIR, WILLIAM
Born at Crathie (Aberdeenshire), 1793. Attained fame as an unusually fine rhythmic fiddler of strathspeys and reels. Conspicuous figure in Scotland. Known as The Queens Fiddler on account of his services always being requisitioned by the Royal Family at Balmoral. Travelled through Scotland with Julliens Band, 1840, and excited everybody with his vivacious fiddling, much after the manner of Neil Gow. Composed reels and strathspeys for violin (Methven) - the best is The Queens Fiddlers Compliments to Mrs. Troup. Died 1884.
Pupil of Matthew Hardie at Edinburgh in violin-making.
His skilful carpentering knowledge should have led him to do refined workmanship, but he had a taste rather puerile, a weak judgment, and little genius, therefore his hand executed little beyond the ordinary average efforts of an amateur. Did not rigidly adhere to one model. Varnish (also the method of laying it on) scarcely corresponds to classic taste or immaculate beauty. Adopted the ridiculous procedure of artificially ageing the wood by forced heat; thus the majority of instruments have gradually deteriorated. Unsatisfactory tone, harsh and metallic.

BLAISE
Worked at Mirecourt, 1822.
His instruments, though not entirely divorced from excellent workmanship, are nevertheless of small importance from a tonal point of view.
Instructor of a few clever pupils, the Silvestre Brothers being the most noteworthy.

BLAISE, H.
Worked at Mirecourt, 1900-1930.
Splendid commercial products at 4 in his time.
Amati model, beautifully cut scroll, pretty wood, golden-brown varnish.
-------------------------------------------
A lenseigne de Ia bonne Lorraine
Jehanne H Blaise est feseur
de violons Mirecourt. HB.
-------------------------------------------
(facsimile of old writing)

BLAISE, JULES
Born at Mirecourt, 1820. Son of the preceding. Worked for Silvestre Brothers at Lyons. Established at Geneva, 1855-1870. Died 1882.
Made several rather nicely-proportioned instruments in early years when ambition stimulated his talent. Ultimately relinquished the idea of future advancement in the art, and was satisfied to turn out the usual order of factory-style Mirecourt fiddle.
--------------------------
Jules Blaise, Luthier
1857
--------------------------
Label found in many rather cheap violins of this class of mass production.

BLAKKESTAD, HALVOR P.
Born at Gol. Hallingdal (Norway), 1863. Made first instrument 1890. Domiciled at Minneapolis since 1911. Working there 1927. Produced about 60 instruments up to 1926.
Stradivarius model of a naturally graceful outline and arching. Workmanship throughout thoroughly consistent with excellence. Red and reddish-brown varnish of splendid texture. Large and flexible tone, particularly clear and brilliant in the upper register. Productions that undeniably deserve perpetuating. Maker of bows for violin, viola and cello - advertised as the perfect bow. Also well-known as dealer and repairer.
-------------------------
H. P. Blakkestad
Minneapolis. Minn.
-------------------------

BLANCHARD, ANDR
Born Rouen, 1909.
Gifted copyist of the Pietro and Joseph Guarnerius styles. Singularly brilliant oil varnish of reddish shade. Exhilarating tone.
-----------------------
Andre Blanchard
Rouen, 19.. No...
-----------------------
(with coat-of-arms)

BLANCHARD, FRANCOIS
Born 1796. Worked at Mirecourt. Died 1859.
Violins, guitars, and lutes.

BLANCHARD, PAUL FRANCOIS
Born at Mirecourt, 1851. Grandson of Franois. Apprenticed to Auguste Darte, 1865, who taught him the Vuillaume principles. Worked for Daniel at Marseilles, and for Silvestre at Lyons. Established own workshop, 1870. Received medals at various French Exhibitions since 1889. Died 1912.
A keenly interested worker, only satisfied with the best he could accomplish, and having all the requisite knowledge regarding the practical construction of an ever-improving instrument. Though considerably patronised by Americans who want well-made violins at a reasonable price to flood their native market and fill their pockets, he never showed a tendency towards production of scurried work, known as the cheapest with its accompaniment of careless workmanship and characteristic poorness of tone; yet he has proved that he had enough imagination to realise what his clients needed, and sufficient business capacity to satisfy them.
If his violins fail to excite the wonderment of buyers, they are at least so excellent that the most fastidious connoisseur can hardly take exception to any particular detail. As these instruments are steadily improving in tone, which is already of fair quality and refreshingly clear, they are going up in price, and will make a keen race for popularity with the better-known and older specimens of French production.
Produced about 30 instruments yearly. Those made by himself invariably follow the models of Stradivarius and Guarnerius. Workmanship altogether refined. Used plenty of wood (always acoustically fine and of handsome figure), and did not indulge in any artificial faking to prematurely mature the tone. Very transparent golden-red oil varnish - beautiful appearance. Astonishing sonority of tone - equal throughout the four strings.
--------------------------------
Fait par Paul Blanchard
Lyon en 1887, No. 137
--------------------------------
(with artistic border on which is the Legend of Duiffoprugcar)
Monogram on left, and the Lyons City Arms on right.
Instruments made for the trade by assistants are of their class, as good as any other (occasionally superior specimens slip in) from France. Varnished in a lighter shade than those he personally made.
------------------------------------
Fait dans lAtelier
de P Blanchard. Lyon. 1892
------------------------------------
Cheapest instruments emanating from his workshop and made by numerous pupils were originally sold for 4.
-----------------------
Marque. Depose
2 LVGDVNVM 2
anno 1891
-----------------------
Very flashy label with a representation of the Lyons City Arms, and Lugdunum inscribed in square lettering.
Blanchard was appointed maker to the Lyons Conservatoire, theatres, and municipal orchestras.

BLANCHI, ALBERTO
Born at Nice, 1871. Son and pupil of Augustin. Gold medals at Milan, 1906; and London, 1908. Worked at Nice, 1925, where he produced 500 violins, 60 cellos, double-basses, guitars, mandolines, and some especially free from the slightest blemish - whether of his studentship years or after he had arrived to that of full violin-makers estate. Outline and arching of original conception. Sound-holes not infrequently of classic gracefulness. Also excelled in carving a scroll whereon grandeur with neatness is exemplified. Nobody has done finer purfling. Soft and transparent oil varnish (beautifying the pretty wood) of various colours, orange-red predominating.
Many instruments have risen to the estimation they most justly merit. They belong to that school which is termed inspired. Tone particularly clear, and very much appreciated by the various fine players belonging to the magnificent orchestras at Nice and Monte Carlo.
-----------------------------
Albertus Blanchi filius
dAgostini fecit Nicaea
-----------------------------
--------------------------------
Albertus Aloysius Blanchi
Augustin filius fecit
Nicaea Civitas. Anno
--------------------------------
(beautifully scrolled)

BLANCHI, AUGUSTIN
Born 1828. Died 1899. Worked at Nice.
Clever maker who, through persistent experiments attained high-class results, and wisely refrained from indulging in extravagancies to create something that generally oppose the established principles of older makers. Workmanship and varnish deserve the highest eulogium. French violinists always eagerly on the lookout to purchase one of these penetrating-tone instruments.
----------------------
Blanchi Agostino
detto Giardini
Nizza, 18-
---------------------
(written)

BLANK, L.
Breitenfeld (Saxony). German bow maker.

BLASIER, HERBERT E.
Born at Williamsburg (Iowa), 1859. Never studied or worked with anyone. Made extensive investigation along lines of physical construction. Died 1930.
Individualistic model based on the Guarnerian outline. Particularly original arching to which he attributed his successes in firmness and intensity of tone. Long model over 14 inches - long waist curves to fit in with the general scheme. Width of upper bouts 6-1/2; lower, 8. Long sound-holes with pronounced bottom curves. Own oil varnish of all shades between pale yellow and red. Vital parts of the interior meticulously attended to.
First instrument dated 1900.
----------------------------
No. Fecit Anno, 19..
H. E. Blasier
Williamsburg, - Iowa
----------------------------

BLAGICH, GIOVANNI
Trieste. Amateur maker.

BLASICH, LOUIS (LUDWIG)
Brother of Giovanni.
Amateur of distinction. Resident at Trieste, 1881.

BLASIO, RAFFAELE DI
Worked at Naples, 1780.
Gagliano modelling. Workmanship third-rate, dark yellow-brown varnish without lustre, uneven tonal quality.

BLASS, DR.
Amateur at Mannheim, 1905.
Rather fancied he had discovered the Amati and Stradivarius secrets. Instruments put to a test with Cremona specimens at a Berlin Concert, and irrefutably failed as their tone was slow of speech and dry, though somewhat powerful.
Cellos also lacked responsiveness.

BLAUN, CARL WILHELM
Double-bass maker at Altona-on-Elbe, 1840-1850.

BLAVET
Repairer and cabinet-maker at La Fert (France), 1780-1820.
-------------------------------------------
La Fert-sous-Jouarre
Depart de Seine et Marne
Blavet, Ebniste, raccommode les
Violons et outres Instruments
-------------------------------------------

BLEECKER, J. W.
Amateur. Resident at Forest Hills (New York), 1845.
Strad modelling - bright yellow or reddish-brown varnish.
------------------------------
James W. Bleecker
Forest Hills, N. Y., 19..
------------------------------

BLECHSCHMIDT, KARL
Worked at Schnbach, 1925.
Violins to be placed in the category of trade instruments.

BLECHSCHMIDT, MARTIN
Worked at Steingrub (Bohemia), 1925.

BLEICH, JOHANN
Worked at Schnbach (Bohemia), 1800-1815.
Good ordinary design so far as relates to harmony of proportions, but wood often of inferior quality. Tonal quality quite immature in mellowness.
---------------------
Johannes Bleich
Schnbach 1806
---------------------
------------------------------------
Johann Bleich, Geigen
und Instrumentenmacher in
Schnbach Anno 1805
------------------------------------

BLIGHT, R.
Worked at Exeter, 1830.
No violation of symmetry anywhere, very satisfactory workmanship, sweet Amatese tone. Name branded on the back.

BLINDI, CARLO
Florence. Modern violin of no particular distinction.

BLISS, T.
Lived at Northampton, 1850.
Misshapen affairs, yellow varnish, no purfling, freezy tone.

BLISS, W. GRANT
Worked at Syracuse (New York), 1920. A first-class repairer.

BLITZ, LOUIS
Born 1904. Pupil of Vedral at The Hague. Worked at Rotterdam, 1924. Won diploma at The Hague Exposition, 1949.
--------------------------------
Louis Blitz - Vioolbouwer
Rotterdam, 19-
--------------------------------
(with signature)

BLOM. HENNING OSKAR
Born at Drottningholm (Sweden), 1873. Amateur. Produced violins, also clarinets.

BLOMHOFF, C. J. H.
Born 1887. Resident at Leeuwarden (Holland), 1917. Carpenter etc.
Personal model - most interesting ensemble. Golden-yellow varnish, attractively clear and transparent. Instruments much appreciated in Holland.
Reputed to have made very excellent bows.
-------------------------
C. J. H. Blomhoff
Ao. Gebouwd. No.
Leeuwarden
-------------------------

BLOMQUIST, H.
Born 1903. Amateur at Gteborg. Died 1944.
Fair adherence to the Amati - little hesitation of hand in the workmanship.

BLONDEAU
Viola player at Paris, 1816-1830. Had two years intensive training with an important Parisian maker. Made 15 violins solely as a hobby, and had no desire to sell them.
Immaculate workmanship - surprised art classicists and won enthusiasm for tone qualities. Perfect replicas of a second-period Strad, varnished (reddish-orange shade) to give appearance of wear.
----------------------------------
Fait par
Blondeau
rue de Bourbon-Villeneuve
Paris - 1821
----------------------------------
B branded in three places - one on each side of tailpin, and one on button.
At death, a well-known dealer bought them, and subsequently sold them with reprinted labels of Georges Chanot, also obliterated the Bs.

BLONDELET, A.
Worked at Mirecourt, 1850-1865.
Rather good Amatese modelling. Violins and cellos.

BLONDELET, HUGUES EMILE
Born 1875. Joined the firm of Thibouville-Lamy at Mirecourt, 1890. Became codirector with Acoulon, 1908. Died 1928. Contributed much to the prosperity of the firm. Officer of Public Instruction, Chevalier of the Legion of Honour, 1923. Two grades of violins bear his name - Amati and Stradivarius models - 20 and 25 (1920). Excellent workmanship: corners rather too prominent. Scroll sometimes with overdone black rims. Red oil varnish, thick and tending to slight transparency. Tonal quality of considerable sonority and reasonable homogeneity.
Cellos for soloists - Amati model - 40 guineas.
-----------------------------
daprs A. Stradivarius
E. Blondelet V1
No... Anne...
----------------------------

BLOSS, ERNST
Bow maker at Hohendorf, 1925.

BLYTH, WILLIAMSON
Born at Greenlaw, Berwick (Scotland), 1821. Worked at Edinburgh. Died 1897. A pretender and charlatan who turned out about 2,000 wretched violins. His egregious vanity was pitiable and ridiculous. Had the knack and effrontery of being able to make something resembling a fiddle out of any obtainable wood, used few tools, then hawked his productions around, even visited pawnships and posed as a fellow in direst poverty. It is said that he had weeks when he telt less satisfied with mediocrity, and did exercise greater care in construction etc., but this mood was extremely rare. For some instruments made under this better influence he received a Diploma of Honour at the Glasgow Exhibition, 1890.
Wood generally of a yellowish colour. Thin spirit varnish having an appearance that creates no desire to look at it a second time. Wheezy tone on account of the thinness of the plates. Made first violin in ninth year, and played on it at a wedding. A smart strathspey player, for which he received medals at Edinburgh; also composed several of those inspiriting dances.

BOBBI, GIUSEPPE
Born in Guatemala, 1891. Went to Milan to study sculpture, 1911. Became (1938) an enthusiastic votary of violin-making and made a good number of violins and violas in free-handed style.
---------------------------
Bobbi Giuseppe fece
in Milano 1948
---------------------------

BOCEK, BOHUSLAV
Born at Unhost (Bohemia), 1874. Trained at Schnbaeh. Worked at Prague, 1908. Very clean workmanship.

BOCCACCINI, GIUSEPPE
Born at Pistoja (Italy), 1836. Contrabassist. Retired from his profession, 1899. Made several double-basses which he claimed to have tonal quality equal to the Storionis and other old Italians. Flat model, choice wood, transparent golden-yellow varnish. Also constructed a few in guitar form without corners.

BOCHARD and CARRADORI
Established at Paris, 1925.
Series of violins made specially for them by some of the cleverest ouvriers in Paris. Known as La Lutherie Franaise.

BOCHEM, DIERICH
Lute maker at Cologne, 1660-1700.
Some instruments preserved in the Museum at Darmstadt.
----------------------------
Dierich Bochem
Lautenmacher, Cllen
----------------------------

BOCHEM, JOANNES
Son of Michael. Worked at Cologne, 1735-1770.
Violins of fairly elegant modelling. Outline, arching, and varnish rather Amatese. Tonal quality not large but of acceptable purity and silvery. Also produced a large variety of lutes.
-------------------------------------------
Joannes Bochem, Lauten
und Geigenmacher in Cllen, 1745
-------------------------------------------
-------------------------------
Joannes Bochem
in Cllnrenovatum, 1769
-------------------------------

BOCHEM, MICHAEL (Also spelt his name Bochum on certain labels).
Son of Dierich. Worked at Cologne, 1690-1730. Lutes and zithers principally. Produced a few violins of attractive design. Workmanship reasonably neat. Excellent wood and warm shade of transparent varnish.
--------------------------------------------------
Michael Bochem Lauten
und Geigenmacher in Cllen Anno, 1720
--------------------------------------------------

BOCHS, PIETER
Born at Dordrecht (Holland), 1578. Worked at Amsterdam, 1602-1650.
Known for fine viol-da-gambas; very delicately refined workmanship and lovely textured varnish. Some with lion-heads of ingenious carving.
-----------------------
Pieter Bochs
Amsterdam. 1625
-----------------------

BCK, JOHANN GEORG
Worked at Wlfelsdorf (Silesia), 1808-1820.
Modelling rather unusually long, and of medium arching. Thin edges and slightly prolonged corners. Long sound-holes with wide stem. Belly wood of fine-grain spruce. Generally superbly marked material for back and ribs. Golden-brown and rich-orange shades of varnish. Persuasively sweet and flexible tone. Interesting instruments in point of originality. 30.
------------------------------------
Johann Georg Bck, Lauten-
Geigen und Harfenmacher in
Wlfensdorf, 1818
------------------------------------

BOCQUAY
see BOQUAY.

BODENI, LUIGI (ALOYSIUS)
Amateur. Worked at Venice, 1719.
Violins and cellos. Style and workmanship well-nigh perfect. Varnish of almost inimitable transparency.
--------------------------------------
Aloysius Bodemi, blectamente
faciebat, anno 1719, Venetijs
--------------------------------------
(in splendid but fanciful caligraphy, stating that he made for pastime)

BODIO, GENNARO
Worked at Venice, 1740.
Instruments not comparing favourably with other Italian productions of the same period, neither in workmanship nor tone.

BODIO, GIAMBATTISTA
Worked at Venice, 1792-1832.
Though we must fully recognise and appreciate the many good qualities of this clever workman in his intelligent application and considerable aptness to the principal technicalities of his art, it is doubtful whether his instruments have great claim to the requirements of a soloist, notwithstanding the fact that some dealers (1925) asked as much as 90 for a well-preserved specimen.
Invariably the large Stradivarius model with fairly flat arching, which greets the eye with as much of what is called originality as any of the Venetian school. Unconstrained manner of the scroll is of particular interest. Very good and handsomely small-figured wood. Three varnishes both rich - a dark brown, a brownish yellow somewhat reminiscent of Gagliano, and one of reddish tint. Excellent, full, and robust tone, but not of the finest quality. Passage of years will, however, bring this latter essential in its train.
Had some original ideas of which we cannot approve, such as inlaying the edges of the sound-holes with ebony. A few of his instruments have ornamental heads. Catalogued at 800 dollars in America (1925).
-------------------------
Gio. Battista Bodio
fecit Venezia, 1809
-------------------------

BODY, A.
Worked at Innsbruck (Tyrol), 1885-1888.
Violins of ordinary conception and workmanship.

BOECK, JOHANN GEORG
Worked at Wlfelsdorf, 1815-1840.
Conscientious workmanship, longish and broad design, yellow-brown varnish.
--------------------------------------
Johann Boeck, Lauten-
Geigen und Harfenmacher in
Wlfelsdorf, 1818
--------------------------------------

BOELAND, HANS ANDREAS
Worked at Klingenthal (Saxony), 1729.
The first of this family to make violins. Name subsequently changed to Poehland by certain descendants.

BOELAND, JOHANN ANDREAS
Son of J.C. Worked at Brunndbra (Saxony), 1760-1770.
Modelling generally exhibiting ineptitude of conception. Workmanship very mediocre. Instruments belong to the class of nothing can come of nothing. A maker who missed his vocation, and would probably have achieved better results with shoe-making or some such occupation. Sound-holes precipitously straight and ugly. Painted lines for purfling, and not uniformly traced with the edge. Inaccurate mensuration of the body, and too short a neck. Woods of fair quality, deserving of better treatment.
-----------------------------------------------
Johann Andreas Bland.
Violinmacher in Brundebra, Ao. 1765
-----------------------------------------------

BOELANDT, JOHANN CHRISTIAN
Son of H. A. Worked at Klingenthal, 1754-1782. Modelling slightly steps up in advance of that of his contemporaries. Little to be reprehended in workmanship. Arching of medium height. Red-brown varnish of reasonable transparency. Excellent acoustical belly wood. Warm and smooth tone, but without any brilliance. 20 (1930).
------------------------------------------
Johann Christian Boelandt
Violinmacher in Klingenthal, 1780
------------------------------------------

BOETHIUS, ERNST
Engineer at Norberg (Sweden), 1900.
Strad modelling. Good yellow and deep red varnish of own formula (after several years of enthusiastic delving in its various problems).

BOFILL, SALVADORE
Worked at Barcelona (Spain), 1720-1750.
Modelling has touches of Stradivarius and Guarnerius combined. Very slight arching. Splendid workmanship decorates the scroll and sound-holes. Varnish not particularly fine, being without suppleness. Tone of penetrating sonority, not of ideal purity, but mellow enough for soloists.
Cellos unfortunately too large to meet with wholesale approbation; and here, in obeying the impulse of genius to create something noble, he just missed his aim.
----------------------------------
Salvator Bofill, fecit Barci-
none, anno Nat. Dhi. 1742
----------------------------------
(sometimes Nativ. instead of Nat.)
Also branded near tail-pin.

BOGDANOFFSKI, A. N.
Worked at St. Petersburg, 1880.
Principally made Russian violins for the trade. Bevelled edges, and generally without purfling. Also used a kind of furniture polish instead of the usual varnish.
--------------------------
A. N. Bogdanoffski
St. Petersburg
--------------------------
(bearing the Russian Eagle)

BOGDNOVICS, ISTVAN (STEPHAN)
Worked at Buda-Pesth.
Never at a loss for all those expedients which result in a fine ensemble. Modelling similar to a J. B. Schweitzer. Nicely transparent reddish-brown varnish. Productivity small, each specimen most splendidly finished and varnished and finely toned.
--------------------------------------
Kszitette Bogdnovics Istvn
Pesten, 1865
--------------------------------------

BOGENHOLZ, H.
Born 1834. Worked at Detmold (Germany).
Musician. Built violins and other instruments from 1874 to his 83rd year.
--------------------
H. Bogenholz
Detmold, 1880
--------------------
(written)

BOGNER, AMBROS JOSEPH
Born at Hayd (Bohemia), 1752. Worked at Prague until 1792. Removed to Vienna. Died 1822.
Scarce instruments which ought to receive greater recognition. Well-developed model of graceful outline. Arching not too pronounced, and splendidly graduated to the edges. Possibly the first Viennese maker to adopt the broad and rather flat model. Sound-holes may be contemplated with an almost fascinated gaze. Workmanship on the whole quite good, outside and inside. Belly wood of straight and even-grained spruce, and a superb quality maple with pretty flame for backs. But there are, unfortunately, some specimens of which the material is distinctly mediocre. Scrolls sometimes fancifully carved, and not particularly captivating in neatness. Red-brown varnish of dark tint, rather brittle (therefore easily cracked) and opaque. Fairly brilliant and flexible tone with reasonable mellowness.
Sold fifty years ago for 7. Catalogued (1930) in America at 350 dollars.
Also made excellent guitars greatly admired by Viennese players.
------------------------------------
Ambrosius Josephus Bogner
fecit Viennae. Anno, 1807
------------------------------------
(decorative border)

BOHK, LAJOS
Worked at Buda-Pesth, 1925.

BOHART, VERNER
Worked at Ottawa (Canada), 1929.

BOHLIN, AUGUST
Amateur at Harbons (Sweden), 1925.
Violins and hurdy-gurdys.

BHM, FRANZ
Worked at Buda-Pesth, 1800-1808.
Clever imitations of the Italian master-instruments. Instruments exhibiting the most exemplary discharge of craftsmanship. Varnish of purest quality. Many specimens have been labelled Guadagnini and others, and, owing to their marked similarity to the originals, have been easily disposed of as genuine Italians.
-----------------------------------
Franz Bhm, Geigenmacher
in Pesth Anno, 1804
-----------------------------------

BHM, FRIEDRICH
Born 1904. Pupil of Kochendrfer (Stuttgart). Worked in Switzerland and Vienna. Assisted Voss at Berlin, and became successor, 1945.
Violins with a blend of the past and present.

BHM, JOHANN
Worked at Lemburg (Poland).
Splendid modelling with flat arching. Graceful sound-holes. Robust scroll. Very neat edges, corners and purfling. Light-red varnish of excellent texture and plentifully applied. Full sonority and silvery brilliant tone. 30 (1930).
------------------------------
Johann Bhm
fecit Leopoli anno 1820
------------------------------

BHM, WILHELM
Factory at Silberbach (Czech), 1926.
Exporter of four grades of cheap violins - for schools, imitation-old, concert and artist oil-varnished. Graduated prices from 1 to 10.

BOHMANN, JOSEPH.
Born at Neumarkt (Bohemia), 1848. Went to the United States, 1873. Opened a factory and a large music warehouse at Chicago, 1878, and titled it American Musical Industry. Won medals at Paris, 1889; Chicago, 1893; Antwerp, 1894; Atlanta, 1895, and Omaha 1898. Challenged the world, 1888, through the Inter-Ocean papers, that he could produce finer stringed instruments than any other manufacturer.
Replications of the master-models of Gasparo da Sal, Maggini, Amati, Stainer, Stradivari, Guarneri, Tononi, and Seraphino. Named the perfect artist-violins. Each instrument guaranteed to be constructed entirely by hand, and with no doctoring of the wood. Canadian and European woods. Amber oil varnish in shades of golden-yellow, red and brown according to the chosen model.
Again challenged the universe to find a maker who could discover the secret of his special process and imitate his unmatchable varnish. Also advertised that the tone was unbeatable by any other violin of any age and country.
Owned a genuine Maggini (on which he was a very capable performer) and could enchant his soul and make life happy (his words). Produced several magnificent copies of this model, with ornamental inlay on the back, double purfling, and built to have as near an approach to the old tone as possible.
Twelve grades of these artist-violins, priced from 40 to 500 dollars. Also a consummate solo-violin of own model (combining Maggini and Guarneri traits), old mountain-spruce, wondrously-marked maple, and golden varnish. Catalogued at 1,000 dollars.
Violas in twelve similar grades.
Seven grades of cellos - Stradivarian, Guarnerian, and Amatese modelling.
Five grades of double-basses.
----------------------------------
Joseph Bohmann
The Worlds Greatest
Musical Instrument Maker
276 W. Madison Street
Chicago
----------------------------------
(with facsimiles of all the victor medals)
All genuine Bohmann instruments contain a steel-engraved picture of the manufacturer inside.
Some of his earliest Amati specimens have the following painted or inlaid from top to bottom of back:
-----------------------
Joseph Bohmann
306 S. State Str.
Chicago. Ill.
-----------------------
Inventor of a new staccato bow, with a large aperture in the fore part of the saddle for the thumb to fit in instead of the customary harbour-like opening. Pernambuco and Japanese woods, round and octagon sticks, silver and gold mountings. Stamped Jos. Bohmann.
Actively employed with his art and commerce, 1926 - assisted by his son Joseph Frederick, who inherited the versatility of father.

BOISSELOT, JEAN LOUIS
Born at Montpellier (France), 1785.
Made, in early years, several rather excellent toned violins, violas, and cellos. Workmanship generally well-finished. Nice yellowish varnish.
Went to Marseilles, 1823, established a piano factory, and had remarkable prosperity in that trade. Died 1847.
---------------------------
J. L. Boisselot
Luthier Montpellier
1807
---------------------------

BOIVIN, CLAUDE
Born at Mirecourt. Worked at Paris, 1725-1760, and named his workshop A la Guitare royale. Master of the Violin-Makers Guild, 1752.
Acquitted himself in some points of workmanship in a manner quite fascinating, so that thoughtful connoisseurs do not hesitate in pronouncing him a first-class maker of the old French school. Not only do these scarce instruments captivate by their appearance, but appeal to the players for tonal reasons, and to experts for the minutely-finished details of the interior.
Interesting outline with medium-high arching; occasionally one slightly flatter. Sound-holes particularly well shaped. Similar ingenuity exercised in the carving of scroll. Invariably fine-grained material for belly, handsome flamed maple for back. Usually reddish-brown varnish, clear and glistening, but perhaps too thin; occasionally of rose-colour tint. Completely satisfactory in tone for an instrument generally valued at 40 (1925). Also made viols and guitars.
---------------------------------
Claude Boivin
rue de grenelle St. Honor
Paris, 1730
---------------------------------
--------------------------------------------
Claude Boivin
Rue Tiquetonne Ԉ la guitare royale
Paris, 1747
--------------------------------------------
Sometimes name branded on back.

BOJESEN-PETERSEN, S. C.
Worked at Copenhagen, 1908-1928.

BOKROSS, KALMAN
Born at Nyitra (Hungary), 1892. Worked at Prague, Buda-Pesth, and Vienna. Settled at native place, 1923.
Violins modelled after several of the classics. Nice acquisitions. Healthful tonal quality.

BLAND, J. A.
Worked at Brunndbra, 1750-1780.
Common-looking, indifferent workmanship, painted lines instead of purfling, sound-holes unmercifully botched, but rather good wood, and attractive reddish-brown varnish.
----------------------------------------------
Johann-Andreas-Bland
Violinmacher in Brundebra Ao. 1765
----------------------------------------------

BOLANDER, JOHN A., JNR.
Bowmaker, also violins, violas, cellos and basses at San Jose, California, 1959.

BOLDIZSAR, ISTVAN
Born 1865. Worked at Buda-Pesth, 1890.

BOLDRINI, OVIDIO
Worked at Sal (Brescia), 1860-1892.
Productivity comparatively small. The spiritual spark of this village, traceable from the time of the celebrated Gasparo, is scarcely ignited here.

BOLIS, AEGIDIO-AIRURO (COMO)
Amateur Italian maker. Died at beginning of World War 2.

BOLLER
see POLLER.

BOLLES
One of the earliest lute and viol makers in London, 1620. Mace, in his Musicks Monument, 1676, mentions that the viols of Bolles were held in the highest esteem, one bass (viol-da-gamba) being then valued at 100.

BOLLI, PIETRO
Worked at Naples, 1895-1906.
Excellent copies of the various Italian models. Generally golden-orange varnish. 15 (1920).

BOLLINGER, JOSEPH.
Worked at Steyr (Austria), 1819.
Violins showing a degree of accomplishment which should disarm much of the connoisseurs antipathy to comparatively new instruments - not unworthy of comparison with any of the Austrian school. Exceedingly clear tone, fairly penetrating, and equally balanced on the four strings. Notwithstanding that the model is somewhat after the Amati style, the edges are decidedly higher and slightly rounder than usually associated with that popular outline, but nothing unduly draws the eye. This sense of unity is the fine art in violin structure.
----------------------------
Joseph Bollinger fecit
Steyr. anno, 1819
----------------------------

BOLMON, JOHANNES
Probably worked at Markneukirchen.
--------------------------------
Johannes Bolmon
Laute-und Geigenmacher
1683
--------------------------------

BOLOGNA ANGELO
Asti. Made a few instruments and has not been heard of since the last war. May have been killed in action.

BOLONDI, ODOASTRO
Born 1906. Amateur. Resident at Reggio Emilia, 1932.
Several violins and 3 double-basses. Mussolini played on one of the former.

BOLTZE
Oboe-player and passionate violin-worshipper. Resident at Elberfeld (Germany), 1890. Skilful wood carver, and did good restoring work. Made notable progress in violin building, and produced several instruments deserving of praise. Ambitions suddenly quelled by early death at forty.

BOLVIGLIARI
Italian. Violin with this name (dated 1742) realised 180 in 1930.

BOMBERGHI, LORENZO
Son of Giovanni (active 1637-1680). Worked at Florence, 1680-1710. Productivity small. Of slight consequence.

BOMBIRIO, DOMENICO
Piedmontese. Worked 1700. Pupil of G. Cappa.

BOM, THOMAS DE
Amateur. Worked at Versailles, 1785-1810.
Workmanship a very long way from being second-rate, as some writers have declared. Everything done carefully though perhaps individual character is lacking. Varnish very sensibly applied. Tone deserves development. 25 - modest sum usually solicited by dealers (1920).
---------------------------------------------
Fait par M. de Bom
Chier de St. Louis, Versailles, 1788
Donn M. de Macusan
---------------------------------------------
Surrounded by a black and gold thread. In the centre will be found an escutcheon with initials T.B.V.
----------------------------------------
Thomas Bom, Versailles, 1799
----------------------------------------
With design of an embedded violin; also the three initials, and thin thread.
-----------------------------
Bom. Versailles, 1803
-----------------------------
His work ought to occupy a better place on the roll of merit than the one generally assigned by present-day experts.

BOMINI, CARLO
Worked at Cremona, and claimed to be a pupil of Stradivari.
Very desirable instruments - alluring (some writers say feminine) modelling. Warm golden-brown varnish magnetizing the eyes. Generally one-piece backs of variegated flame, and an easily-produced tone offering enticement for all varieties of bowing.
----------------------------------------
Carolus Bomini, Discipulus
Antonij Stradivarij Cremonensis
1715
----------------------------------------

BONAFON, NICOLAS
Said to have worked in Paris around 1800.

BONAZZA, DOMENICO
Worked at Trieste, 1860.
Ordinary modelling of various Cremonese types.

BOND, WILLIAM
Resident at Totnes (Devon), 1820-1830.
Made some cellos of average workmanship. Valued at 20 in 1926.

BONDANELLI, CHIARISSIMO
Born at Venice, 1910. Chemist. Resident at Novara.
Violins having a few originalities in modelling. Spirit-and-essence-of-turpentine varnish; golden-yellow shade.
------------------------------
Fece a Novara nel 1949
Bondanelli Chiarissimo
------------------------------
(with signature)
Also (on the back): Ti feci col cuore, con laiunto di Dio, or suona.

BONE, PHILIP J.
Head of the firm at Luton, 1892-1918.
Principally mandolines, but some violins bear the label.
------------------------
Bone & Co.
Music Warehouse
Manchester Street
Luton, 1897
------------------------
( - with signature across)

BONIEWICZ, FELIKS
Worked at Ldz (Poland), 1925.

BONIS
see DE BONIS.

BONN, J. EDWIN
Born at Fermoy (Ireland), 1861.
Practised as analytical chemist before embarking on violin building. Resident at Brading (Isle of Wight) from 1875. Died 1927. Played the violin in youthful days; founder and conductor of the local Orchestral Society, 1880; and enthusiastic in all matters musical. Ultimately became enamoured with violin structure; received considerable guidance from a good maker; and devoted several years to acquiring requisite mastery.
Stradivarian mode1 and one denominated original. Measurements of own model: body length, 14-1/8 inches; upper bouts, 6-3/4; middle, 4 7/16; lower, 8-1/4; depth of ribs, 1-1/4 to 1 3/16; distance between sound-holes at top, 1-3/4.
Outline of finely bold curvatures. Waist curves suggestive of the Guarnerian. Edges slightly ridged and delicately finished.
Patented the four-footed bridge, known as the Premier; supposed to equalise each string.
Created a prosperous market with his chemically-prepared oil for cleaning the violin - advertised as violino redivivus.
Author of a Booklet on Violin Strings - gives an account of his chemical discovery and manufacture of gut, silk, and wound strings, also practical hints on choice and preservation.
Versatility further extended by being the composer of a few elementary pieces for violin with piano.

BONNEL, JOSEPH (AINE)
Established at Rennes (France), 1820. Extended his business 1830 in partnership with his three sons, and employed clever workmen such as Demarne and Claudot. His own productivity, though small, deserves to stand forward more prominently. Pretty replicas of the Lupot model. Abundant evidence everywhere of careful thought, not only in the workmanship itself, but also in varnishing. Bright and fresh tone of good quality.
---------------------
Bonnel
Luthier
Rennes 1853
---------------------
-----------------------------
Repare chez Bonnel
Luthier Rennes, 1828
-----------------------------

BONNEL (JEUNE)
Son and pupil of the preceding. Worked at Rennes, 1830-1860.
Good modelling and finished workmanship. Reddish Lupot varnish.
------------------
Bonnel jeune
Rennes
------------------
--------------------------------------------
Repar chez Bonnel jeune, Luthier
facteur musique etc., 1855. Rennes
--------------------------------------------

BONNEL, EMILE
Established at Rennes, 1860-1899.
Fine flat modelling after Stradivarian style. Particularly handsome wood for slab backs. Lustrous red varnish. Fine full tone which gives dealers a chance of securing - 30 (1920).
------------------------------
Mdailles dor dargent.
E. Bonnel. Luthier
1896. Rennes. No. 250
------------------------------

BONNEL, NICOLAS
Brother of Bonnel ain. Established a workshop at Rouen, 1820. Employed several workmen of clever attainments. Retired 1873.

BONNICI, FRANCESCO
Born in Malta, 1842. Was employed at Gand & Bernadel for many years mostly on repairs, although he assisted in the making of some first-class violins which earned him gold medals - 1899 and 1900. He died in retirement just before the first World War in 1914.

BONNISEAU
Little known maker who was a pupil of Saunier (a good maker of the Mirecourt type). He was established at Toulouse around 1800.

BONO, GAETANO
Worked at Venice. 1730-1740.
Outline shows no discomfiture of hand. Instruments further ingratiated by fine varnish. Few specimens known, several being subjected to fictitious labels. 35.

BONORA, GIUSEPPE
Worked at Bologna, 1925.
Customary Italian artistry - entire absence of anything of the neophyte; resplendent yellow oil varnish. Much inlaid ebony work on some. Also wondrous carving of designs representing Saint-Cecilia, the Parnassum, etc.
Inventor of a vibrating arch sound post.
----------------------
Bonora Giuseppe
1925
----------------------
(unique design - name in a circle)

BONORIS, CESARE
Worked at Mantua (Italy), 1568.
Won considerable patronage for graceful design of his viols. Especially good viol-de-gambas. Workmanship rivals that of Dardelli. Tone equally as fine.
------------------------
Cesare Bonoris
di Mantova, 1568
-----------------------

BONTEMPS, DOMINIQUE
Worked at Mirecourt, 1772-1777.
Produced bows of good appearance, so good that curiosity is instantly awakened to try the apparent excellent balance and elasticity. Four guineas (1930).

BONVICINI, FILIPPO
Worked at Spilambergo (Udine), 1780-1796.
Made a few violins and cellos. Workmanship gives evidence of considerable talent. Yellow-brown varnish of nice appearance. Sweet tone, clear, but not powerful. Amatese modelling carefully arched.
---------------------------------
Filippo Bonvicini
fece in Spilambergo, 1792
---------------------------------

BOOM, PIERRE
Worked at Brussels, 1758-1779. Endowed with considerable talent.
Produced a few violins of accurate outline. Arching governed by restraint - likewise sound-holes. Varnish nicely irradiating the well marked wood. Tonal quality having a salutory effect on the hearer.
Achieved greater fame with his much larger productivity of lutes and viols.
-----------------------
P. Boom me fecit
Bruxelles, 1772
-----------------------
(sometimes one line)

BOOTH, CHARLES
Worked at Burnley, 1882-1895.
Ordinary modelling and workmanship.
-----------------------
Made at Burnley
by Charles Booth
1888
-----------------------
Others slightly different in wording.

BOOTH, JOSEPH
Worked at Manchester, 1880.
Well-conceived modelling; fair orchestral tone.

BOOTH, WILLIAM (1)
Followed the profession of hairdresser before finding out his aptitude for violinmaking and repairing. Worked at Leeds, 1809-1856.
Model somewhat follows the Amati, but occasionally departs from this in favour of the Long Stradivarius. Workmanship not inartistic though ordinary, and collectors need not turn cold shoulders upon them. Decent healthy tone, particularly on the G, D, and A strings - high notes of the E string being somewhat harsh and unequal. Dark brown varnish of excellent quality. 12 (1900).
-----------------
Wm. Booth
Maker
Leeds, 1824
-----------------

BOOTH, WILLIAM (2)
Born at Leeds, 1816. Son and pupil of the preceding. Emoloyed by Henri Gugel, 1834-1838. Returned to Leeds and established himself as instrument maker. Died 1856.
Modified Stradivarian model of graceful outline. Workmanship superior to that of father. Varnish of a rich golden-brown tint, equal to some Italian productions. Thoroughly at home in the carving of the scroll. Nice appearance further enhanced by well-drawn sound-holes. Deserves compliments for choosing good acoustical wood with the usual element of pretty flame. Very pleasing tone but small.
These instruments have never been sufficiently appreciated by amateurs.
--------------------------
Wm. Booth. Maker
Leeds, 1853
--------------------------

BOQUAY (BOCQUAY), JACQUES
Born at Lyons. Worked at Paris, 1705-1735.
Early instruments follow the small Amati model; later we find some modifications having a resemblance to those of a Peter Guarnerius, and the larger type of Amati with pronounced and striking corners. Medium high arching. Workmanship not of finest order. Tone varies, but is generally a bit cloudy, therefore lacking the essential penetration for present-day performers.
Structure changeable with faultiness; particularly attributable to his proclivity for rapid production and consequent carelessness in critically examining and adjusting all the different thicknesses; hence the poor and uneven tone. Nevertheless there are a few specimens scattered about on which he exercised greater thought, and these have been catalogued at 70 (1925) - an exorbitant figure to our thinking.
Sound-holes vary - sometimes ordinarily drawn, and at other times too slanting for real artistry. Scrolls must have appealed to him, for here he is never wanting in his conception of contour. These are also slightly variegated according to different periods. Experts have stated that the original scrolls are now seldom seen on the Bocquay violins offered for sale, as they have been removed to adorn old Italian instruments.
Wood for table also varies between close and wide grain; and that for backs usually plain, though there are a few with a prettily-marked curly maple of small figure. We have also seen one with half the table made of wide-grained pine and the other half of close grain. Was this carelessness or an experiment? Used three varnishes: brown, a very transparent yellow, and an orange-red - all very nice looking but without richness. Tone not especially clear though rather strong.
Apparently devoted more care when making cellos, these having a happier contour than the violins, though the pattern is often rather small. Violas also are especially good and have a suitable tone for chamber-music performance.
In the Paris Conservatoire Collection is preserved the violin, dated 1718, that Baillot used when giving his lessons at that institution.
Labels - some with unequal square lettering and decorative border; others in good lettering with plain border:
---------------------
Jacques Boquay
rue de la Juiverie
A Paris, 1709
---------------------
---------------------------------
Jacques Bouquey. Luthier
rue du Coq no. 15 Paris
---------------------------------
---------------------
Jacques Boquay
rue dArgenteuil
Paris, 1722
---------------------
Best instruments produced at the last-named address. Sometimes the name Boquay is branded.

BORA, EUGEN
Worked at Naples, 1905.

BORANI, A.
Worked at Naples, 1873.
Violins and cellos.

BORBON, GASPAR
Worked at Brussels, 1673-1705. Changed his name to Bourbon after 1701.
Violins, violas, and double-basses, all designed on the model of Gaspar da Sal. Characteristics delineated most triumphantly by excellent workmanship. Widely opened and perpendicular sound-holes not unprepossessing. Yellow, light-brown, or red varnish - applied in a manner to tolerably satisfy critical eyes.
Curiously-shaped viola with yellow varnish was exhibited in 1878.
-----------------------------------------
Gaspar Borbon tot Brussel, 1691
-----------------------------------------
-----------------------------
Caspar Bourbon, 1702
-----------------------------

BOREL, CHARLES
Born 1736. Cabinet-maker. Worked at Neuchtel. Died 1824.
Average ordinary modelling, well-carved scroll, sound-holes too near to edges, reddish varnish.
----------------------------
Fait par C. Borel
Neuchtel en Suisse
1802. No. 38
----------------------------
(with portrait)

BORELLI, ANDREAS
Worked at Parma, 1720-1747.
Modelling of smallish dimensions, somewhat similar to that of a Lorenzo Guadagnini in general traits. Ripening critical knowledge of present-day players is rapidly bringing these instruments to the fore throughout Europe and America, although they have been favoured for many years by Italian violinists.
Workmanship closely approaches neatness. Scroll and sound-holes have commendable nicety of curvature. Hypercritically the dark-red varnish might raise a slight cavil, but the clearer and lighter golden-brown shade merits unqualified admiration. Belly wood frequently of wide grain, backs of rather small flamed material. Tonal quality which has now fully awakened to silvery maturity of penetrative sweetness. 85 (1927).
Also a few carefully-made cellos.
--------------------------
Andreas Borelli fecit
Parmae, anno 1746
--------------------------

BORELLI, ANTONIO CESARE
Worked at Parma, 1785-1794.
Modelling of large dimensions. Upper bouts lack due apportionment with the lower. Entire structure without artistic balance. Workmanship of the novitiate order. Golden-yellow varnish of nice transparency.

BORELLI, JAVETTA
Worked at Parma.
Trade violins catalogued at 5 (1900). Backs of birds eye maple.

BORGHI, PIETRO
Born at Cotignola, 1892. Studied wood-carving, etc., at the Industrial School, Forli. Manifested deep interest in violin structure, 1915. Practically trained himself through having repeated opportunities of examining the magnificent and extensive collection of instruments belonging to Giuseppe Strocchi (a wealthy musical-amateur). Participated in the Exposition at Forli, and came out with the victorious first-prize, 1921. Resident at birthplace until 1925, then established himself at Modena.

BORGIA, ANTONIO
Worked at Milan, 1765-1772.
Modelling and workmanship evince a very praiseworthy intuition and sincere desire to approach close to the Testore excellencies. Nevertheless most of these instruments can only be commended as mere apprentice performance. No specimens seem to have reached real maturity of style.
-------------------------------
Antonius Borgia me fecit
in Milano, anno 1769
-------------------------------

BORGOGNONI
Worked at Senigalia (Italy), 1840. Amateur. Specialised in double-basses.

BORIERA
Worked at Schio (Italy), 1891.

BORLON, PETER
Worked at Antwerp, 1636-1653. Lute and viol maker to the Court. At the expense of a little thought he has given us something better than the unseemly huddle of inferior workmanship by which good taste is sometimes alarmed when viewing instruments of this period. Made a few violins of smallish-size, clear yellow varnish.
-----------------------------------
Peeter Borlon. Anvers, 1652
-----------------------------------
Six-stringed bass biol preserved in the Snoeck Collection at Berlin.
---------------------------------------------
Peeter Borlon tot Antwerpen f. 1647
---------------------------------------------

BORWKA, FRANCISZEK
Worked at Lublin (Poland), 1925.

BORRERIO, F.
Worked at Padua.
Made rustic fiddles - two-piece belly, one-piece back, contour very botchy, flat arching, irregular purfling, dull yellow-brown varnish on front, ribs and backs with golden-orange.
------------------------
Borrerio Francesco
1834 Padova
------------------------
(design of an ox in centre)

BORTOLOTTI, GIOVANNI
Period, 1890-1910.

BORTOLOTTI, LUIGI (1)
Worked at Milan, 1810-1830.
Nothing here not strongly consistent with the best traditions of the Milanese school. Workmanship comparatively flawless. Yellow varnish with an effective orange tinge. Some instruments branded Luigi Bortolotti and the date.

BORTOLOTTI, LUIGI (2)
Milan, 1860-1875.
Violas and cellos.

BORZELONI
Pupil of Amati, 1680. Orange varnish.

BSMIE
see THEINER.

BOSCH, HANS
Born at Thannhausen (Bavaria), 1881. Architect. Resident at Cassel. Studied old instruments, and, after numerous experiments and practice, soon built a few satisfactory specimens. Restless to surpass these initiatory attempts, he exercised all possible zeal and assiduity in improving his work. Ultimately produced violins equal to those of professional makers from every view-point. Particularly successful in tonal beauty.
------------------------------------
Johannes Bosch
Thannhausen a.d.M. Bayern
------------------------------------

BOSCHI, PADRE ILARIO
Born at Provazzano (Parma), 1883. When 14 years of age, entered the Order of San Francesco dAssisi, and passed through the necessary preparations for the priesthood. At the termination of these sacerdotal studies, he liberally dedicated time to acquiring proficiency as an organist and pianist. During a pilgrimage in the Province of Ravenna, 1911, he became attracted by the violins of Custode Marcucci, which immediately set him on the road of attempting violin structure. Ultimately produced violins of the small Amatese and Stradivarian types. Clear orange and reddish shades of varnish.
Resident at Cotignola since 1915, where he was busily occupied as a priest and organist, and consequently unable to produce more than two violins yearly.
------------------------------------
P. Hilarius Boschi fecit
Cotiniolae 24 Octobrii, 1920
------------------------------------
Presented some violins at Cremona, 1949.

BOSCOLI, ANTONIO FERRARE
A violin teacher who became interested in the construction of violins through visiting the workshop of Soffriti. It is a pity that he did not make more as his workmanship is first-class and covered with either oil or spirit varnish coloured golden red. His work is probably masquerading under better known makers names as he never used a label himself. Modest man indeed.

BOSELLI, ALFREDO
Resident at Florence, 1925.

BOSI, CARLO
Born 1873. Worked for Cavilli and Poli at Cremona, 1925. Died 1940. Stradivarian modelling.

BOSI, FLORIANUS DI
Worked at Bologna, 1747-1782.
Built interesting lutes and mandolines - also several violas (formerly viol damores) known. Efficiently discharged careful workmanship on a few violins. Body length 36 cm.
--------------------------
Florianus Bosi in via
S. Manoli Bonons
fecit 1756
--------------------------
Name sometimes given as Bossi and Basi.

BOSKOVSKY, JOSEF
Worked at Vienna, 1925.

BSS, MAXIMILIAN
Worked at Vienna, 1763-1789.
Modelling of ordinary conception. Workmanship not amply satisfying in neatness.

BOSSHART, JACOB
Worked at Augsburg (Bavaria), 1625-1640. Of humble origin, without education and practically destitute of means, yet, by energy and devotion to his art, attained quite a conspicuous position in his district.
Violins not particularly numerous, nor do they show any marked originality, he being content to imitate and repeat the traditions of predecessors. High arching, deep ribs, and short corners, characterise the style. Rather clever in scroll manipulation. Sound-holes cut almost perpendicularly. Excellent judgment in purchasing good wood. Reddish-yellow varnish, fiery but transparent. Warm quality of tone, but without brilliancy.
Produced several fine Chitarrones, composed of 43 strips of Cypress wood with black veins between, pretty rosettes in Italian style, five double strings and six bass strings.
------------------------
Jacob Bosshart
in Augspurg, 1629
------------------------

BOSSI, GIUSEPPE
Worked at Stradella (Pavia), 1900. Died 1944.
Violins certainly pledged to the commercial kind. Various models and shades of varnish.
----------------------------
Giuseppe Bossi
Liutaio
Anno 1927. Stradella
----------------------------

BOSTRM, FRANZ EDON
Born at Forsed (Sweden), 1890. Amateur.

BOSTIAN, RIHAR
Polhovgradetz, 1789. Little known Slovene maker whose only known instrument shows strong influence of the Mittenwald.

BOTELLI, ANGELO
Worked at Naples, 1850-1860.
Style and workmanship typical of Neapolitan tradition. Generally handsome material. 25 (1910).

BOTHWELL, WILLIAM
Worked at Aberdeen (Scotland), 1870-1885.
None of his instruments are tours de force. He failed to realise the spirit in which the great masters worked. Apparently a man of slight intellect and equally slight technical knowledge. The highest manifestation of art consists in beauty of thought, sensitive imaginativeness of the artistic, and a plastic manipulation - an arena in which Bothwell must be placed on the very last row, in fact almost out of sight.
Produced about 100 poor-modelled affairs, breathing the spirit of the utterly commonplace. Workmanship altogether rough and unaccountably careless. Yellow or brown spirit varnish of wretched appearance. Generally artificial purfling, sometimes none at all. Evidently an individual who would not bother himself over much - even omitted to insert a label. Charged a guinea for each specimen.

BOTIN
Worked at Chantilly (France), 1780-1803. Trained in workshops at Mirecourt. Second-rate technical manipulation. Varnish rather concilliatory to the eye. Tone rather muffled in the lower register, also apt to be harsh in the higher.
------------------------
Botin
Luthier Chantilly
------------------------
(diamond-shaped)

BOTT, JOHANN
Born 1810. Worked at Vienna. Died 1881.
Stradivarian and Amatese modelling. Whole contour femininely elegant and delicate. Yellow-brown varnish splendidly applied. Written label.

BOTTALI-ROTH-PELITTI
Established at Milan, 1919. Amalgamation of three firms. Manufacture of high grade violins, cellos, basses, and bows. Probably the largest factory in Italy. Numerous gold medals at Exhibitions in every country.

BOTTE
Worked at Brescia, 1760-1790.
Good modelling. Maggini pattern generally, but not always with double purfling. Dark shade of yellow varnish of moderate transparency.

BOTTESINI, SEBASTIAN
Violins not worth looking at - in every way a charity to have them put out of sight. Modelling and workmanship deserving unmitigated censure. Very indifferent wood, and wretched varnish. Common trade instruments with a made-up Italian name.
------------------------
Sebastian Bottesini
Anno, 1721
------------------------

BOTTURI, BENVENUTO
Born at Gambera (Brescia), 1882. Studied with Diguini at Cremona. Worked at Brescia, 1929-1941, then abandoned the art to become administrator of an important firm for mechanically cutting down forest trees.
During the 12 years at violin-making he must have been particularly assiduous in amassing 100 violins, several violas and cellos, one quartet, and about 200 bows. Superb Strad modelling, slowly drying reddish-brown oil varnish. Won several medals and other awards. Instruments eagerly sought after in Austria, France and U.S.A.
-----------------------------------------------------------------------
Benvenuto Botturi - Brescia
Liutaic
Prem. croce al merito e medaglia oro Esp. Bologna 1932.
Anno 19..
-----------------------------------------------------------------------
Generally branded on the button - also a sort of puncture in ebony near tailpiece.

BOTZE, J.
Worked at Erfurt (Saxony).
--------------------
Johannes Botze
in Erffrt, 1687
--------------------

BOUGARD
see BOURGARD.

BOUILLOT, JEAN FRANCOIS
Worked at Mirecourt, 1778-1787.
Broad modelling, and not especially well graduated arching.
Workmanship unaccompanied with the ardour of ambitious neatness. Cold-looking brown-yellow varnish. Loud but rather coarse tone. Name branded within a rectangular design.

BOUL, SIMON
Worked at Mirecourt, 1780-1790.
Modelling shows partial reverence for the Stradivarian. Also happily imparted dignity to the scroll and grace to the sound-holes. Good wood enriched by learnedly-applied varnish. 20 (1915).

BOULANGEOT, EMILE
Born at Mirecourt, 1877. Apprenticed to E. Laurent, 1890; worked at Paris for Gustave Bernardel, 1903-1909. Successor to Blanchards business at Lyons, 1913. Also had a workshop and assistants at Paris, 1915.
Gave all possible artistic impulse to reproducing the Stradivarius model. Accomplished his work with something besides mere mechanical precision. Oil varnish of a delightful reddish-orange tint.
Principal maker to the Conservatoire at Lyons, and the Symphony Orchestras. Died 1944.
Produced 175 violins, 7 violas, and 28 cellos.
-----------------------------------
Emile Boulangeot
Luthier Lyon - Lan 1913
-----------------------------------
------------------------------------------
Fait dans lAtelier
dEmile Boulangeot. Lyons, 1916
------------------------------------------

BOULANGEOT, JULES CAMILLE
Born at Mirecourt, 1870. Worked and studied with Justin Derazey. Won Exhibition Diplomas at Brussels, 1897 and 1907; Lige, 1905, and Gand, 1913. Established in the rue du Boulet, Brussels, 1925. Died 1946.
Model inspired by that of a Stradivarius or Guarnerius. Workmanship denotes careful attention, a keen eye, and deft hand. Elastic brownish-yellow oil varnish. Strong tone. Serviceable orchestral instruments. In his last years he imported violins from Czechoslovakia, and put his label in them.
--------------------------------------------------------
F. Boulangeot
Luthier du Conservatoire Royal de Bruxelles
No... Lan, 19..
--------------------------------------------------------
F means fait.

BOULLANGIER, CHARLES
Born at Mirecourt, 1823. Worked at Paris with Vuillaume, Gand and Bernardel, until 1849. Came to London and entered the establishment of Edward Withers, 1849. Opened own workshop in Frith Street, 1856. Died 1888. Won diplomas at the London Exhibition 1862, 1872 and 1888. Received a special appointment to the Duke of Edinburgh.
Modelling embodies the best principles of a Stradivarius or Guarnerius. Acquired knowledge of refinement and allowed it full freedom in workmanship. Scroll also has the immutable law of the finely-artistic. Same high motive touches up the sound-holes. Equally perfect is the purfling. Dark-red or orange-red varnish splendidly applied. Used the finest and prettiest wood. Brilliant tone gradually mellowing with age. Prolific number of violins came from his workshop.
Violas and cellos also claim to have a similar distinctive favour for popularity - the latter sometimes realising 60 (1900).
--------------------------
Charles Boullangier
Fecit London, 1888
319
--------------------------
(initials double-circled - also autograph)
-----------------------------------------------------
Charles Boullangier. London
C.B 87 Charlotte Street. Fitzroy Sq., 1858
-----------------------------------------------------
----------------------------------------------
Charles Boulangier
Firth Street, London, 1888. No. 317
----------------------------------------------
Business carried on (only for short period) after 1888 by his son and pupil Charles Junr. Made many attractive violins, violas and cellos. Copies of old Italian models - splendidly-textured oil varnish.

BOULLANGIER, NICOLAS
Worked at Mirecourt, 1727-1758.
Large and broad modelling, not unprepossessing. Varnish of splendid texture and colour. Strong tone of considerable depth, but not remarkably clear. 50.

BOUMAN, F. JACOB
Born at Groningen, 1886. Professional violinist, and member of the Royal orchestra at The Hague. Benefitted by the experienced ideas, etc., of Johann Stber in that city. Returned to birthplace, 1937.
Excellent modelling favouring the Guarnerian. Fawnish and reddish-brown shades of varnish. Written label.

BOUMEESTER, HERMANUS
Born 1654. Son of Jan. Died 1678.
Few instruments owing to premature death.

BOUMEESTER, JAN
Born at Quackenbruck (Germany), 1629. Worked at Amsterdam from 1650. Died 1681.
One of the important representatives of the Dutch School. Some chroniclers say he was apprenticed to Peter Guarnerius at Cremona - others aver he was not, but gained his ideas from the several Cremonese instruments then in the city. Produced large and small patterns. Several resemble those of Amati and Peter Guarnerius, others have considerable individuality.
Arching occasionally a little too pronounced though splendidly graduated. Corners frequently quite pointed. Sound-holes of varied character, usually short, wide, and strongly rounded. Scrolls (generally short) often have slight originalities. Workmanship practically without blemish. Attractive varnish of yellow, yellow-brown or reddish shades, but not consistently of fine texture. Not a large tone, but recurrently warm and clear.
Made several viol-da-gambas (body length 68 cm.) which have magnificently carved fancy-heads.
-----------------------------
Ian Boumeester
me fecit in Amsterdam
Anno, 1667
-----------------------------
-----------------------
Jean Boumeester
Amsterdam, 1680
-----------------------
These labels not often seen, as many have been removed, and Italian ones substituted. Labels seen with dates 1683, 1684 and 1688 are in unfinished instruments at his death and completed by his pupils.

BOUNIN, E.
Worked at Poitiers (France).
Violins and small size violas somewhat allied to the Gand style. Reddish varnish.
---------------------------------
Bounin Emile no. 7
fait Poitiers anne, 1880
---------------------------------
(written)

BOURBON, FRANCOIS
Worked at Mirecourt, 1775-1789.
Modelling not of the nicest exactitude. Workmanship not specialised by neatness. Poor quality and shade of varnish. 10 (1900).

BOURBON, NICOLAS
Worked at Mirecourt, 1763-1800. Associated with the Vuillaume family.
Handsome flat modelling. Pretty shades of reddish-brown or golden-brown varnish. Resonant tonal quality though perhaps immature. 30. Labelled and twice branded.
Instruments generally calumniated by connoisseurs, who accuse him of being a chemical-charlatan with his wood.
Also name used for semi-modern trade violins emanating from Mirecourt. Varnish shaded from dull red to yellow to imitate worn appearance. Purfling sometimes a 1/4 inch from the edge. Style and workmanship not paying honourable tribute to the original. 12.

BOURDET, ANTOINE
Worked for Thibouville-Lamy at Mirecourt, 1932.
Hand-made violins; golden-yellow varnish of dark hue. 13 (1935).

BOURDET, JACQUES
Born at Mirecourt, 1723. Dean of the Luthiers Guild, Paris, 1751.
Produced instruments of all kinds. Violins of customary Mirecourtian style, but deserving of fair appreciation on account of the strong orchestral tone. 15.

BOURDET, JEAN SEBASTIEN
Born at Mirecourt, 1696. Worked at Paris until 1768.
Instruments not receiving the attention they justly merit. Many have lost their identity through fictitious labels and brands, and so his name has nearly become obscured in oblivion. There are, however, a few specimens which must be esteemed by all for general faithfulness to Amatese modelling, and for elegant portrayal of its principal characteristics. 35 (1920).

BOURDET, LEOPOLD
Stradivarian modelling. Usual well-finished workmanship. Red varnish covering good wood.
-------------------------------------
Lutherie Artistique
Lopold Bourdet Mirecourt
No. 2. 1903.
------------------------------------

BOURDILLON, MADAME
Resident at Lyons, 1926.

BOURELIER, LAURENT
Worked at Mirecourt, 1750-1780.
Good modelling, medium arching, well-rounded edges, sound-holes somewhat straightish, yellow-brown dry-looking varnish. Branded on back.

BOURGARD, JEAN
Born at Prague. French parentage. Worked at Nancy (France), 1775-1792. Seems to have been influenced by Mdards style. Generally fails in maintaining due relations and relief in the arching, though occasionally he produced an instrument more illustrative of gracefulness. Not always scrupulous in the drawing of the sound-holes. Scroll often without dignity. Purfling sometimes abruptly uneven or wobbly. Inside details frequently inexact and not properly finished Brown-yellow varnish mostly, but there are a few on which he put quite a prettytinted red of rather nice flexibility. Tone offers very little to delight the ear.
-----------------------
Bourgard, facteur
dinstruments, rue
de la Poissonnerie
17 Nancy 86
-----------------------
(written)
----------------------------------------------------
Jean Bourgard, matre luthier Nancy
rue de la Poissonnerie, no. 404;
fait et raccomode toutes
sortes douvrages de sa profession comme
guitares allemandes, guitars mchaniques,
guitares espagnoles, mandolines, luths,
paradons trente cordes, contrebasses,
basses, violon damour, violons, etc.
-----------------------------------------------------
(printed)
-----------------------
Ft. par moi
Bourgard Luthier
Nancy, 1791
-----------------------
-------------------------------
Jean Bougard fecit
chez M. Charotte, rue
Saint-Jean, No. 45, 17..
-------------------------------

BOURGEOIS, SERAPHIN
Worked at Geneva, 1820-1865, then at Chalon-sur-Sane. Died 1885.
Stradivarian and Guarnerian modelling rather massively represented - occasionally one with slight originalities. Conceptions realised in the French style of imitation, not altogether unworthy of being classed with certain specimens of Lupot and Pique, and superior to some of Vuillaumes. Workmanship absolutely indefectible. Wide purfling. Finely carved and audaciously posed scroll. Handsome wood and superb two-piece backs, reddish-yellow varnish.
-------------------------
Fait par
Sraphin Bourgeois
Genve An 1825
-------------------------
-------------------------
Sraphin Bourgeois
Chalon-s-Sane,
1880
-------------------------
-------------------
Bourgeois
Z Luthier
Geneve, 1864
-------------------
(name branded on back)

BOURGUIGNON, MAURICE
Born at Mattaincourt (near Mirecourt), 1885. Apprenticed in his 13th year to Chevrier. Worked with the principal Parisian makers, and with G. Mougenot at Brussels, whose business he acquired, 1910. Won gold medals and diplomas at various Exhibitions.
All the refined technicalities of superior workmanship adorn his instruments. Red varnish further enhances it. Rather rich tone; found its way into great popularity with Belgian players.
Similar remarks apply to his cellos.
---------------------------------------
Bourguignon Maurice
43 rue de la Rgence
Luthier Bruxelles, anno 1926
---------------------------------------

BOURKE, LOUIS
French-Canadian. Born 1861. Established at Denver (Ohio), 1882.
Stradivarian modelling with a few divergencies. Fifty splendid specimens. Workmanship without a perceptible flaw. Especially fine serolls. Always old Bohemian woods. Yellow varnish. Brilliant tone fully justifying the friendly reception it has frequently had.

BOURKE, THOMAS
Born at Ballina, County Mayo (Ireland), 1867. Established at Edmonton, London, as a cabinet maker and joiner of good reputation, 1924.
Made first instrument, 1896, which pays deference to the Guarnerius model. Afterwards produced interesting attempts of Stradivarius modelling. Oil varnish of a light brown shade, splendid texture and intelligently applied.
----------------------
T. Bourke
Edmonton, 1924
----------------------
(wriuen)
Made two beautiful instruments for the Wembley Exhibition.
Entirely built with Indian woods. Back, ribs, neck and scroll of Harewood (very fine material), giving the same splash mottle figure frequently found in old violins. Himalayan pine for belly. Pegs of Bombay rosewood. Fingerboard and tailpiece of Indian ebony.
Also bows made of Andamans black chuglam, a timber which appears to possess the peculiar correct resistance necessary for the production of a sustained tone combined with quicker and stronger bowing strokes.
A demonstration of the tonal powers of the instruments was given in the Central Hall of the Indian Pavilion (the floor of which was ingeniously laid by Bourke), and the result was surprisingly fine.
Bourke proudly claimed to be the first maker to use Indian woods so exclusively.

BOURKE, WILLIAM
Established in New York City, 1920.

BOURLIER
Worked at Mirecourt, 1875-1890.
Flat and broad modelling. Arching does not bring to the eye the satisfaction of perfect repose. Light brown varnish. 10 (1900). Useful orchestral instruments.

BOURLIER, JACQUES
Worked at Mirecourt, 1770-1790.
Assistant to Charotte at Nancy, whose style he subsequently adhered to.
-----------
Bourlier
-----------
(block lettering)
Branded Jacq. Bourlier.

BOURLIER, LAURENT (1)
Born 1737. Died 1780.
Workmanship and modelling all but faultless. Varnish not so praiseworthy, being of indifferent texture and not transparent. Instruments creating but slight approbation from present-day dealers or players.

BOURLIER, LAURENT (2)
Worked at Mirecourt, 1762-1789.
Workmanship generally free from defects, and bears the close inspection it invites. Flat modelling rather truthfully delineated after Stradivarius principles, though perhaps very slightly wider across the upper bouts. Handsome material for back, but not always the finest wood for top.
Catalogued at 40 - an exorbitant figure as the tone is lacking in sweetness though of abundant strength. Labelled and branded.

BOURLIER, LAURENT (3)
Born 1798. Died 1878. Worked at Mirecourt. Supposed to be the best maker of the family.
Every detail in outline thoroughly well done. No infirmity of drawing either in the sound-holes or scroll. Tone of considerable power but without richness. Fine-grained material for table, moderately-figured wood for back. Brownish-yellow varnish.
Also produced several marketable cellos.
--------------------
Bourlier
aprs N. Lupot
1843
--------------------
Also frequently branded inside with L. Bourlier, or Bourlier, Mirecourt.

BOURLIER, LAURENT (4)
Worked at Mirecourt, 1790-1820.
Chiefly occupied himself with half-size violins. Branded the instruments with the name Bourlier.

BOURLIER, NICOLAS
Worked at Mirecourt, 1830-1856.
Outline quite pleasing. Details of workmanship generally well carried out. Yellow-brown varnish rather sickly-looking, which affects the quality of tone.
Also good-sounding cellos, generally of small pattern.
Branded Bourlier B.N. on the interior.

BOURSE
Fair modelling. Gagliano style. Nothing contorted. Yellow-brown varnish.
--------------------
Fait par Bourse
Paris, 1809
--------------------
(written)

BOUSSART, J.
Resident at Lige.
Not products of artistry. Workmanship below the usual dilettante conception. Some without purfling. Native woods. Reddish-brown varnish.
------------------------
Joseph Boussart
amateur
Lige. anne 1868
------------------------

BOUSSU, JOSEPH
Worked at Etterbeek (Belgium), 1750-1780.
Workmanship not marred by any carelessness or inability. Produced graceful replicas of the Amati model. Especially transparent, rich, and warm yellow varnish. Nice quality of tone with considerable power.
Several warm-toned cellos known.
---------------------------------------------------
Boussu Etterbecke
faubourg de Bruxelles le 27 janvier, 1752.
No. 6
---------------------------------------------------

BOUTELJE, MICHEL
A Dutch maker who worked at La Haye until his death about 1942. His work is unknown to me.

BOUVINET, G.
Worked at Troyes (France).
Violins and cellos. Decidedly of Mirecourtian character. Everything well put together. Workmanship quite satisfactory. Yellow-brown varnish of rather a warm tint.
Branded on back.
----------------
G. Bouvinet
Troyes
----------------

BOVIS, CHARLES
Born 1909. Son of F. Trained at Mirecourt and Paris. Returned to Nice to direct his mothers business.
Customary modern transcepts of the old Italian types.
-------------------
Fait par
Charles Bovis
Nice
An. 19..
-------------------

BOVIS, FRANCOIS
Born at Nice, 1864. Died 1914. Worked with Bianchi at Nice, 1874; succeeded to his business, 1880. Principal maker and repairer to the Monte Carlo orchestra. Establishment continued and directed by widow since 1914.
Favoured the Guarnerius model, but fancy led him occasionally to other models, including one of considerable originality. Modelling tells a fine tale in a simple way. Splendid tale curves, and careful balance of gradation for the light and shade of the varnish to bask on, bringing to the eyes the satisfaction of perfect symmetry. Exquisite treatment of sound-holes. In fact, every accessory to the entire has received the highest artistic treatment. Rich red-brown semi-oil varnish. Nice even quality of tone - no erratic spasms of brilliant and dull notes that many modern instruments have.
Won Diplomas at Turin Exhibition, 1911.
----------------------
Franciscus Bovis
Nicaensis
fecit anno, 1899
----------------------

BOWER, ANDREW
Worked at Grangemouth (Stirlingshire).
Modelling achieving fair success though rather large and broad. Workmanship accomplished with a modicum of dexterity. Scroll too robust for unqualified admiration. Well-seasoned wood. Thicknessing of plates not finely graduated. Inside appearance suggests wood-chemicalising. Dark shade of varnish tinged with red. Tonal quality semi-mellow and ordinarily bright.
--------------------------
Andrew Bower
Grangemouth, 1899
--------------------------

BOWES, A.
Resident at Edinburgh, 1895.
Known as an experimentalist. Attempted to improve tonal resonance by pairing the strings somewhat after the manner of the mandoline.

BOWLER, ARTHUR
Born at Thame (Oxfordshire), 1867. Learned the art of joinery, and worked for builders, shop-fitters, etc. in London. Apprenticed to J. A. Chanot in Wardour Street, 1895-1899, had opportunities of repairing many fine instruments, and became principal assistant. Came under the patronage of Wilhelmj, and was entrusted with the repairing and adjusting of his large collection of Pressendas. Established own premises at Islington, 1899.
Built about 40 violins, the greater number modelled after the Messie Strad. Measurements: body length, 14-1/8 inches; upper-bouts, 6-3/4; middle, 4-3/8; lower, 8 3/16; ribs, l-1/4 to 1 3/16.
Outline and arching truly splendid, showing that the designer possessed the intuition and mastery of the artist. Moreover, this effective and sumptuous guise of imitation is not without the impress of individuality, although difficult to precisely determine where. Edges beautifully refined yet with a slight ridge, further enhanced by perfect purfling. Scroll dignified and electorally posed. Sound-holes absolute replicas of the prototype. Belly wood having uniform grain-width on both sides of the joining. Precepts of Stradivari in relation to the thicknessing of the plates especially regarded and obeyed. Deep orange-red varnish brilliantly transparent. Tonal quality, notwithstanding the plenitude of wood, remarkably responsive and clear. Guarnerian copies equally as fine. Also produced violas and cellos.
---------------------------
Arthur Bowler AB
London. Fecit, 1900
---------------------------
We anticipate great distinction for these instruments. They will stand out from the multitude, connoisseurs will revert continually to them as having a rare conjunction of perfect tonal maturity and unimpaired structural solidity.

BOWMAN, ALFRED JOHN
Born in London, 1861. Resident at Peckham, 1927. Interested himself and dabbled in repairs for many years, but did not seriously entertain actual making until 1918. Trained in the art by Robinson at Plumstead. Produced about a dozen instruments up to the year 1927.
Style and workmanship of the average conscientious craftsman. Reddish-brown varnish of own preparation.

BOWMAN, W. J.
Born in Scotland. Worked for 70 years at Dunedin and Christchurch (New Zealand). Died 1928.
Violins and cellos numerically large. Strad modelling. Elegance and neatness nicely realised. Oil varnish. Tonal quality completely congenial.

BOYCE, SEWELL L.
Worked at Norwich (New York), 1897.
Instruments having minuteness of detail mingled with refulgent varnish revealing clever workmanship.

BOYCE, W. H.
Rough workmanship and inelegant modelling. Wide and untrimmed sound-holes. Poor wood and dull varnish. Apparently amused himself to beguile time, but we cannot imagine how he tranquillised his conscience to allow others to see these erudities of construction.
------------------
W. H. Boyce
May, 1883
------------------

BOYER, J. A.
Born at Aberchirder (Banff), 1871. Studied for the ministry. Rector at birthplace. Very capable violinist, and conductor of a small orchestra in the little village of 1,000 inhabitants.
Produced about 30 violins. All Stradivarian, except one each of Maggini and Guarnerius. Reddish-yellow, deep-red, and light-brown shades of oil varnish. Workmanship pleasurably interesting as emanating from a modest amateur. Tonal quality rather satisfying.
----------------------
James A. Boyer
Aberchirder
fecit
No. 24 1924
----------------------
(with unusual decorative border)

BOYLE, W. F.
Retired clergyman. Resident at Enniskerry (Ireland), 1924. Born 1860. Made violins for many years.
Stradivarian modelling, tone in proportions. Splendid design and well-finished workmanship. Indulged in trying to probe the secrets of varnish. Much excellent mechanical work spoiled by the application of a varnish made solely from linseed oil boiled down to a treacle consistency. The few specimens more rationally treated have tonal quality pleasingly free from unevenness and newness.

BOYSEN, F. H.
Born at Gteborg, 1894.

BOZZI, RAFFAELO
Born at Milan, 1905. Amateur.
Exceedingly good Strad modelling. Golden-yellow spirit varnish with a touch of red. Produced about 30 up to year 1950, some having remarkable clarity in tone. Also bows in the style of the Parisians Lamy and Sartory.
-------------------------------
Raffaelo Bozzi
fece in Milano nel, 1946
-------------------------------
(with signature)

BRACHMAN, S.
Born in North Prussia. Worked at Jekabniesto (Latvia), 1920.

BRADDYLL, H. S.
Commander in Royal Navy. Amateur. Lived in London, 1934-1940. Resident at Virginia Water (Surrey), 1951.
Made 3 violins of different models, 6 violas (expanded Amati design, body length, 16-3/4 inches), and 2 cellos. All of splendid workmanship, fine woods, and a fairly quick drying oil varnish compounded by a professional friend. Tone quality satisfies several first-class players.
--------------------------
H. Stanley Braddyll
London, 1935
--------------------------
(written or typed - border of rings)

BRADFORD, JOHN
Worked at Granby (Canada), 1890.

BRADLEY, E. J.
Born 1901. Resident at Shirley (near Birmingham), 1951.
First instrument dated 1946. Body length, 13 15/16; upper bouts, 6-5/8; lower, 8-1/8; ribs, 1 3/16; to l-1/8. Productivity restricted to two yearly. Each specimen covered with 20 coats of amber varnish.
Workmanship and tone much approved of.
-------------------------
Edward J. Bradley
Shirley
Warwickshire
England
Anno, 19..
-------------------------
(very dark border)

BRAGLIA, ANTONIO
Worked at Modena (Italy), 1790-1820.
Produced several violins of that excellent workmanship and style generally inherent of Italian makers.
Better known for fine double-basses. Also good bows of nice elasticity and strength.

BRAIDI, GEMINIANO
Worked at Modena, 1790-1805. Son of Giovanni. Produced violins and other bowed instruments.
Most of them fall short of satisfaction through the obviously scurried workmanship engendered by the idea of creating numbers with the least trouble.

BRAIDI, GIOVANNI
Worked at Modena, 1766.
Blending and uniting of detail very much wanting. Scroll and sound-holes though not altogether indifferently cut, nevertheless appear unconciliatory to the general structure. Varnish too opaque to allow tonal freedom.
---------------------------------------
Johannes Braidi, protomagister
violae majoris in C.Smi.ducis
Mutinae fecit a 1766
---------------------------------------

BRAN, MARSINO
Born at Roveredo, 1909. Amateur. Studied with Siega (Venice). 40 violins and some violas up to year 1950. Modelling with a few originalities.
------------------------------------------
Liutaio - Bran Marsino - fece
A. 1947 Roveredo in Piano-Udine
------------------------------------------
(block lettering on the slant)

BRANDO, JOSE DOMINGO
Born at Baixo Alemtajo, 1904. Studied musical composition and cello-playing at Lisbon Conservatorio. Became a maker in that city, 1931. Member of the Radio Orchestra.
Specialist in cello-making. Strad modelling, but designed with a few originalities, impeccable workmanship, amber oil varnish, and brilliant tone.
----------------------------------------------------
Jose Domingos Brande
Luthier
Fabricante de instrumentos de arco
Portugal
Violoncelo de formato e desenho originais
Lisboa - Anno 1948 - Numero 6
----------------------------------------------------
(very large - plaited rope around - monogram on top)

BRANDILIONI, FILIPPO
Worked at Brescia, 1775-1834.
Some instruments dated 100 years earlier, but this must be attributed to the few unscrupulous dealers who occasionally dishonour their profession.
Some writers have declared he copied the Maggini model - but this has been contradicted. Genuine work has more Mittenwald character than Italian - so much so that a few experts have assured us that he was a German who lived at Brescia and Italianised his name.
Modelling rather pretty of its order, with good arching though there is sometimes a sharply defined cavity towards the edges. Amati-like scroll, poor workmanship, and disfigured by a thread of ebony along the middle - sometimes this is painted in black. Sound-holes altogether clumsy. Deepish ribs. Table wood often of open grain. Backs frequently in one piece, generally cut from prettily-marked maple. Reddish-brown or orange varnish - the former rather gluey. Mellow tone but not particularly clear.
Catalogued at 20 in Europe (1925). One specimen, dated 1834, said to be more Italian in character and varnish, realised 400 dollars (New York, 1920).
--------------------------
Philippus Brandilioni
fecit Brisciae, 1801
--------------------------
(decorative border)
Others have Brixiae instead of Brisciae.

BRANDINI
Worked at Pesaro, 1660.
Not much ingenuity shown in the workmanship. Only a modicum of pleasure derived from the tone.

BRANDINI, (PRANDINI), FAUSTO
Worked at Pisa (Italy), 1777.
Workmanship and modelling altogether interesting. Amatese outline with medium arching.

BRANDINI, JACOPO
Worked at Pisa, 1765-1907.
Correct delineation of outline but not exhibiting the grace and elegance which should be characteristic of violin designing. Does not escape from the tradition of the Amatis in the medium arching. Scroll not totally devoid of that style which pleases persons of idolatrous notions concerning the Italian school. Sound-holes seem to lie subserviently as though half-ashamed they are there. Sometimes (very seldom however), the belly has one line drawn round to represent purfling. Generally spruce of wide grain but of good quality, and maple of handsome variety. Some backs have carved designs. Warm brown or golden yellow varnish of splendid texture - probably the most attractive feature of these instruments. Very pleasing tone, completely pure and round though nor particularly large.
--------------------------------
Jacopo Brandini
fece in Pisa lAnno, 1799
--------------------------------
(large square lettering - decorative border)

BRANDL, (BRANDT), CARL
Born 1821. Died 1864. Pupil of Tischenant and Hoffmann from 14th year, and (having a natural love of using tools) industriously applied himself to the acquisition of such knowledge as the pursuit of the art rendered necessary. Produced several interesting violins before 19th year. Also worked for Gutermann at Vienna. Established at Buda-Pesth, 1839.
Pretty modelling after Stradivarius and Guarnerius, the former slightly reduced in size, the latter slightly longer - 14-1/4 inches; also Maggini in later years. Welldeveloped workmanship in every department. Wood, and a nice reddish-brown varnish, both call forth commendation. Just the sort of tone that amateurs. in their quartet-playing, enjoy.
Compliment paid to his talents when several violins secured a diploma from enlightened adjudicators at the London Exhibition, 1862. Name not yet become very familiar with those who write and talk about violins, but the future generation are gradually being initiated into trying the best specimens.
-------------------------------------
Carolus Brandl
ad forman Gio. Pao. Maggini
Pestini, 1863
-------------------------------------
------------------------------------------------
Carolus Brandt fecit ad forman Joseph
Guarnerii. Pestini, 1863
------------------------------------------------

BRANDNER, CARL
Worked at Schnbach, 1925.
Good-class commercial instruments.

BRANDNER, JOHANN (1)
Born 1835. Worked at Mittenwald. Died 1916.
Fairly skilful designs - careful varnishing.

BRANDNER, JOHANN (2)
Worked at Schnbach, 1925.
Excellent copies of standard type. Trade category.

BRANDNER, JOSEPH
Worked at Schnbach, 1925.
Violins and cellos. Commercial.

BRANDNER, (BRANDTNER), KASPAR
Born at Mittenwald, 1883. Worked at Landshut and Munich. Established at birthplace, 1904-1927.
Stradivarian and Guarnerian models - excellent type of concert-violins. Also lutes and guitars.
----------------------------------------------
Kaspar Brandner
Instrumentenmacher und Reparateur
Mittenwald Nr. 125
----------------------------------------------
Designs (on left and right) of medals won at Nrnberg. 1906.

BRANDNER, LEOPOLD
Worked at Schnbach, 1925.
First-class trade instruments.

BRANDNER, MARG:
Cello-maker at Schnbach, 1925.

BRANDSTAETTER, IGNAZ
Born 1757. Workedat Vienna. Died 1791.
Violins of indiscreet modelling and very dark brown varnish. Only a few known, and those have fallen so far into desuetude, as to make re-introduction highly improbable.
Guitars also mediocre in every way.
-------------------------------------
Ignatius Brandstaetter
fecit Viennae A 1781, No. 23
-------------------------------------

BRANDSTAETTER, MATHIAS IGNAZ
Born 1778. Worked at Vienna. Died 1851.
Stradivarian outline - medium arching. Scroll and sound-holes effectively accomplished. Medium grain belly wood; one-piece backs of handsome figure. Yellow-brown varnish with reddish shading. Tonal quality not particularly rich or easily responsive - a dictum generally subscribed to by most players. 25 (1920).
Business purchased by Anton Hoffmann, 1851, who completed the unfinished specimens, etc. - also affixed the label of Brandstaetter. These are recognizable by a supine and slovenly-applied brown varnish. 15 (1920).
-----------------------------------------
Matthaeus Ignatius Brandstaetter
fecit Viennae Anno 1822
-----------------------------------------
(monogram on left)
---------------------------------------
Matthus Ignarius Brandsttter
in Vienna, fecit Anno 1842
---------------------------------------

BRANDT
see BRANDL.

BRANDT, KURT
Born 1906. Pupil of Schlegel. Worked at Markneukirchen, 1933. Successfully piloted his way through the intricacies of design and varnish.
----------------------------------
Kurt Brandt
Markneukirchen i/Sachsen
anno 19..
---------------------------------
(fancifully scrolled)

BRANDT, MATO
Born at Fristad (Sweden), 1896. Amateur.
Produced first violin in 12th year; subsequently attained professional proficiency. Generally reddish-brown oil varnish - occasionally a spirit one.
Signed M. Brandt.

BRANZOLI, GIUSEPPE
Cheap productions emanating from Mirecourt, 1910. Dark golden-brown varnish.
------------------------
Giuseppe Branzoli
------------------------
(scrolled)

BRATTI AND CO.
Established at Florence. Controlled by Cesare Bratti.
--------------------------
Premiata fabrica
Strumnenti a corda
e corde armoniche
Bratti & Co.
7 Via dei Martelli 7
Firenze anno 1830
-------------------------

BRAUN, ANTAL
Established at Timisoara (Roumania), 1925.
Maker of stringed and wind instruments.

BRAUN, ANTON
Born 1847. Served apprenticeship with Placht and Homolka. Worked at Buda-Pesth; then at Szegedin, and from 1887 at Belgrade. Principal repairer to the Serbian Court. Also good violinist. Died 1901.
Instruments delighting the eye again and again. Workmanship well-nigh approaching perfection. Scroll matchless in its dignified attitude. Also deft handling of shaded varnishing. A trustful sense of the beautiful.
-------------------------
Antonius Braun
fecit Belgradi, 1890
-------------------------

BRAUN, AUGUST HERMAN
Born 1869. Established in the Klingenthalerstrasse, Markneukirchen, 1921. Died 1939.
Expert copyist of the Italian and Tyrolese models. Produced all kinds of bowed and plucked stringed instruments, but specialised in master-violins and cellos. Etherealised alcoholic spirit oil varnish, volatile and somewhat fiery.
-------------------------------------
Gebaut im Jahre 1903
vom Aug. Hermann Braun.
Lauten and Geigenbaumeister
Markneukirchen i
S. No. 855
-------------------------------------

BRAUN, AUGUST WILHELM (1)
Born 1819. Died 1869. Established at Markneukirchen.
Large productivity in cheap violins for European and American dealers.

BRAUN, AUGUST WILHELM (2)
Born 1855. Pupil of Ludwig Glaesel. Worked at Markneukirchen. Died 1924. Admirably devised violins. Received large circulation in several European countries and America.

BRAUN, EWALD
Born 1874. Worked at Markneukirchen. Died 1947.
Violins and cellos having commendable tonal flexibility for moderately-priced instruments.

BRAUN, FRITZ
Born 1883. Pupil of A. W. (2). Worked at Markneukirchen, 1919.
No lack of refinement (though trade instruments) in these rather bold designs.
---------------------------------
Fritz Braun
Markneukirchen i/Sa.
Copie of: Stradivarius 19..
Made in Germany
---------------------------------
(F.B. within a circle)
(M. )

BRAUN, GUSTAV
Born 1846. Died 1896. Son of August Wilhelm. Viola-player who became interested in violin-making. Worked at Dsseldorf, l869; Dresden, 1872; and Lbeck, 1895.
Instruments having claims to be promoted to a more appreciative acceptance than has hitherto been accorded. Results of thc many opportunities he had of acquiring knowledge through examining the various masterpieces of Italian and Tyrolese art.
-------------------
Gustav Braun
Dresden, 1888
-------------------

BRAUN, HEINRICH
Bow maker. Established at Remtengruen (Saxony), 1925.

BRAUN, JOHANN
Born 1860. Established at Szegedin (Hungary). Also followed the profession of optician.
Violins having beauties of detail sufficient to make a future reputation for the maker. Scroll, sound-holes, and arching all treated with the finesse of skill. Various shades of good-texture varnish - always warm-looking. Won medals at Buda-Pesth Exhibition.
-------------------------
Joannes Braun fecit
Szegedini, 1895
-------------------------

BRAUN, MICHAEL
Worked at Szegedin and Klausenberg (Hungary), 1890-1897.
Stradivarius and Guarnerius modelling. Surprisingly fine workmanship, not merely slavish and laborious copying of outline, etc., but something created by deep insight of types represented. Physiognomy of scroll and sound-holes altogether fine. Purfling unusually thick but very attractive. Golden-red varnish enhancing the fineness of wood.
--------------------
Braun Michel
Szegedin, 1891
--------------------
(written)

BRAUN, OTTO WILHELM
Born 1877. Son and pupil of A. W. (2). Worked at Markneukirchen, 1900. Violins in conformity with the artistic, though not distinctive in any particular detail.

BRAUND, F. T.
Resident at Colchester, 1947. Pupil of F. W. Channon.
Model (having certain originalities influenced by his teacher) with front arching slightly higher than back. Transparent varnish of reddish or golden-brownish shades - generously applied on special priming to bring out wood beauty; own composition from essential oils and selected gums. Orchestral players in London and East Anglia have rewarded the maker with high praise testimonies regarding the tonal quality.
----------------------------
Frederick T. Braund
fecit Colchester 19..
F.W. Blackbird. FTB
----------------------------
(with two sound-holes and signature)
Each instrument is given a title such as Cremona, etc. F.W. or F.W.C. alludes to his teacher.

BRAUNER, JOHANN JOSEF
Worked at Vienna, 1745-1761.
---------------------------
Josephus Brauner me
fecit Viennae, 1758
---------------------------
Used baptismal names alternately - seldom both together.

BRAY, ERIC
Resident at Cape Town (South Africa), 1924.
Amateur. Uses the varnish of Angell of Bristol.

BRAYLEY, WILLIAM J.
Established at Fall River (Massachusetts), 1920-1926.

BRAYSHAW, JAMES
Worked at Lancaster (England), 1840-1859.
Fairly clever man of many-sided proclivities. Produced violins, cellos, and pipeorgans.
----------------------
James Braysham
Lancaster, 1851
----------------------
(written in ink on back)

BREAZZANO, VINCENZO
Worked at Foggia (Italy), 1840-1862.
Narrow modelling calling forth little eulogy. Scroll too bold to be in complete harmony with general contour of instrument. Straight and ungraceful sound-holes, with lower apertures too large. Very good wood covered with brown varnish. Generally one-piece back. Name sometimes given as Brizzano.
--------------------------
Vincenzo Breazzano
Fecit in Foggia
1846
--------------------------
(hand-printed in ink) -

BRECKINBRIDGE, JOHN
Born at Parkhead, Glasgow, 1790. Established at Glasgow. Died there, 1840. A man of artistic trend throughout his comparatively short life - a poet and painter as well as violin maker. A man assuredly stimulated to great earnestness and striving after the ideal - one who felt the glorious privilege accorded to him of being, as it were, one of the connecting links between the living and the dead - to bring back in all its freshness the charming (yet full of vitality) model of Amati, the lineaments of which have played such an important part in the conceptions of later makers.
Bequeathed to successive generations several beautifully-made instruments on which workmanship is as fine as material used. Pale-brown or yellow spirit varnish, rather thinly applied, but decidedly effective. Very clear and sweet tone, of delightful quality, though rather small.
------------------------
John Breckinbridge
maker
Parkhead, 1830
------------------------
(neatly written)

BREDALL, J. B.
Worked with Laurent and Mirecourt; with Bisiach at Milan; and with Franois at Paris. Spent twelve years as principal repairer for Lyon and Healy, Chicago. Established own workshop at Chicago, 1920.
Made himself, by refined workmanship, a welcome and powerful auxiliary in perpetuating the various models of the old masters. Prepared own varnish which he claimed to be as perfect tonal producing as that of a Stradivarius.

BREDBERG, EVERT HILDING
Born at Njurunda (Sweden), 1900. Amateur.
Received bronze medal for violins presented in 1928.

BREDBERG, J. A.
Born at Bredbyn (Sweden), 1894. Amateur.
Recipient of a bronze medal at Stockholm, 1925.

BREITMANN. HERMANN
Established at Dresden, 1896.
Stradivarian modelling without much character. Light-brown varnish nicely applied. Ordinary tone of a ten-guinea instrument. Excellent spruce and splendidly figured maple.

BREMITZ, GIUSEPPE
Born in Bohemia. Worked at Trieste, 1890-1930.
Violins not outlined with consummate technique or architectural imagination, but quite excellent in an ordinary way.

BRENSIO, ANTONIO
Worked at Bologna.
Made viol-da-gambas in guitar-form; high arching, serpent-shaped. sound- holes, double purfling, short fingerboard, and with a rosette. Two preserved at Bologna Museum, labelled:
--------------------------------
1592
Antonius Brensius Bonon
--------------------------------
----------------------------
Antonius Bononiensis
1560
----------------------------
(with Brescian legend)

BRENSIO, H.
Viola-da-braccia at Bologna Conservatoire.
-------------------------------------
Heronymnus Brensius Bonon
-------------------------------------

BRESA (BROSSA), FRANCESCO
Worked at Milan, 1700-1716.
Influenced by the Brescian school, but not sufficiently clever to copy it with any distinction. Orange-red varnish.
--------------------------------
Francesco Bresa fecit
alla scala in Milano, 1708
--------------------------------
--------------------------------
Francesco Brossa fece
dalla Scala in Mano, 1702
--------------------------------

BRESCIAN LEGEND
Used by early Brescian makers for decorative inlay on the ribs or backs. Hundreds of factory fiddles have it similarly inlaid.
Viva fui in sylvis
Sum dura occissa securi
Dum vixi, tacqui, mortua, dulce cano.
Translation:
I was alive in the wood - I am killed by the cruel axe - while living I was silent - dead, I sweetlv sing.

BRETCH, BRAYTON SHERMAN
Born at Omar, 1867. Studied with J. R. Squier (Boston), and Struble (Washington). First instrument produced in 1879. Established at Oswego (New York), 1884-1930.
Original design: modelled and constructed according to his equation system giving an equal and proportionate, amount of strength, weight, and elasticity. Wood imported from Northern Italy.
Compounder of a preparation that (when applied to the wood previous to varnishing) wonderfully enhances tonal quality. This Cremona toning solution does not fill the pores of the wood but, to the contrary, has the power of softening and increasing its flexibility, and at the same time has a natural affinity for the spirit-oil varnish, not only preventing the latter front entering the wood pores, but combining with it, thus forming a soft, elastic, emulsive coat next to the surface of the instrument.
Set up a correspondence school, 1910, and had many pupils throughout the United States.

BRETON
Name of factory order violins, intended to imitate the work of F. Breton. Name used by several French firms. Invariably well made, and good value for young students who play for recreation.
Branded inside, and on back, with a star at each side.
---------
Breton
Paris
---------

BRETON, FRANCOIS
Born at Mirecourt, 1780. Worked there from 1803 to 1830 (year of death). Violins of variable degrees between mediocrity and excellence in workmanship, some being splendidly finished, others looking like the ordinary trade fiddle. Generally of good outline with slight arching - poorest specimens never being quite commonplace. Very neat purfling. Scrolls look as though made by machinery - no outstanding character. Sometimes careless in selection of wood; tops often coarse-grained and occasionally knotty, backs of usual nicely-figured maple - sometimes apple tree wood. Light brownish-yellow varnish or yellow slightly tinged with red, not unpleasant to the eye. Tone fairly broad but dull and without sympathetic quality, which places the productions in the category of cheap orchestral instruments.
Made several beautifully-proportioned cellos. Altogether finely made of finest obtainable material. Model not too flat as is often the case with French instruments of same period. Invariably covered with a transparent golden-red varnish. First-rate orchestral instruments of considerable power and reasonable quality.
Measurements: body length, 30-1/2 inches; upper bouts, 14; lower, 17-3/4; width of ribs, 4-3/4; width of waist, across the top of the sound-holes, 9-3/4.
---------------------------
F. Breton, Musicarius
Mitecurti, anno 1805
---------------------------
--------------------------------------------
F. Breton brevet Luthier de S.A.R.
Mme. la Duchesse dAngouleme
Mirecourt, 1816
---------------------------------------------
(with coat-of-arms or crown in centre; and autographed on right)
----------------------------
BRETON BREVETE
DE SAR ME
----------------------------
(also with coat-of-arms or crown in centre)
Monogram or name branded on button at back. Sometimes Breton inscribed in ink at bottom of peg-box.
Occasionally:
--------------------------
Breton Brevet
Breton
de S.A.R. Me
A.D. DAngoulme
--------------------------
(branded in block lettering)
Also made bows - stamped F. Breton.

BRETON, JOSEPH FRANCOIS
Worked at Mirecourt, 1740-1799. Instruments labelled as from Paris.
Stradivarian model generally, of large proportions, and somewhat heavily built. Second-rate workmanship - just a degree in advance of mediocrity. Certain stiffness in the fashioning of the scroll, which may be termed, not inaptly in this instance, the pedantry of carving. Same feeling attached (though in a modified form) to sound-holes, which are not indifferently executed but lack artistic imagination. Usually wide-grained spruce for top, plain maple for back (often of one-piece) and ribs. Deep wine-coloured brown (yellow-brown) varnish of considerable elasticity.
-------------------------------------
J. F. Breton, citharae-fa-
bricator, facit, vendit et re-
concinat instrumenta musica
Omnis generis - Parisis anno
1740
-------------------------------------
----------------------
Breton LLuthier
Paris
----------------------
Some instruments signed.
Branded on back Breton Paris.
Work frequently taken for that of F. Breton - possibly owing to some similarity in model.

BRETTELL, WILLIAM MACDUFF
Born 1865. Resident at West Bromwich, 1923.
Stradivarian outline; body length, 14 inches; medium arching.
Workmanship to be placed under the designation of excellent. Deep red or reddish-brown oil varnish.
------------------------------------------
William M. Brettell
Maker
107 Edward St. West Bromwich
1912 A.D. No. 2
------------------------------------------

BRIANI, C.
Born at Vicenza (Italy). Pupil of Bisiach. Died in miserable circumstances at a hospital, 1920.
Modelling of the Cremona classics; well-nigh exquisite harmony and symmetry.
-----------------------------------
Briani Cipriano Vicentino
alunno di Leandro Bisiach
fece in Milano lanno, 1904
-----------------------------------

BRIGGS, H.
Maker of violins, violas and cellos, at White Rock, B.C.

BRIGGS, JAMES WILLIAM
Born at Wakefield, 1855. Pupil of Tarr at Manchester.
First worked at Leeds. Established at Glasgow, 1886-1925. Produced several faultless replicas of celebrated violins of Strad and Guarnerius. Also various other designs more or less original - flat, medium, and high arching - all details harmoniously arranged; carefully selected and well-seasoned woods (some taken from a very old church during demolition at Warsaw) - consistent neatness in workmanship. Excellent varnish of variegated shades.
Won gold medal at Leeds Exhibition, 1890; also diplomas at Paris and Vienna. Author of Instructions on Fiddle-making (Cassel).
---------------------
James W. Briggs
Glasgow, 1889
---------------------
(written)

BRIGGS AND TARR
Worked at Leeds, 1885-1895.
Violins, but principally double-basses.

BRINKMANN, FRANZ GEORG
Born 1799. Worked at Frankfort-on-Maine. Died 1845.
Refinement of workmanship consistently maintained. Warm shade of brown varnish. Few specimens.
Better known for guitars.

BRINGE, W.
Worked at Wilhelmsburg (Elbe), 1928.

BRINGHOLTZ, TORSTEN E.
Born at Rosenfors (Sweden), 1903. Amateur. Won bronze medal for Strad-model violins. Yellow varnish.

BRINK, JOHAN LINUS
Born at Vittaryd (Sweden), 1895. Amateur. Strad-modelling. Transparent yellow or brown varnish.

BRINNING, FRANZ
Possibly identical with Brinckmann.
Lion-head. Brown varnish with little life in it. 10.
--------------------
Franz Brinning
Frankfurt, 1821
--------------------

BRIZZANO
see BREAZZANO.

BROBERG, CARL J.
An amateur Swedish maker who worked in Gteberg around 1769. His work shows an affinity with that of Jacob Hellman whose pupil he most probably was. His labels were hand written or printed and sometimes branded as well. Excellent craftsmanship. Small pattern. Varnish amber yellow or orange red. His later violins dated around 1790 are his best.

BROCA, DOCTOR
Resident at Paris. Excellent cellist. Passionately delved into violin acoustics. Died 1925.
Claimed increase of tone, quality improved, and complete elimination of blurry notes, etc., by placing a very thin and flexible steel spring (1/10-1/5 thick) between bridge and belly, also interposing a piece of thin cork between the spring and the foot of bridge, the cork having a small hole in it to receive the head of a nail which provides sufficient support to prevent disarrangement and yet not interfere with vibration. Construction of bridge is completed by applying to the foot a thin layer of maple which covers the spring. By glueing the cork and maple-strip we get a rigid article. Also advocated plastic varnish.

BROCCA
Resident at Gentilino (near Lugano), 1680-1710. Constructed magnificent basses in Gaspar da Sal style.

BROCHI, CARLO
Worked at Parma, 1744.
Excellent imitations of aNicol Amati.

BROCK, ALFRED NILSSON
Born 1876. Maker to the Court and Conservatorium at Stockholm, 1915. Died 1935.
Lutes, viols and violins of very refined workmanship.

BROCSKO
see BROTSKO.

BROOKS J. R.
Worked at Los Angeles, 1920-1924.

BRONSON, W. S.
Worked at Grand Rapids from 1885. Died 1915.
Instruments considerably esteemed for design, workmanship and tone.
-----------------------------------------
William S. Bronson
Grand Rapids, Mich. A.D. 1908
-----------------------------------------
(G.O.E. under cross)

BROOKFIELD, EDWARD AND SON
Worked at Southport, 1872-1914.
Devised some particularly nice violins and bows.
Label with signature.

BROOM FIELD, GEORGE
Born 1880. Amateur at a farm near Kelso (Scotland). Died 1947.
Produced 40 violins, Strad and Guarneri models, carefully-chosen wood, creditable workmanship considering he was a working farmer limited in leisure hours as well as in tools. Oil varnish well laid on in four to six coats and moderately polished. Tone of refreshing quality, sufficient volume, clear and easy to produce.
-------------------------
George Broomfield
Runningburn, 1928
-------------------------
(written)

BROSA, F.
Worked at Milan, 1710-1740.
Fairly convincing model of an Andreas Guarnerius. Non-picturesque brown varnish thickly applied.
---------------------------------------
Francesco Brosa
fece alla Scala in Milano, 1726
---------------------------------------

BROSCHEK, ROBERTO
Born at Ulm-on-Danube, 1901. Pupil of Eberlein and Dillenz. Went to Santiago (Chili), 1924. Titled his place Cremona. Became official maker to Conservatorios in Chile.
Splendid Cremonese modelling. Scrolls with a commanding sweep. Excellent varnish.
His son Haroldo is equally ingenious. His violins and violas slightly deviate in modelling from those of father.
-----------------------
Roberto Broschek
Santiago-Chile
-----------------------
(with monogram)
Two kinds, both uniquely pictorial.

BROSCHI, CARLO
Worked at Parma (Italy), 1730-1744.
Absolutely delightful suggestiveness of the small Amati model. Arching rather full but without extravagance. Prettiness of model further enhanced by perfect drawing of sound-holes. Small scroll appropriately congenial with the entire. Small but very agreeable tonal quality.
-----------------------------
Carlo Broschi in Parma
fecit, 1732
-----------------------------
Name sometimes given as Bruschi.

BROSCHI, CARLO
Worked at Parma, 1821-1837.

BROSZEHL, L.
Worked at Laugszargen (East Prussia), 1898-1910.

BROTSKO (BROCSKO), CARL
Worked at Buda-Pesth. Died 1858.
Pretty Amatese modelling. Requisite readiness in workmanship. Varnish of rich hue and transparency. Fertile tonal quality.
---------------------------
Carolus Brotsko fecit
Pestini, 1851
---------------------------
(with signature)

BROTHERHOOD, J.
Born in Monmouthshire, 1909. Professor of English language at The Hagiue. Exhibited a finely-constructed Guadagnini model violin, 1949.

BROUILLIER AND LOTTE (FRANCOIS)
Bow makers at Mirecourt, 1925.
Excellent realisations of true balance.
Stamped Brouillier et Lotte.

BROWN, ALEXANDER
Worked at Glasgow, 1845-1864.
Good imitations of the Stradivarius model. Excellent workmanship arrayed under a nice-looking spirit varnish. Rather bright tone which amateurs search for and get for a few pounds, whereas they would pay much more for similar tone from the instruments of better known makers.
-----------------------------
Alex. Brown
maker. Glasgow, 1855
-----------------------------
(written)

BROWN, ANTHONY
Worked at Clerkenwell (London), 1850-1875. Afterwards went to Australia. His few instruments (suggestive of tuition under Joseph Panormo) show the common weaknesses which humiliate an aspiring nature. Rather good workmanship, but having no intuitive knowledge of tonal qualities, lost enthusiasm and practically relinquished the trade.
Guitars obtained considerable popularity.

BROWN CHARLES F.
Born at Blackburn (Lancashire), 1893. Worked at Wakefield (Yorkshire), 1923. Made his first instrument, 1912.
Interesting outline and arching based on models of Stradivarius and Amati. Orange-red varnish on early instruments, and a light orange amber of own preparation on those dated from 1924.
--------------------------
C. Brown
Violin Maker 1924
Wakefield
--------------------------

BROWN, CHARLES W.
Born at Hancock (Wisconsin), 1881. Worked at Jamesville, 1920, and at Marshfield (Wisconsin), 1923.
Created first structure 1907. Fame reached its culminating point in 1923. Endowed with gifts of originality, and made several experiments in search of Cremona tone. Constructed instruments by special graduation, and gave unusual attention to interior surfaces. Maker of Artists Violins, which show refinement of workmanship, and considerable mastery in varnishing.
Splendid reputation for retoning and reconstructing old instruments.

BROWN, EARL
Born at Loudon (New Hampshire), U.S.A., 1892.
Worked for O. H. Bryant, Boston, 1926.

BROWN, F. P.
Worked at Boston (U.S.A.), 1895.

BROWN, J.
Worked at Huddersfield (Yorkshire), 1827-1886.
Made a large number of instruments, generally of mediocre workmanship. His best violins (and these are quite ordinary) belong to the Guarnerius model, with a yellow-brown varnish, and good wood. Also perpetuated others which are by no means consistent with decency in violin craftsmanship. These are vulgarly bold and hefty-looking affairs, arching rising sharply from the edges, very flat under the bridge - to be designated as pot-bellied. Large scroll proclaims inartistic conception. Straight and roughly-worked sound-holes inimical to good taste. Wide-grain pine and plain maple, palpably poor acoustical stuff. Light brown varnish, having a translucent effect which should have been realised on better work. Made several excellent double-basses with moulded backs - admired by some orchestral players.
-------------------------------------------------
Made by
J. Brown
56 Manchester Road, Huddersfield.
No. 23 from 1877, having been then a
Maker 50 years.
July, 1878
-------------------------------------------------
Some not labelled but have J. Brown stamped on back. Others labelled and stamped J.B. inside.

BROWN, J.
Worked at Wakefield (Yorkshire), 1855.
Stradivarius outline indicating little more than elementary knowledge. Not quite successful in gradations though there is no eccentricity. Thinly wooded without adequate reason. Scroll quite interesting as an architectural study. Yellow varnish with reddish tinge. Sweet but weak tone; soon wears out and becomes dead.
No label, but written under the belly and on the back:
----------------------
Made by
J. Brown
Wakefield, 1855
----------------------

BROWN, JAMES (1)
Born in London, 1759. Originally a silk-weaver in Shoreditch. Studied the art of violin-making with John Kennedy, 1790. Established his workshop in Wheeler Street, Spitalfields. Died 1834.
Violins lack the excellencies of correctness and refinement. Workmanship to be viewed rather in the light of a plodder than of artistic taste. Moderately good tone, but not strong enough for orchestral purposes, and not of that quality necessary for quartet-playing; therefore specimens often relegated to the category of unwanted except by amateurs.
Branded and labelled. Best period, 1795-1804. Sometimes applied a really beautiful red varnish. In America (1930), specimen catalogued at 500 dollars, and described as having a bell-like tone.

BROWN, JAMES (2)
Born in London, 1786. Son of the preceding. First apprenticed to his father for whom he made bows as well as instruments. Worked in White Lion Street, Norton Folgate (London). Died 1860.
Instruments made after 1834 have not perfect symmetry of shape either in model, scroll, or sound-holes. Varnish does not boast the finest tincture. Tone, however, rather satisfactory (though the plain wood may at first prejudice a prospective purchaser) but it would soon drop its honour in the company of an Italian violin. Produced several splendid bows, particularly for cello.
Stamped J. Brown, Junr.

BROWN, JAMES (3)
Son and pupil of James (2). Worked in London, 1833-1838, but gave up the business in 23rd year.
Made few instruments, but none synonymous with genius. No rational pleasure can be experienced in examining the workmanship. Tone totally inconsistent with solidity.

BROWN, JOHN (1)
Won prizes at Melbourne (Australia) Exhibition, 1880.

BROWN, JOHN (2)
Son of preceding. Chief repairer at Collins Music Warehouse, Melbourne, 1924.
---------------
J. Brown
Melbourne
---------------

BROWN, JAMES S.
Working at Heaton, Newcastle-on-Tyne, 1925. Used the varnish prepared by Harris.

BROWN, JOHN N.
Born at New Wilmington (Pennsylvania), 1867. Studied several books on construction and considered them all faulty. Ultimately developed his own system and worked out several original solutions. First initiated himself in the art by repairing old instruments, 1895. Took up the serious study of tone-building, 1915. Produced about five or six instruments yearly.
Surpassingly fine models based on those of Stradivarius and Guarnerius. Workmanship of that high merit which should place his name hereafter among the finest of the craft. Scroll impresses by its simple grandeur. Sound-holes, and purfling have that wonderful touch which adds artistic character to the entire. Perfected a process for maturing wood - some peculiar cleansing system - and claimed to produce a new violin with an old tone. Also affirmed that he had eliminated all harsh tones, and combined softness, clearness, penetration, and fullness in the one instrument. Various shades of varnish from amber to dark brown.
Made a graduated bridge to suit each instrument.
Worked at Arlington (Kansas) 1926. Followed the profession of optometrist and watch-maker; also a Justice of the Peace.
------------------------
Made by
J. N. Brown
Arlington, Kans.
No. . . . Date. . . .
------------------------

BROWNE, JOHN
Worked at the Signs of the Black Lion and Sun, Cornhill (London), 1728-1743. Acquired fair skill in copying the model of a Nicol Amati. Occasionally (more particularly in early years) built one somewhat on Stainer principles. General workmanship may not be unblemished, but cannot be deemed mediocre. Scroll perhaps a trifle effeminate albeit well cut. Confidence in the tracing of purfling. No infringement of good taste noticeable in the sound-holes, each having artistic curves and not slanting. Wood acoustically good but usually of rather plain figure. Reddish-orange varnish - poor, thin, and hard. Tone correspondingly small and thin, which places the instruments among the numerous class of 20 value, and their sale is entirely dependent on amateur players who have a lazy and easy-going way of bowing.
--------------------------------
John Browne at the Sun
in Cornhill. London. Fecit
1729
--------------------------------
(written to imitate script)
Sealing-wax impression at base of neck.

BROWNE, WALTER
Born 1874. Worked at Loughor (South Wales), 1926. Occupied himself with repairing for some years before producing first instrument 1920. Copied the Stainer model with all appropriateness of detail.
Golden-brown varnish of excellent quality.

BRUBACH, ANTOINE
Born at Mirecourt 1847. Died 1894. Appointed principal maker for the firm of Klein at Rouen, 1884.
Prolific productivity of violins, violas and cellos, often showing how infelicitously carelessness or hurry can tread in the path of something very unfinished. Austere modelling, but heavy-looking instead of dignified. Contour of scroll in better vein. Sound-holes too, belong to the graceful order. Varnished red or yellow. Branded A. Klein & Cie. Rouen, as well as labelled with that name.
One or two French experts say that Brubach made a few finely proportioned instruments of the finest workmanship and wood at his command, in which he had intended labelling with his name; but in some seemingly unaccountable way they passed out of his workshop with labels of earlier French makers.

BRUBACH, CHARLES.
Brother of the preceding. Born at Mirecourt 1853. Worked 27 years with Gustave Bernardel at Paris; then with Gand and Bernardel. Won gold medal at Brussels Exhibition 1897.
Rare talent plenteously exemplified in workmanship. Exquisite beauty of design, scroll and sound-holes. Only a few instruments signed with his name. Decidedly unfortunate for his future reputation that he had not the ambition or the pecuniary means of establishing his own business, so his genius went towards enhancing that of his employers.

BRUCE, A. B.
Born at Glasgow (Scotland), 1866. Received, in youth, niuch careful instruction from his grandfather Douglas Hanan (pupil of Hardie). Spent some years abroad soon afterwards. Returned to Glasgow 1908, and was employed at the Albion Metal Works, Scotstown. Found time to seriously pursue his predilection for violin making. Produced about sixty violins and two cellos up to the year 1924, and repaired scores of instruments in the same period.
Thoroughly sterling workmanship of Stradivarius and Guarnerius models. Success in tonal quality and quantity testified by several of the best orchestral players in his city. Used an oil varnish of own preparation - red, yellow, or deep orange shades, each varying in depth.
-----------------
Made by
A. B. Bruce
Glasgow
1924.
-----------------
(written)

BRUCE, ARTHUR
Worked at Belfast (Ireland), 1900-1910. Produced several instruments of an original model, finely proportioned. Workmanship thoroughly skilful. Luxuriantly rich varnish. Irish enthusiasts assert that he succeeded in obtaining a most wondrous tonal quality considering that the instruments are comparatively new.

BRCE, J. GRANT
Born 1896.
First instrument dated 1916. Output not large. Usually Guarnerian modelling, one-piece backs of Italian maple, Swiss pine for top, golden-brown oil varnish. Careful construction and approvable tonal qualities.
-------------------------------
Model. . .
Made by J. Grant Bruce
No. Newport, Fifeshire.
19. .
-------------------------------

BRUCKEN-HAMMIG
Worked at Markneukirchen. Died 1885.
Instruments with occasional want of refinement, but they put to shame many of the trade productions emanating from that town.

BRCKNER, ALFRED
Born 1907. Son of Wilhelm. Worked at Erfurt (Saxony). Died in war, 1944. Business carried on by widow. High-class commercial instruments.

BRCKNER, AUGUST OSWALD
Worked at Wernitzgrn (Saxony), 1890.
All stringed instruments - commercial products.

BRCKNER, ERICH
Born 1880. Worked at Steinkirchen near Lbben (Germany) since 1912.
Violins, violas and cellos - Stradivarian and Guarnerian modelling - all attuned according to the theories of Dr. Grossmann. Finest woods, Cremona-like varnish, splendid personal workmanship. Tone completely equivalent to the Italian in roundness and mellowness. Assisted by brother Ernst, 1925.
---------------------------
Erich Brckner
Lbben-Steinkirchen
1922 E.B.
---------------------------
Also bearing the signature of Dr. Grossmann. Produced various grades of cheaper violins etc. Bows likewise of various models - Brazilian wood.

BRCKNER, ERNST
Born 1870. Pupil of Petzold. Worked for Ellersick at Rostock. Established at Markneukirchen, 1895.
Various models and colours of varnish.

BRCKNER, EWALD
Born 1889. Pupil of Dlling. Worked at Wernitzgrn 1927. Later at Markneukirchen. Old Italian models - splendid workmanship.
----------------------------
Ewald Brckner
Geigenbauer
Markneukirchen i Sa.
Made in Germany.
----------------------------

BRCKNER, FRANZ
Worked at Berlin with brother Richard. Established at New York 1890.
Not prodigious attainments, but considerable artistry embodied in excellent modelling.

BRCKNER, FRITZ OSWALD
Born 1899. Son and pupil of August. Worked at Markneukirchen 1923.
Recipient of considerable praise for the fresh tone he has imparted to his productions.

BRCKNER, HEINRICH ALBIN
Worked at Markneukirchen 1900. Died 1931.
Violins with no departure from excellence in workmanship or varnish.

BRCKNER, KURT
Worked at Markneukirchen 1925.
Good-class violins and bows.

BRCKNER, NNDOR (Ferdinand)
Born 1848. Pupil of Mnnig. Worked at Buda-Pesth 1874-1925.
Especially noted for magnificent double-basses. Also produced violins and cellos much favoured in Hungary.
-----------------------------------
Brckner Nndor
Langszer Kszit
Budapest
Rktar: Mogyar utcza 4. sz.
-----------------------------------

BRCKNER, WILHELM
Worked at Erfurt (Saxony), 1900-1925.
Violins and bows achieving considerable popularity.

BRUEKNER, JOHANNES
Markneukirchen. A typical workman of the modern German school. Honest endeavour. Died at age of 60 in 1948.

BRUGRE, CHARLES GEORGES
Born at Mirecourt 1865. Son of Charles Joseph. Apprenticed to Etienne Drouin at Mirecourt 1878. Worked with Paul Blanchard at Lyons 1881. Also studied with Paul Bailly at Paris. Worked for Gand and Bernardel 1885-1892. Managed the business of Eugne Henry for three years. Established own workshop 1895; employed three assistants. Retired from business 1920; went to live at Mirecourt but occasionally gave to the world other examples of his skill. Died 1930.
Produced about 250 Stradivarius and Amati models - the former preponderating. Workmanship unquestionably neat and precise. Scroll and sound-holes finely suggestive of a maker who idolizes and accurately visualizes the chosen prototype. Wood always of the finest and prettiest. Oil varnish of various shades - principally orange-red but also yellow and yellow-brown. Very powerful tone gradually ripening in quality. Exhibited a double quintet of instruments at Lyons 1894 - received the first silver medal.
Created four double-basses with finely carved lion heads, and a marvellously equal tonal quality on the four strings.
----------------------------------
Charles Brugre
anne 1893
No. 10
151 Rue St Martin. Paris.
----------------------------------
(elaborately scrolled in the form of a fancifully-shaped lyre; with design of a violin on left, and initials C.B. on right).
-----------------------------------------
Charles Brugre
11 Rue du Faub: Poissonniere 11
No. 94. Paris 1900
-----------------------------------------
(ordinary oblong, with design of violin in centre, and C. B. autographed)
--------------------------------
Charles Brugre, Luthier
11 Fauborg Poissonnire,
No. 232. Paris. An. 1920.
--------------------------------
(with violin design, and signed C.B.)
Each instrument numbered, also branded inside. Violins not made by him personally, but by assistants, labelled -
--------------------------
Fait dans latelier de
Charles Brugre
Paris 1899
--------------------------
Worked at Mirecourt 1926.

BRUGRE, CHARLES MALAKOFF
Born at Mirecourt 1857. Died 1894. Worked several years with Hel at Lille Finally established himself at Marseilles.
Specialised in cellos and double-basses - produced about 100 of splendid tonal quality - attractive to French orchestral players.
Violins also graceful, though of academic outline and arching. First-rate wood glows under the warm colour of varnish.
---------------------------------------------
Brugre Malakoff
avril. Luthier. 1892.
Rue Vacon, 43. Marseilles. No. 10.
---------------------------------------------

BRUGRE, FRANCOIS MALAKOFF
Born at Mirecourt 1822. Brother of Charles Joseph. Worked for Pierre Silvestre at Lyons; and for Daniel at Marseilles. Established at Mirecourt, where he made many instruments signed by J. Derazey. Died 1875.
Violins heavily built, appealing more to orchestral players than to the so-called lovers of art, who generally turn from them, though perhaps inwardly having a sneaking regard for what is sometimes mis-termed the ungainly massiveness of the French.
Cellos and double-basses of finer proportions and have superior tonal quality.

BRUGRE, JOSEPH NAPOLON
Born at Mirecourt 1859. Second son of Francois. Established a workshop in native town. Died 1918.
Specialised in double-basses - exemplary modelling and tone. Assisted by Michel (brother), born 1862; died 1934.

BRUGRE, M.
Assistant in the establishments of Laberte-Humbert and Fourier-Magni. Won the mdaille dhonneur offered by the Ministry of Commerce and Industry, Paris, 1924.

BRUN, JOHANNES
Born 1881. Amateur. Resident at Vstra Bodarne (Sweden).
Violins and guitars - well spoken of.
---------------------
Johannes Brun
Vstra Bodarne
Anno 19. .
---------------------
Number of instrument written.

BRUNER (BRUNNER), MARTIN
Born 1724. Died 1801. Worked at Ollmtz (Moravia).
High Stainerish arching not entirely unprepossessing. Modelling and outline quite well thought out. The eye does not meet with any capricious essaying in the sound-holes. Yellow spirit varnish none too warm looking. Tone of captivating clearness but not of real mature mellowness. Scroll sometimes replaced by an ingeniously carved dogs head.
--------------------------------------
Martin Bruner, Lauten
und Geigenmacher in Ollmtz
1776.
--------------------------------------

BRUNI, MATEO
Born at Spezia 1884. Studied with Sgarabotto. Worked at Genoa 1922. Established at Buenos Aires 1930. Won first prize at Cremona, 1949.
Impressive modelling marked by inspiration in masterly touches. Various types - old Italian and French. Blending of oil and varnish, beautiful red and orange-yellow on a background of rose with golden and brown reflections, which wafts away all speculation regarding the tone before a bow touches the strings.
---------------------------------
Mateo Bruni
(Liutaio)
Fece Anno 1949
No. 50 . . . Buenos Aires
---------------------------------
(with signature)

BRUNO, CARLO COLOMBO
Born in Sicily 1872. Established at Turin 1890. Won medals at Paris, Turin and Marseilles Exhibitions.
Splendidly pictured reproductions of Stradivarius and Amati models. Workmanship of that order which severely critical eyes of connoisseurs must appraise. Inside details also bear closest inspection. Wood selected most judiciously, and covered with an oil varnish of reddish-brown shade entirely charming in its effect. Sonorously brilliant tone.
Also fine cellos and mandolines.
-----------------------------------------------------
Carlo Bruno C.B
Fabbricante dinstrumenti musicali a corda
Fece anno 1906 in Torino.
-----------------------------------------------------
-----------------------------------
Carolus Colombus Bruno
Fecit Augustae Taurinorum
Anno Domini x 1909
------------------------------------
(original lettering, and pretty decorative border, every u printed like a v; and initials C.C.B. within laurel-wreath design).
Also circular brand with the words Carolvs Brvno Tavrini. Some instruments have the inscription Si prega di non mouvre questa etichetta (a prayer that the label may not be removed).

BRUNO AND SON, C.
Established at New York 1884-1924. Manufacturers of the Bruno Artist Violins. Employed a large staff of very competent workmen for making new instruments and repairing old ones.

BRUNO, NICOLO
Worked at Bologna 1720-1730. Associate of Georg Klotz.
Good workmanship - combination of ltalian and Tyrolean traits, sound-holes inclined to perpendicularity, longish corners, warm-looking varnish of golden-yellow shade.
----------------------------------------------
Nicolo Bruno, e Giorgio Klotz
nella Strada delli Maestri di Legnami
in Bologna 1726.
----------------------------------------------

BRUNSKILL, JAMES
Worked at Berwick-on-Tweed 1880-1893. Removed to Newcastle-on-Tyne. Died there 1901.
Worked in the true spirit and straightforward simplicity of the old masters. Not conventional affairs, but of splendid design incorporating Strad characteristics. All details skilfully executed. Scroll of superb contour. Difficult to find suitable words to adequately express the beauty of the golden-red varnish. Very free and mellow tone, which as the years pass, should bring the instruments to an illuminating future and get into the hands of soloists.
Received several gold medals at exhibitions.
---------------------------------------
James Brunskill
Berwick-on-Tweed A.D. 1889
Antonius Stradivarius
---------------------------------------
--------------------------------
James Brunskill
Maker and Dealer
175 Westgate Road
Newcastle-on-Tyne 1898
--------------------------------

BRUSATERRA, MARIANO
Born 1927. Pupil of Zamberti. Resident at Vicenza.
First instrument produced in 17th year. Several subsequent specimens have won considerable enconium. Secured a high number of points at the Cremona Exposition 1949, for a violin having a model of fair personality, with clear spirit varnish of yellow shade.
---------------------------------------
Marianus Brusaterra Vicentinus
Faciebat Anno 1950
M.B.
---------------------------------------
(with signature)

BRUSSY, DUBREUIL
Violinist. Member of theatre orchestras at Paris 1815-1829. Amateur.
Excellent Lupot replicas though slightly lacking in finesse. Reddish varnish reflecting a kind of inward radiance that is fascinating.
-----------------------------------
Dubreuil Brussy
1824 Luthier Paris, 1824.
-----------------------------------

BRUTON, JAMES
Resident at Thornbury (Gloucestershire). Born 1800. Died 1862.
Workmanship said to be somewhat amateurish. Outline and general construction not always adhering to established rules of far-famed predecessors. Dark yellow varnish.
Name mentioned in a booklet by J. Spencer Palmer of Thornbury.

BRUYAS, MAURICE
Born 1907. Violinist. Member of the Radio and Opera orchestras at Algiers. Also a skilful woodcarver, who ultimately became a maker. Established at St. Etienne (Southern France) 1946.
-----------------------------------------
Maurice Bruyas
Luthier du Conservatoire
31, Place Fourneyron. 31
Saint-Etienne - Fait le . . . 19. .
-----------------------------------------

BRYANT, CHARLES HENRY and L. H.
Worked at Thornton (New Hampshire) 1870; and at Wolfeboro, 1897.
Guarnerius modelling imitated to look old, but without any extravagancies in structure of disfigurations in varnish. Amber varnish of golden-red shade.

BRYANT, GEORGE E.
Worked at Lowell (Massachusetts), 1915.

BRYANT, L. D.
Worked at Boston, 1900.
Stradivarian modelling successfully treated to old-imitation ideas. Golden yellow-brown varnish. Strong tone but satisfactorily smooth.

BRYANT, OLE H.
Born at Thornton (New Hampshire), 1873. Son of Charles Henry. Made a miniature-size violin in 12th year. Received useful instruction from Charles Gage. Removed to Wolfeboro, and made his first full-size violins in fifteenth year. Went to Boston as repairer for the Elias Howe Company, 1894; also worked for Oliver Ditson until 1910, then established own premises and employed various assistants for repair work. Died 1943.
Built about 150 violins - all absolutely personal work, and priced at 500 dollars each. Had a preference for Guarnerian modelling, but equally expert in imitating the Stradivarian. Every little detail in workmanship delightful to contemplate. Inventor of a perfected amber oil varnish in all desirable shades giving instruments a new importance in the eyes of connoisseurs - some declaring it to be the dawn of a new day in Cremonese elasticity and transparency.
Each instrument yearly acquiring increased tonal beauty, becoming the subject of much interest and approval of the fiddle-cognoscenti.
Also recognised as one of the three old-violin experts in the United States, intimately examined and minutely measured 25 or more of the finest Strads as well as many specimens of Guarnerius, Bergonzi, Guadagnini and the Amatis. Principal repairer to the Boston Symphony Orchestra. Particularly skilful in rejuvenating any finicky and obstinate old derelict instrument into one acceptable to a discriminating purchaser. An appraiser whose certificates are in universal regard. Gave authoritative Courses of Instruction (to amateurs catching the lure of violin construction, as well as to those entering the art professionally) at Boston during nine months of the year and at the delightful region of Wolfeboro near Lake Winnepesaukee in summertime.
-----------------------
O. H. Bryant
Boston. Mass.
1926.
No. O. H. B. . . .
-----------------------
(on brown-tinted paper, and effectively scrolled).
Trade-mark - a sound-hole, letters O.H.B. and words Cremona Art.
Instruments made by his dozen or so assistants bear the label of actual maker, and sometimes the words under the instruction of O. H. Bryant. The future should signalise this maker as a 20th century Vuillaume.

BRYANT, PERCIVAL WILFRED
Born 1902. Worked for George Withers (Leicester Square, London), 1920-1932. Established at Brighton 1939.
Aimed at a lofty position in bow-making and has certainly achieved an entire triumph. Many of his productions are used by virtuosi of several nationalities.

BRYNILDSRUD, LARSEN
Born in Norway 1859. Resident at Christiania, 1895.
Specialised in organs, but a few violins and violas are in limited circulation.

BRZECHOWSKA
Worked at Lwow (Lemberg).

BUBENIK, JOHANN BAPTIST
Born 1800. Died in 36th year. Worked at Prague.
Pupil of Caspar Strnad, and partially copied his model. Outline nearer to the Stradivarian than to any other. Arching of top plate slightly too round (particularly between the sound-holes) to be truly artistic or advantageous for tonal penetrating power. Sound-holes though generally a trifle short, seem easily positioned and verge on the elegant. Well-chosen belly wood and finely flamed material for back. Conscientious workmanship though not flawlessly neat. Varnish frequently of excellent shades of golden-red or golden-brown - also specimens tarnished with a poor spirit concoction which misrepresents the general excellence of instrument, and probably counteracts quality of tone - a tone to be summarised as being rather full and strong, with a hardness accompanying it. The world will never echo with the bestowal of any especial praise.
Produced a few cellos of more noble impulse and more impressive tone. Stradivarian modelling. Body length 75 cm.
-------------------------------
Johann Bubenik
fecit Prague Anno 1825.
-------------------------------
(bearing the design of a lyre).

BUBLITZ, WILLIAM F.
Established at Elkhorn (Wisconsin), 1922.
Artistically high-grade violins built on the principles proposed by the Cremonese, and avoiding uncertain paths of so-called secret theories.
Also applied himself to bow making, and imparted necessary skill to satisfy artists. Inventor of a cramping form for bouts or ribs, 1922.
An idea to obviate the shortcomings and difficulties attached to the older molds, and to insure a perfect joint being made between the centre and end bouts so that the use of purfling to cover up defects may be eliminated. It also, of course, provides a mold into which the bouts may be readily and efficiently cramped and removed when set without the use of any instrument.

BUCCI, M.
Worked at Rome. Violins and guitars.
Skilled workmanship, no extravagancies, masculine tonal quality.
----------------------------------
Mariano Bucci
Fabbricatore distrumenti
Roma 1896.
----------------------------------

BUCHANAN, DAVID
Maker, resident at Lechlade (Gloucestershire).

BCHARIN, IVANOVITCH
Son of Ivan Dimitrovitch Bucharin (good repairer). Established at Kasan (Russia), 1908-1914.
Modelling after Amati and Stradivarius, with evidence of reverence to emulate those superb masters of outline. Altogether meritorious workmanship. Scroll, sound-holes and purfling fully illustrative of harmony of design. Dark yellow shade of oil varnish of fine texture.

BCHEL, HUGO
Born 1859. Worked at Coburg (Germany).
First instruments well familiarized with Stainer principles. Hollow tonal quality in lower register, and a trifle squeaky in the higher. Subsequently created a more original model, something combining characteristics of a Stradivarius and Bergonzi, but with a table rather too ellipsoidal.
------------------
H. Buchel
Coburg. 1899
------------------
(written)

BCHENBERG, MATTHUS
Born in Germany. Worked at Rome 1597-1620. One of the most celebrated lute makers of that period.
Very skilled workmanship and a noteworthy avoidance of decorative extravagancies. Chitarones and arch lutes have a distinctively masculine sort of tonal quality. Branded M.B.
-----------------------------
Matheus Bucchenberg
Roma 1619.
-----------------------------

BUCHER, IGNAZ JOHANN (1)
Born 1828. Died 1881. Son, pupil and successor of Johann. Worked at Vienna. Won medals at Vienna Exhibition 1873 for string quartet of instruments.
Violins illustrating Stradivarian influence upon the Austrian school. But Bucher also gave a feeling of originality and a certain freedom of thought in the outline and arching, thus avoiding servile facsimilism, and giving instead, something transmitted from a predecessor into a style of his own. Excellent capabilities in carving fully evident in the scroll. Sound-holes have all the essentials of gracefulness. Purfling microscopically neat. Also very happy in obtaining a rather strong and certainly a clear tone.
Guitars used throughout Austria, and greatly admired for superb workmanship. Inventor of a bowed bass zither, 1860, formed on the model of a bass viol; flat back, four metal strings, fretted fingerboard, and dimensions similar to those of a cello.
---------------------------------
Ignatius Johannes Bucher
fecit Vienna, anno 18-
---------------------------------
----------------------
Ign: Joh: Bucher
in Wien
----------------------

BUCHER, IGNAZ JOHANN (2)
Born at Vienna 1859. Son, pupil and successor of the preceding. Worked at Markneukirchen for several years. Established at Vienna 1884. Specialised in good class violins priced from 10/- to 30.
Usual Cremona models with a decided trade appearance. Oil and spirit varnish. Also produced guitars and zithers, receiving several medals at Paris, Brussels, and Vienna Exhibitions.
-----------------------
Ig: Joh: Bucher
VII Zollergasse 22
Wien.
-----------------------

BUCHER, IGNAZ JOHANN (3)
Born 1887. Son of the preceding. Entered his fathers workshop 1923.
Violins already well known in Austria. Detail aggroupment thoroughly harmonious.

BUCHER, JOHANN
Born at Hammerschwang (Wrtemberg), 1792. Died 1856. Worked for Stauffer at Vienna. Established his own workshop in that city 1816. Inventor of the Moschin guitars.
Principally a guitar maker, but a few violins bear his label.
------------------------------------------
Johann Bucher
Geigen u. Guitarrmacher in Wien
St. Ulrich Rofranogasse No. 59.
------------------------------------------
(beautified by the striking figure of an angel plucking the strings of a guitar).

BUCHNER
About sixteen of this name worked at Schnbach, 1900-1935: (ADAM, FRANZ, ANDREAS, HANS, IGNACE, JACOB, JOHAN I, II & III, JOHAN LUDWIG, JOSEPH, JOSEPHIN, KARL, LOUIS, MICHAEL, WENZEL).

BUCHNER, F. W.
Worked at Leipzig 1865-1892.
Excellently toned instruments. Generally reddish-brown varnish.

BUCHNER, JOSEF
Worked at Kraslice (Bohemia), 1900-1925.

BUCHSTETTER, CHRISTOFF ANDRE
Worked at Stadtamhof (Bavaria), 1741.
Instruments built on the style of a Gasparo da Sal. Known as Brger, Lauden, and Geigenmacher.

BUCHSTETTER, GABRIEL DAVID
Son of the preceding. Worked at Stadtamhof near Ratisbon (Regensburg), 1733-1780.
One of those makers who tried to snatch a grace beyond the beaten track, though adhering somewhat to the models of Stainer and Amati. Originality betoken in the greater length, and slightly reduced width - perhaps giving a too narrow appearance to altogether please artistic eyes. Arching less pronounced than that of either of the models. Sound-holes, in some ways Amati-like, but infused with a slight peculiarity always looked for by experts when examining and certifying a Buchstetter violin. Scroll has character in every movement of its rounded form, but there is a want of finish in the tout-ensemble. Purfling partakes of that unembarrassed facility which courts admiration. It is strange that so good a maker did not always exercise critical judgment in choosing wood. Many specimens have coarse and wide-grained pine - only very occasionally one with fine grain. Also sometimes used pine which he hardened by some secret process, and in consequence the tone is invariably harsh though loud. Backs of moderately flamed maple, sometimes of one piece, but more frequently of two. On early instruments the varnish seems to have been applied after brown-staining the wood, consequently there is a hardness and utter absence of beautiful transparency. Later he succeeded in preparing one of finer quality in three shades - yellow, yellowish-red and a rich dark red-brown - the latter being mostly favoured. Resonant and large tone, but seldom really mellow; in fact often the reverse, particularly on the upper notes. German orchestral players have found them to their liking. Spohr played on one for a few years.
-------------------------------------------------
Gabriel David Buchstetter Lauden und
Geigen Macher zu Stadt am Hoff
neben Regenspurg Anno 1750.
-------------------------------------------------
-----------------------------------------
Gabriel Buchstetter Lautten und
Geigenmacher zu Stadt am Hof
prope Ratisbonae. 1761.
-----------------------------------------
(German lettering)
-------------------------------------------------
Gabriel David Buchstetter, Lautten und
Geigenmacher Pedeponti prope
Ratisbonam. Anno 1764.
--------------------------------------------------
(ordinary lettering)
Number of instrument also given. In a violin dated 1752 this number was 26.

BUCHSTETTER, JOSEPH
Son and pupil of Gabriel David. Worked at Stadtamhof, 1776-1880.
Considerable imagination went hand-in-hand with practical dexterity. Though adhering to many traits of his father which render the instruments somewhat similar, discerning eyes will note slight excursions of originality. Also of flat model. Excellence of workmanship brings refreshment to critical views. Quality of tone is perhaps a little more mellow than that achieved by father.
--------------------------------------
Josephus Buchstetter
filius Gabrielis Davidus
Pedeponti prope Ratisbonaim
Anno 1779.
--------------------------------------

BUCK, RICHARD JOHN
Born at Newport (Essex), 1871.
Initiated into some of the mysteries of violin making by George Pyne, and spent ten years, 1890-1900 in that excellent makers workshop in London, but did not venture beyond the dabbling stage. Went out to Australia 1906, and settled at Melbourne as a plumber. Had a nervous breakdown which prevented continuation of usual occupation. As time weighed wearily, he relieved the monotony by making his first real instrument, 1920. Received 15 for it from a professional orchestral player, and was thus encouraged to continue in the art. Built twelve interesting specimens up to the year 1925.
Stradivarian and Guarnerian modelling - the latter possibly resulting in finer tone. Workmanship worthily accomplished. Well-chosen Wood with thicknesses never worked too thin. Early instruments have an amber varnish fused by himself from old broken pipe stems obtained from a local pipe maker. Modestly admitted he never reached his ideal in the colouring of the amber owing to the difficulty of getting pure gums in Australia. Subsequently tried Angells (Bristol) chestnut-red varnish over two coats of his own pale amber preparation.
---------------------------------
R. J. Buck. Maker
477 Drummond Street
Carlton. Melbourne, 1924
---------------------------------
------------------------------
R. J. Buck
Violin Maker
Melbourne
Victoria Australia. 1925.
------------------------------
Written - either on the bare wood or on paper.

BUCKLEY, FREDERICK J.
Born in Nova Scotia, 1875. Established at St. Louis (Missouri), 1908-1926.
Produced first instrument 1893. Subsequently more Guarnerian and Stradivarian modelling - all details of workmanship indubitably splendid. Equal to any other American. Yellow-brown varnish applied with necessary spark of imagination. Also enjoyed consistently good reputation as bow maker.
---------------------------
Frederick J. Buckley
St. Louis. Mo. 1919.
---------------------------
Also stamped F. J. Buckley.

BUCKMAN, GEORGE HATTON
Born at Dover 1845. Amateur. Played violin in local orchestras. Artistic in many directions, especially landscape photography. Studied violin making from books. Lived in a delightfully situated house on the highland of Kearsney (near Dover). Died 1920.
Strong modelling of large dimensions, Stradivarian - body length 14-1/4; upper bouts 6-5/8; lower 8-3/8; waist curves 3 inches from corner to corner; deep ribs, large but elegant sound-holes superbly traced, prominent edges nicely rounded, widish purfiing accomplished without a tremor, arching finely conceived, completely masculine scrolls, and the usual pretty wood.
Also made Guarnerian models - body length 14 1/20.
Varnish of two shades, golden-red and red, but the maker always acknowledged his semi-failure to apply it as he conscientiously desired. Tone (on a few of his instruments) especially penetrative when under a strong bowist.
Only produced about 50. Sought little publicity. Some unfinished specimens left at his death were reverently treated and improved by his friend Alfred Dixon.
------------------------
Geo. H. Buckman
Dover. 1901.
------------------------

BUDINI, GIOVANNI
Born in Italy. Resident at Albany (N.Y.) 1940. Stradivarian modelling of high order. Nice textured varnish.

BUDZINSKI, J.
Worked at Lwow (Poland), 1925.

BUFFIN, MAXWELL E.
Born 1888. Worked at San Francisco, Chicago, New York and Cincinnati. Established at Miami (Florida), 1930.
Modified Strad and Amati, top ranking workmanship in all details, everything hand made, deftly cut scroll, transparent oil varnish (own formula) red-brown to dark brown, round and penetrative tone with marked future potentialities.
Also cellos and double-basses. Nicely balanced bows enhanced by neat work.

BHLICH, RICHARD
Born at Leutzen 1868. Worked at Rostock (Mecklenburg), 1895-1925. Pupil of Paulus at Leipzig.
Original design based on Stradivarian principles. Golden-yellow spirit varnish with red-brown shading. Some instruments too thinly wooded.
-------------------------------
Richard Bhlich Rostock
Geigenbauer 18-
-------------------------------

BULLBRIDGE, JOSEPH M.
A little-known English maker alleged to have made some instruments around 1890. Probably an amateur.

BUNNAGEL, JOSEPH
Born 1904. Studied at Mittenwald. Settled at Cologne 1929. Excellent instruments which should not recede in public estimation.

BUONFIGLIUOLI, PIER-FRANCESCO
A Florentine maker of the 1700s mentioned in general reference works. He is however, unknown to me.

BUONAROTI
Worked at Rome 1735-1755.
Instruments of second class grade. Unattractive and narrow pattern - high arching, plates frequently too thin - yellow varnish. An inconsequential representative of the Tecchler school.

BURCKART, D.
Worked at Rastatt (Baden).
Stainer modelling, ordinary workmanship, flat and compressed scroll, nice yellow varnish.
------------------------------------
Dionisius Burckart, Musikus
Violin und Saitenmacher
in Rastat 1807
------------------------------------
(written)

BRDORF, ERNST H.
Worked at Bremen, 1926.
Reputed repairer who exercised his refined skill on a few well-modelled violins.

BURGESS, W. E.
Resident at Trenton (N. Jersey), 1920.

BURGLE, JOHANN
Worked at Griezbach (Bavaria), 1815-1831.
----------------------------------
Johan Burgle geigen
macher in Griezbach 1826.
----------------------------------
(with design of lion in centre)

BURKHARDT, EMIL
Born 1871. Gained experience in violin shops at Klingenthal, Dresden and Markneukirchen. Established at Eisenach many years. Worked there 1925.
Produced Artists violins. Combination of delicacy and power altogether attractive. Outline, arching, sound-holes, purfling and scroll show how skilfully the maker commanded working tools. Varnish signalised by no shortcomings. Appointed maker to the Grand Duke of Sachsen-Weimar, 1909. Inventor of a patent peg for bowed instruments. Also a new form of instrument (which can be played either with the bow or the fingers) having a bow-shaped string support, and provided with tone dampers or stoppers.
-------------------------------------------
Emil Burkhardt
Instrumentenmacher u. reparateur
Eisenach. anno 1908.
-------------------------------------------

BURKMANN, ERNST
Worked at Plauen (Saxony), 1908.

BURLING, ALFRED JAMES
Born 1870. Resident at Islington (North London), 1891-1924.
Produced about 40 violins of Guarnerian model. Oil and spirit varnishes - various shades.
-------------------
A. J. Burling
London 1921.
-------------------

BURNETT, JAMES
Resident at Edinburgh 1924.
Achieved highly gratifying tonal results.

BURNLEY, ARNOLD
1870-1890. English maker whose work appears to have descended into oblivion.

BURR, EDWARD ALBERT
Born 1862. Resident at Wellington (New Zealand), 1920. Started as an amateur 1900. Experimented with native woods and found them inadequate for his idea of tone. Became professional 1921, and imported European woods.
Stradivarian outline - modified arching, enthusiastic workmanship, golden-brown varnish prepared by himself. Tone developed after the instrument is strung up in the white.
-----------------------------
No.
E. A. Burr
Wellington N.Z. 1924.
-----------------------------

BUSAN, DOMENICO
Worked at Vicenza and Venice, 1740-1780.
Amid a few excellent things there is a preponderance of what is indifferent. Failed to preserve complete harmony of form in the smallish model with medium high arching. Selected very good acoustical wood. Wide purfling rather roughly executed. Bestowed a little more care on the small sound-holes. Did not work out the higher purpose of art in carving or shaping of scroll. Rather brilliant red-brown varnish, put on with a liberal hand, and to be fully appreciated. There are however, one or two specimens having a poor quality Varnish now almost black. Pleasing and mellow tone but without power. Sometimes catalogued at 60, a price excessively high and probably double the actual value, as they are not really very desirable acquisitions.
Produced several double-basses of remarkable tone.
---------------------------------
Dotninicus Busan
Venetiis Fecit Anno 1742.
---------------------------------
------------------------
Dominicus Busan
Venetus fecit
Anno 1746
------------------------
(large italicised lettering)
------------------------
Dominicus Busan
fecit Venetiis, 1761
------------------------
(ordinary small type)
-------------------------------
Domenico Busan
fecit Venice Anno 1769.
-------------------------------
Name sometimes given as Buson and Busban. Both false.

BSCH, E.
Born at Nurnberg 1590. Died 1650.
Principally viol-da-gambas and lutes. One violin in Brussels Museum.
------------------------------------
Ernst Bsch
Lauten und Geigen Macher
in Nurnberg, 1638.
------------------------------------

BUSSARD, M. K.
Professional violinist. Author of Violin-Playing Method.
Strad and Guarnerian modelling. Intelligent portrayal of chief traits. Velvety yellow-orange oil varnish.
-------------------------------------
M. K. Bussard
Huntingdon. Indiana. U.S.A.
Handmade. 1929.
-------------------------------------

BUSSETTO, GIOVANNI MARIA DEL (1)
Worked at Cremona 1535-1580. Supposed to be the first maker at Cremona - accredited with being the teacher of Andrea Amati. Several historians have assumed that he lived at Brescia before settling at Cremona. First instruments closely adhere to the style of Gaspar da Sal, suggesting that he was a pupil of that master, and definitely regarded as one who made some elementary departures from the old viol type.
Violins dated after 1560 are long and large patterned, very highly arched, short and wide sound-holes, brown or deep yellow varnish, wood of superb quality. Very fine specimen owned by Mr. C. Woodcock of London. Value 650 (1954).
---------------------------
G. Maria del Busetto
Cremonae 1572.
---------------------------
-------------------------------
Gio. Maria del Bussetto
fece in Cremona 1570.
-------------------------------

BUSSETTO, GIOVANNI MARIA DEL (2)
Worked at Cremona 1640-1681.
Specimens catalogued at 30. Rich orange-yellow varnish - deep and full tone.

BUTHOD, CHARLES LOUIS
Born at Mirecourt 1810. Worked with Vuillaume for several years at Paris. Set up large premises at Mirecourt and engaged several assistants. Yearly output (at cheap prices) totalled 800 violins, 401 violas and 50 cellos. Subsequently became director of the Thibouville-Lamy firm. Died 1889.
Three grades of strongly constructed violins - Stradivarian modelling - red, golden-yellow and light brown shades of oil varnish, frequently applied in the Vuillaume method.
Similar style in violas and cellos.
---------------------------------------
Buthod Luthier
Elve de Sb. Vuillautne Paris
---------------------------------------
(with two designs of medals)
Also silver-mounted bows. Stamped Buthod A Paris.

BUTI, ANTONIO
Worked at Albano Archi (Italy).
A maker who lacked the delicate appreciation of refined style.
-------------------------------------
Antonio Buti dAlbano Archi
fece Lanno 1756.
-------------------------------------
(written also with little ornaments)

BUTLER, F. H.
Born 1898. Enthusiastic amateur. Resident at Premont (Texas).
Carefully made violins - generally modelled on the Alard Strad. Good wood (subjected to electric currents to test its endurance and tone-resonance) - and oil varnish.
---------------------------
Frank Hudson Butler
19. . .
---------------------------
(printed as though written)

BUTT
Born in North Wales. Violinist at Cupar (Scotland), 1930.
Produced several violins of average merit.

BUTTI, F. H.
Worked at Hof (Bavaria).
Nicely varnished conceptions of various old Italian and Tyrolese models.
------------------------------------
Copie Maggini
imp Maria Theresia
fecit F. H. Butti. Hof 1923.
------------------------------------

BUTTON and PURDAY
Small Amatese modelling - dark-brown varnish.
--------------------------------
Button and Purday
75 St. Pauls Churchyard
London 1806.
--------------------------------
Whitaker was associated with Button, 1813.

BUXTON, HENRY
Worked at Chester 1812-1840.
Stainer modelling of average workmanship.

BUXTON, JAMES
Worked at Bristol, 1820-1833.
Violins with some Amati traits. Tolerable workmanship.
------------------------------
Made by James Buxton
at Bristol 1824
------------------------------

BUYCK-DIEU, FLORIMOND
Born 1897. Resident at Mons (Belgium), 1928. Died 1939.
Good copies of ancient Italians. Oil and spirit varnishes - yellow or reddish-brown.
--------------------------------
F. Buyck-Dieu
Luthier Brevet
32 Rue des capucins, 32
Fait Mons An 1926
--------------------------------
(Monogram sketched by hand on left).
-------------------
F. Buyck-Dieu
Luthier. Mons.
-------------------
Branded (in block lettering) on back near soundpost, also near button.

BYRNE, W. M.
Attached to Southern Californian Company, Los Angeles, 1925.
Much-appreciated Strad modelling.

BYROM, GEORGE
Born 1870. Established at Liverpool. Died 1928.
Chiefly known as a very expert repairer. Made a few violins which have not received their rightful appreciation.

BYRON, H.
Resident at Oxford.
Amatese modelling, neat workmanship, sweet tone of fair strength.
-------------------------
Humphry Byron
fecit in Oxon. 1810
-------------------------

BYRTH, WALTER
1800. Nottingham. Very little known of this maker.

BYWATER, HENRY
Worked at Bristol, 1800.
Duke-style brought to acceptable account. Satisfactory workmanship, pretty wood, excellent brown varnish, fairly mellow tone.
--------------------------------
Made by
Henry Bywater in Bristol
--------------------------------