CABASSE, ISIDORE
Worked at Mirecourt, 1880. Pupil of Vuillaume.
Strad modelling, somewhat in the Gaillard manner, red-shaded varnish.
Signed with pencil. Some very good ’cellos.

CABASSE, JEAN
Bow maker. Worked at Mirecourt, 1760-1778.
Comfortable balance - production of good tone taken out of the realm of guesswork. Stamped ‘Cabasse’.

CABASSE, PROSPER (1)
Worked at Mirecourt and Paris, 1782-1810.
Many are narrower and of higher arching (chiefly towards bridge) than is customary with Mirecourt productions, but occasionally we meet with an entirely flatter model of the usual dimensions. Workmanship prejudiced by unequal execution which no doubt accounts in a great measure for the coldness of the connoisseur’s reception. But we wish that some of them would have the good taste to avoid amplifying criticism of an undignified order simply because Cabasse’s instruments have the commonplace factory-made look about them, and comment instead on the usefulness of these rather strong toned violins for orchestral purposes which, in our judgment, have no superior at the price usually asked - £20 (1925).
Orange-brown varnish of reasonable warmth. Usually fine grain wood for the table and medium flamed maple for the back.
Branded ‘Cabasse à Paris’ - sometimes in triangular form.
After death some dealers dated instruments apertaining to him up to the year 1864, and branded them ‘Cabasse’. 1959 prices £85 to £100.

CABASSE, PROSPER (2)
Worked for Georges Chanot at Paris. Lived at Baltimore (U.S.A.), 1854 - returned to France.
Light brownish-yellow shellac varnish often admired by experts.

CABETTI, GIACOMO
Instrument with this name advertised in London, 1911.
Remarkably clear and mellow tone. Beautifully figured wood and transparent varnish.
-----------------------------------
Giacomo Cabetti del Brescia
-----------------------------------

CARBOLI, LORENZO
Worked at Milan, 1715-1720.
Workmanship in semi-violation of that usually associated with Milanese makers. Scroll rather blemished by an unnatural pose. Considerable roughness interiorly. Small model without any particular grace. Orange-yellow varnish fairly transparent.

CABLEY, JEAN CLAUDE
Bow maker worked at Mirecourt, 1762-1777.

CABROLY
Worked at Toulouse (France), 1730-1749.
Model of violins not infelicitous in outline and arching. Workmanship shows fair average manipulation. Scroll seems constrained but is far from the commonplace. Varnish (pale red or yellow) to be commended. Ink lines frequently take the place of purfling.
Treble-viol, dated 1734, preserved in the Crosby-Brown Collection, New York - length, 24 inches; width 8; depth 3; Deep model, with flat back sloping to the shoulders. Six strings. Reddish-yellow varnish. Ink lines in place of purfling. Crescent-shaped sound holes. Sculptured head.
----------------------
Fait par Cabroly
à Toulouse. 1742
----------------------
(Square lettering; decorative border)
------------------------------
Fait par Cabroly. - 1734
------------------------------

CACCHIONI, GIOVANNI and SON
Worked at Rome, 1920. Average workmanship.

CADELL
Instrument advertised at £5.
-----------------------------
Sold by T. Cadell Junr
London. 1796
-----------------------------

CADOT, THEO
Worked at Toulon, 1875-1888.
Well arranged modelling of broadish proportions - brown-yellow varnish.

CADWELL, N. A.
Worked at Springfield (Massachusetts), 1908. Good workmanship.

CAESTE, GAETANO
Worked at Cremona, 1677.
His claim to entire originality not universally allowed. Amati model not slavishly copied, nevertheless the chief characteristics are obvious. But seems not to have been sufficiently ardent and persevering to produce many instruments, neither to exercise much skill in workmanship. Varnish of brownish shade.

CAESTO, PIETRO ANTONIO DELLA
Worked at Treviso (Italy), 1660-1680.
Adroitly made instruments resembling the early model of Stradivarius. Name occasionally given as Caesta.

C. A. F.
brand of C. A. Fischer.

CAGLIANONE, LUIGI
Worked at Sant’ Agata di Esaro (Cosenza), died 1951.
Principally guitars and mandolines.
A few violins known - Strad modelling and especially good varnish.

CAHUSAC
Thomas Cahusac, senior, was a famous eighteenth century music publisher and musical instrument maker at the sign of the ‘Two Flutes and Violin’ in the Strand, near St. Clement’s Church. In business from 1755-1798, specialised in the manufacture of flutes, violins, and the smaller types of musical instruments, besides much sheet music. His two sons, Thomas and W.M. founded a separate business in the Strand. Later, Thomas transferred himself to the Haymarket. Cahusac, senior, died in 1798, and the obituary notice described him as ‘the oldest musical instrument maker in and near London’. Said to have worked in association with Banks, 1780 to 1792.
If he had any genius he involved it in voluntary servitude by engaging himself in the service of the tyrant, Commerce. And so drove round the one circle from which he seldom deviated. Therefore the majority of his instruments deserve the appellation ‘rubbish’, and their value certainly cannot exceed £5. One specimen known with upper bouts broader than the lower - short corners and sound-holes almost in the form of a C.
There are, however, a few attributed to him that are exempted from such criticism, and belong to a more elevated condition. These, generally undervalued, have an Amati outline. Flawless workmanship on exceedingly fine wood. Dark amber varnish perfectly transparent and of very attractive appearance. Responsive tone, fairly equal on the four strings, though never particularly penetrating. Their value may be appraised at £20 (1920). £60 to £80 (1959).
The inferior instruments are hurriedly and carelessly worked. Very high arching, somewhat Tyrolese in general structure. Frequently without purfling. Excessively plain wood, and too thin in the vital parts. Poor scroll and of ungainly breadth at base of neck. Originally varnished yellow-brown, which has now gone almost black.
His labels may be seen in many old violins of different styles. This circumstance seems to point to the fact that many were not made by him but by others in the same workshop, as the general workmanship is so varied in style and merit as to exclude the possibility of being executed by the hand of one man.
------------
CaHuSac
London
1796
------------
-------------------------------------------------
Cahusac
No. 196
Opposite St. Clement’s Church - (rare)
Strand
17 London 96
-------------------------------------------------
----------------------------------
Cahusac
No. 76
near St. Clement’s Church
Strand. London.
1795
----------------------------------
Violins labelled Cahusac haye been dated up to 1820 - some having the inscription as emanating from Paris. Possibly a trade affair to impress the British public.

GAIL, LOUIS
Worked at Paris, 1785-1810.
Mirecourtian modelling of large dimensions similar to the Nicolas style - generally ill-chosen wood, spirit varnish (somewhat glossy) of yellow and chesnut shades. Strong and unsympathetic tone. Branded ‘L. Cail’ on the interior.

CAILHE-DÉCANTE, JEAN BAPTISTE
Born at Charroux (France), 1831.
Pupil of Décante. Worked at Paris and Lyons 1855. Returned to native place about 1860. Over the door of shop was the sign ‘à la vielle bourbonnaise’.
Principally made Vielles (hurdy-gurdies). A few violins known which bear his name. Spirit varnish.

CAIMI, ARTURO
Milan. Died young in 1935. Better known for his well-made guitars and repairs.

CAIRNS, PETER
Born 1846. Worked at Portobello (Edinburgh) until 1920.
Modelling suggestive of the Guarnerian, but more massive - arching generally very flat. Strong and sharply ridged edges - purfling unusually distanced from the edges, and deeply set. Masculine scroll especially precise in all its customary curves. Corners of clean and exact joinery - all details nicely finished. Sound-holes set rather upright and wide open - the straight cut at the top and bottom being pronouncedly broad. Varnish of soft texture - various shades, but mostly a transparent light walnut-brown. Bass bar shorter and of slighter proportions than the general modern procedure, also placed further within belly. Sound post relatively smaller in diameter. Tonal quality of easy response, but not much power. Experimented with various woods. Some specimens made entirely of bird’s-eye maple or satin-wood - pine having no part in the construction.
Also built instruments of peculiar proportions - length of back being 14-3/8 inches, with the belly only 13-3/4 - ribs, in consequence, set at an angle. A doubtful idea for any success in tone amelioration.

CAKIN, FRANCIS
1800. Edinburgh.

CAISTEMEL
----------------------------------
Paolo Caistemel
fecit Cremona. Anno 1763.
----------------------------------
(decorative border)

CALACE, CAVALIERE RAFFAELE
Worked at Naples from 1900. Mandoline virtuoso and composer for his instrument. Maker (assisted by his son) of guitars. mandolines, lutes, and all bowed instruments. Made a violin specially for Mussolini, 1927. Twelve gold medals and diplomas.
Very common-looking violins - commercial affairs. Model of strange appearance - sharp rise from the edges, then almost flat. Pressenda-red varnish, but dull and thick. Workmanship inferior to the French or German factory productions.
-----------------------------------------------
Liuteria Classica Napolitana.
Comm. Prof. Raffaele Calace & figlio
Napoli.
Costruito in Italia.Anno 1918.
-----------------------------------------------
--------------------
Anno 19-
Raffaele Calace
Napoli.
--------------------
(photograph on left - name printed as a facsimile of signature)

CALACE, GIUSEPPE
Born 1899. Son and pupil of Raffaele. Worked at Naples. Also a mandoline and guitar virtuoso.
Produced first violin in 1919. Subsequently made a large number of Strad and Gagliano models, and finally one more personal, known as the ‘Modello Calace’. Excellent constructions in the category of ‘trade’ instruments. Spirit varnish on some, others with an oil varnish of various shades - golden-yellow, deep red, and ruby.
Violas and ’cellos of similar conception.
Many splendid guitars in Guadagnini style. Twenty gold and other medals gained at various exhibitions.
------------------------------------
Guiseppe Calace fu Raffaele
fece in Napoli nel 1949
------------------------------------
(trade-mark on left)

CALAGARI, FRANCESCO GIUSEPPE
Worked from 1670.
High model developed by devotional craftsmanship and artistry. Brownish-red varnish.

CALARESE, SALVATORE
Campobasso, Italy. Worked there between 1900-1945. Exhibited a traditional-style violin at the Cremona Concours in 1937.

CALCANIUS, BERNARDUS
Worked at Genoa 1710-1750. Had Antonio Pazarini for a partner during later years.
Slightly reduced Stradivarian and Guarnerian models, with a little more arching - many resembling the Guadagnini’s of Parma period. Very acceptable workmanship. Rather small-proportioned and not completely artistic scroll - longish and narrow, with accentuated boss. Excellently cut sound-holes showing careful zeal for symmetry. Invariably pretty wood, often one-piece backs with flame slightly slanting downwards from left to right. Three varnishes - a lustrous orange-red, a perfect golden, and a few in brilliant yellow, all slightly heavy in application.
Violas usually 42-1/2 cm. body length. Today’s price £250 to £300.
---------------------------------
Bernardus Calcanius facis
Genuae Anno 1750
---------------------------------
---------------------------------
Bernardus Calcanius
fecit Genuae, anno 1727.
---------------------------------
A cross, sometimes within a circle, follows the date. Name occasionally given as ‘Calcagni’. Some instruments bear Guarnerius labels.

CALESTIERE
French. Period 1725.
Excellent tonal quality of moderate strength. £15 (1925).

CALIFORNIA VIOLIN COMPANY
Established at Los Angeles 1910-1940.
Violin makers and manufacturers of accessories relating to stringed instruments.

CALLIER, FRANK J.
Born in America. French parentage. Worked at St. Louis 1900-1914; at San Antonio (Texas) 1916-1926; and at Hollywood (California) 1928. Specialist in hand-made bows.
Eliminated nothing which enables the performer to display his diversified flights of fanciful bowings or the steady stroke of sustained power. Beautifully constructed heads - strong, without that rather ugly squarish appearance of some - and finely slender in the stick just at the upper part. Specially chosen Pernambuco wood. Also copies of famous models.
Added, during later years, the art of violin making to other achievements. Exhibited specimens at Chicago and Philadelphia, 1925 and 1926 - recipient of silver medals. Modelling scientific and symmetrical, determined by fine harmonic ratios. Firs-tclass master in the art of varnishing.

CALLSEN. BRUNO
Worked at Zittau (Saxony), 1880-1905.
Violins deserving the appellation of excellent. Various standard models.

CALONARDI
CARLOMORDI.

CALOT
Born at Mirecourt. Worked in several French towns. Established at Berne isnd Turin (in the shop of Pressenda) 1817-1832. Died 1852. Obtained considerable eulogium for conscientious workmanship.
Also made excellent guitars.
----------------------------------
Calot, rue de la rose rouge
porte No. 3 le étage Turin.
----------------------------------

CALOT (CALLOT), JOSEPH
Born at Mirecourt 1793. Worked at Paris with Clément from whom he had lessons. Went into partnership with Augière, 1830.
Outline and arching beautifully delineated. Workmanship, inside and outside, splendidly finished. No boggling in the cutting of sound-holes which is frequently noticeable in many old French violins. Yellow-red varnish prepared from a supposed secret of his. Rather a round full tone with considerable penetration. Scroll has personality and broad portraiture. Various labels.
-------------------------------
Fait par Calot
Luthier à Paris en 1832.
-------------------------------

CALOW, THOMAS
Born at Derby in 1868. Son and pupil of William. Assisted father in repairing during the day, and played the violin and double-bass in theatre orchestras at night. Said to be an irresponsible person with a tendency towards intemperance, but did some magnificent repair work when he chose. Committed suicide by hanging himself with a double-bass string, 1905, when only 37 years of age.
Made a few violins on the Guarnerius model, and one double-bass. Used a dark brown spirit varnish on both instruments.
------------------------------------
Thomas Calow, Nottingham
------------------------------------
(signed in handwriting inside on back)

CALOW, THOMAS
Worked at Tansley (Derbyshire), 1833-1852. Grandfather of Francis William. Reputed to have produced a few nicely made violins and violas. Followed the Stainer model. Dark brown spirit varnish on ordinary wood. Tone very acceptable indeed.

CALOW, FRANCIS WILLIAM
Born at Nottingham 1884. Son, pupil and successor of William. Established at 16a Broad Marsh, Nottingham, 1925.
Presented a few good violins on the Stradivarian and Guarnerian models which show he had no false conceptions of the artistry of outline and arching. Workmanship of scroll, sound-holes, and purfling, confirms and consolidates this impression. Favoured strong and rather prominent edges. Selected fine-grain pine and nicely marked maple. Amber oil varnish - red-brown for the Stradivarian copies, and dark orange for the Guarnerian. Tone meets the requirements of orchestral players.
Stamped ‘Calow’ under button at the top of the back. Stamped ‘Calow
Nottingham’ under end pin on bottom ribs.
On back inside
----------------
Calow
Nottingham
No. 4 1922.
----------------
Made several double-basses of the viol model with Guarnerian sound-holes. Also a few ’cellos finely wooded and varnished.

CALOW, WILLIAM
Born at Tansley 1847. Travelled extensively to collect double-basses. Had a remarkable collection of 40 or 50 of these large instruments which brought experts and amateurs from every country to his establishment in Sussex Street, Nottingham. Died 1910.
Made a speciality of making double-basses of the old viol type with Guarnerian characteristics. Altogether produced about 20 splendid specimens. Workmanship shows his heedfulness and enthusiasm. Made himself thoroughly acquainted with the principles of light and shade in varnishing. Oil varnish - orange and nut-brown. Experimented with the bass bar which he usually split about midway between the centre and lower end, and opened the two ends fish-tail shape. Arrived at an almost perfect purity of tone with depth and power.
Also made violins and ’cellos.
-----------------
No. 18
Made by
W. Calow
Nottingham
1890
-----------------
(written)

CALTRASSAURE
Period, 1779-1788.
Interesting and skillfully planned model. Excellent workmanship throughout. Light brown varnish sparingly applied. £70 (1930).
---------------------------------
Caltrassaure
Vingherint in Fadr. 1785
---------------------------------

CALVAROLLA, BARTOLOMEO
Born at Torre Baldone (Italy). Worked at Bergamo and Bologna, 1753-1767.
Model seems inspired by Ruggerius, but requires a strong cogency of conviction and, indeed, more than simple intellectual conviction, to believe that these instruments are the equal of the Cremonese as some connoisseurs assert. There is a narrow appearance about a Calvarolla, style of arching might be termed Amatese. Small, weak, and indifferently proportioned scroll. Several other details in workmanship show deficiency in harmony of detail, and an uncertain hand. Either yellow-red or yellow varnish.
Specimens scarce.
-----------------------------
Bartolomeo Calvarolla
fecit Bergamo, 1762
-----------------------------

CAMILLI, CAMILUS DI CAMILA
Worked at Mantua, 1714-1761.
Believed to have been a pupil of Stradivari. Certainly many of his instruments follow this model, but he also produced others with Guarnerian traits - also highly probable he had lessons from that maker. Usually somewhat vigorous outline but by no means clumsy. Body length, 35.3 cm; upper bouts 16.7; middle 11; lower 20.6. Handsome wood, workmanship and general tone prove him to have been one of the most distinguished makers of his time. Generally there is slight artistic repose or simplicity about the rather widely-opened and short sound-holes. In some cases an abruptness in the curves is very noticeable. In other details (particularly the swan-neck-like scroll) these violins may be regarded as most elegant productions. Purfling sometimes quite broad and near the edges. Used a pale red or brownish-red varnish - the former reminding of the Landolphi tint - of considerable hardness, which according to an authoritative German, was slightly aged with alcohol and contained, without doubt, much shellac.
We have seen two specimens attributed to his work which are more dainty than his usual style - little gems, almost defying reproduction by any other maker. They combine the delicacy of Amati inspiration with the strength and crispness of a Stradivarius. It is doubtful if there are any other instruments of greater versatility from all points of view than these two noteworthy examples.
Another specimen had a dark thread running through the wood which seems to point to the fact that he used some of the peculiar wood (several centuries old) of the demolished bridge at Genoa.
Today’s prices £600 to £800.
------------------------------
Camillo de Camilli
Fece in Mantova, 1734
------------------------------
(Large and thick copper-plate lettering)
--------------------------
Camillus Camilli
Fecit Mantuae. 1739
--------------------------
------------------------------
Camillus de Camilli
Fecit in Mantova, 1761
------------------------------
(Decorative border - lettering sloping from the left)
Some labels written.

CAMILLIO, DAVIDE
Specimen dated I 750 - Amatese model - workmanship of no special significance.

CAMPETTI, LORENZO
Worked at Lucca (Italy), 1830-1840.
Excellent transcepts of the Stradivarian, though without distinction. Wood of choicest quality - rich red-brown varnish. Refreshingly responsive tone.

CAMPI, JOSEPH
Worked at Pescina (Italy), 1755-1764.
Very conventionally amateurish instruments. Flat modelling, ungraceful, and workmanship belonging to the same class.
-------------------------
Josephus de Campis
in Pescina Ao 1757
-------------------------
(written)
-----------------------------
Giuseppe Campi fece
in Pescina Anno 1762
-----------------------------
(written)

CAMPLAY, JOHANN
Worked at Verona (Italy), 1853-1860.
Used an especially fine varnish of his own preparation. Interesting outline and arching. Scroll and sound-holes free from the slightest rigidity.

CAMURAT, JACQUES
Born at Madrid, 1927. Worked for Bauer (Angers) and Vatelot (Paris).
Returned to birthplace, 1950.
Regarded as a very capable maker with a splendid future.

CANDI, CESARE
Born at Bologna, 1869. Pupil of Fiorini. Worked at Genoa in an old house, weathered by time, on the old square of Sarzana almost on the hill of Carignano, where the city appears clad in a beautiful silver-grey through the blue of the sea and the harsh bareness of the mountains.
Died 1947.
Instruments of high rank, greatly admired by Italians. Charming outline, nice sloping ‘shoulders’, enhanced by lovely edging. Particularly elegant scroll with beautiful circling to the non-aggressive ‘boss’. Magnificently delicate purfling, and long but well posed sound-holes. Rich, transparent, and warm shade of varnish. Captivating tone, round, full, sunny and penetrating. All specimens made from a massive beam that once supported an elegant vault of a sixteenth century church. Also produced highly decorated violins of new design which appealed more to ardent collectors of art-treasures than to professional violinists. Innovated undulating shoulders and no upper corners - singular but interesting. Beautiful complex ebony purfling, with foliagated arabesques done in pearl on the inner side - also on the ribs. Scroll embellished by delightful carving, adorned with leaf work, accompanied in the delicate curves by an effusion of pearl, further enhanced by ebony bordering. Lavish decorations on the sides of the peg-box, also on the pegs. Similar treatment at the end of the fingerboard, and on the button at the back, under which is a large unique design. Bridge of dark maple worked in tortoise shell. Ebony tail piece with an ivory design symbolic of a mask. The whole constituting a miracle of inlaid work. The bow also superbly decorated on the sides of the head and saddle.
------------------------------------
Cesare Candi
Fece in Genova l’anno 1923
------------------------------------
(Elaborately scrolled with a design of a violin and bow)
Constructed 320 violins, 30 violas, 25 ’cellos, 100 guitars, 29 lutes, 100 mandolines, and a large number of bows.

CANDI, ORESTE
Born 1865. Brother of Cesare. Pupil of Fiorini. Worked at Genoa. Died 1938. Constructed 125 violins, several violas and ’cellos, many kindling considerable admiration.
Also 200 guitars modelled on Guadagnini lines.
Won several high awards at Expositions.

CANEPA, P. M.
Resident at Ferndale (California), 1925.

CANNON, F. C.
Pupil of Frank Howard. Worked at Canterbury, 1922.
Design and workmanship completely satisfactory. Dark orange-red varnish. Tonal quality having the latent sensibility which will be kindled into maturity by the passage of years.
-----------------------
Frederick charles
Cannon. Maker
Canterbury. 1923
-----------------------

CANNON, JAMES
Born 1855. Amateur. Resident at Dumfries (Scotland).
Strad modelling - amber varnish of Whitelaw.
--------------------
J. Cannon
Dumfries, 1888
--------------------
(written

CANO
Trade violins marked on the back with the words ‘Cano’ at top, ‘Suavità’ in centre and ‘Canora’ at bottom. The words mean ‘sound pleasantly harmonious’.
Stradivarian model, yellow varnish, 1885-1892.

CANS, DOMINIQUE
Born at Alost (Belgium), 1748. Apothecary who occasionally took excursions into the ‘land’ of violin making. Lived at Oudenarde (Belgium). Died 1806.
Conscientious transcript of the Amati model. Workmanship, even to the learned eye, denotes enthusiastic and clever skill. Scroll has splendid roundness of form and freedom. Rich red Varnish. Nice fresh tone suitable for the colourful playing of chamber music.
We regret his productivity was comparatively small. £30 (1930).
-----------------------------
De Cans refecit
Audenarde, anno 1801
-----------------------------

CANTAGALLI, PAOLO
Worked in Rome, 1930.

CAPALBO, GIOVANNI
Born 1865. Studied with Grandilli at Naples, Worked at Rome 1886, and at Spezia where he won a gold medal, 1906. Emigrated to Buenos Aires 1908. Made many instruments, some being regarded as veritable revelations in grand modelling and superlatively fine workmanship. Frequently signalised as the ‘modern Stradivarius’. Claimed that he had discovered the secret of the famed master. Won gold medals and diplomas at Geneva, San Francisco, Rio de Janeiro, Seville, and Padua. Returned to Rome 1936. Decorated by the Duce. Died 1945. Wrote a book on violin making and his physico-chemical methods.
-----------------------------------------------------------------------------
Alle Onorelicenze - Esposizioni Universale, 1904, 1906 e 1913
Giovanni Capalbo
da Rossana Calabria, fecit in Buenos Aires l’anno 19. . .
-----------------------------------------------------------------------------
(Crown and shield on left).
-------------------------------------------------------------
Nuovo ordine Tecnico Fisico Chimico di Liuteriu
Giovanni Capalbo
fece in Roma l’anno 19. . . N.
-------------------------------------------------------------

CAPELLINI, VIRGILIO DE FRANCESCO
Born 1928. Studied at the Cremona school. Worked at Crotta d’Adda (near Cremona), 1947.
Strad and Guarnerian modelling - golden-reddish spirit varnish.

CAPIARI
Worked at Florence 1660.
Violins and guitars.

CAPICCHIONI, MARINO
Born 1895. Worked at Rimini 1926. Won gold medals at Cremona and Padua. Produced 350 Violins, 10 violas, and 20 ’cellos up to the year 1950. Strad and Guarnerian modelling - an observant eye will quickly note the impeccable workmanship, especially the roundness of the scroll and the very graceful sound-holes. Transparent varnish of orange-yellow shade. Unusually suave tone for new instruments.
----------------------------------
Marinus Capicchioni
Fecit Arimini A. D. 19. . .
----------------------------------
(design on right)

CAPO
Worked at Milan 1710-1725.
Amati and Klotz modelling - very graceful outline and impressive arching - prettily designed sound-holes.
Parchment label with a representation of a swan or eagle with spread wings.

CAPO, ANTONIO
Worked at Cremona 1780-1796.
Fairly impressive modelling.

CAPONNETTO, STEFANO
Worked at Catania (Sicily), 1930.
Bowed and plucked instruments. Commercial.

CAPONNETTO-GRASSO, GIUSEPPE
Worked at Catania 1890-1927.
Principally guitars - also a few well-made violins.

CAPPA, GIOACCHINO
Born 1660. Studied at Cremona. Worked at Saluzzo and Turin. Died 1727.
Modelling with several Amatese traits - workmanship not particularly noteworthy - in addition something which seems to intercept the free egress of tone. Warm-looking varnish, rather thinly applied. One specimen realised 1,800 Marks at Hamburg, 1927.

CAPPA, GIOFFREDO
Polemics of certain writers concerning the dates of this man’s career have been attended with wearisome prolixity. Some asserting that he worked as early as 1590, and that he studied with Antonio and Hieronymi Amati - also that he was born at Cremona and lived all his life there.
About the year 1890 a Dr. Orazio Roggiero set himself to investigate the pedigree of Cappa, and definitely found that death took place (at Saluzzo) in seventy-third year, 1717, thereby placing birth at 1644. Also that he was born at Saluzzo, was the son of Andrea, went to Cremona to have the advantage of Nicolò Amati’s experiences, and passed a brief sojourn in the Tyrol before finally settling at his native town, where the reigning Prince of Piedmont then resided, and who subsequently became a most influential patron of Cappa’s productivity.
Name greatly used by various label forgers of the past. Any nondescript violin bearing the slightest resemblance to an Amati, no matter what class of Workmanship, was elevated from its obscure position by insertion of a faked ‘Cappa’ label. Also his best work was frequently subjected to ‘Amati’ labels, thus depriving him of certain prestige. Furthermore it is stated by some experts that he himself occasionally deceived his patrons by deliberately replacing own label by that of Amati. Consequently there has been much controversy and considerable misrepresentation.
Two patterns - one of 13-7/8 body length, the other fully 14 inches or just slightly longer. Former of medium arching, the latter very little reduced below that. Both partake of Amatese characteristics up to a certain degree. Comparison of a Cappa with an Amati when placed side by side will probably give an impression of being reasonably alike - but looked at more carefully the second impression will be that there is scarcely a detail in which they do not somewhat differ.
Cappa outline not quite so graceful as the Amati owing to the upper bouts being slightly contracted in width. Arching more forcibly similar, and waist curves exact replicas. Ribs often rather narrow, particularly those of upper part. Correct designation of scroll puts Cappa in a very secondary place to his prototype, both in being less carefully finished, very prosaic in attitude, and often inordinately excavated at the lower part. Narrow peg box. Sound-holes generally have more firmness and delicacy of hand, and miss a certain severity by being set more obliquely than is customary with Amati - also long and narrow - but a few specimens have inelegant apertures, lack balance and measured symmetry, and seem sprawlingly large - also others too short. Purfling avowedly of inferior execution and loses all claim to accuracy.
Not consistent in choice of wood - belly wood sometimes of beautifully straight and narrow vein, other times quite coarse (said to be from trees growing in Piedmont), and occasionally material where the fibre is narrow at centre, and becomes wider when nearing the sides. Two-piece backs generally of close flame material, not unlike some of the Amatis - the figure when of one piece, slants upwards from left to right. Ribs sometimes of broader flame. Cremonese quality varnish - golden-yellow, golden-brown, and orange-red - applied with Amati effectiveness. Tonal quality of the smaller size models is not particularly charming or overwhelmingly brilliant, but it has a certain sweetness easy of production by amateurs, but rather dissatisfying to soloists. The larger and rarer models naturally have a more sonorous tone, but are never worthy of the exorbitant prices put up by dealers - the highest yet realized being 3,000 dollars for a specimen dated 1683 in the United States (1926). Pugnani and Viotti played on Cappas. Today’s price £450, exceptional specimens up to £800.
Few violas known, but they show extra-nice judgment in modelling, and have a clear tonal quality.
’Cellos generally of a fine concert tone. Originally built of very large proportions - possibly intended as bass viols - and many now reduced to normal size. Perfect relation between outline and arching, though occasionally the latter is a little overdone. Scrolls unequal in design and workmanship. Sound-holes often verge on the ugly. Purfling little better than the work of a semi-bungler. Gloriously transparent varnish.
--------------------------
Jofredvs Cappa fecit
Salutiis anno 1680
--------------------------
(square lettering - decorative border probably false)
---------------------------
Joffridus Cappa fecit
Salutiis anno 1692
---------------------------
------------------------------------
Jofredus Cappa
in Saluzzo, fecit anno 1698
------------------------------------
Sometimes dated as from Cremona. Instruments dated prior to 1665 not genuine. Many violins of the Tyrolese type with brown varnish have frequently been attributed to Cappa.

CAPPA, JOSEPH FRANCISCUS
Worked at Saluzzo 1600-1640.
Similar style to that of the early Amatese. Workmanship not without a few minor discrepancies.
---------------------------------
Joseph Franciscus Cappa
fecit Salutiis 1640
--------------------------------

CAPPA, SEBASTIAN
Commercial products emanating from Mittenwald or Saxony, 1890. Amatese modelling - light-brown or golden-orange varnish (imitated as though much worn), nicely transparent. One-piece backs of handsome material. Satisfactory tone more sweet than strong. £5.
----------------------
Sebastian Cappa
Tyrol
----------------------
(German lettering)

CAPPARO, ANDREA
Worked at Genoa 1885.

CAPPELLI, ANNIBALE
Born 1897. Pupil of Aristide Cavalli. Worked at Cremona. Died 1941.
Excellent modelling, having characteristics of several types admirably combined.

CAPRIOTTI, P.
Resident at Ripatransone (Italy).
Constructionally second-rate. Rather good transparent varnish of yellow shade.
---------------------------------------
Capriotti Pacifico
fece a Ripatransone Ano 1884
---------------------------------------

CAPSONI, GIOVANNI and LEOPOLDO
Worked at Verona 1920.
Violins and guitars.

CARBONI, GUISEPPE and EUGENJO
Worked at Pavia and Parma, 1890-1942.

CARBUNESCU, D. and G. JONESEN
Worked at Bucharest 1905-1932.

CARCASSI, ANTONIO FELICE
Worked at Florence 1770-1776.
Outline not greatly different from that created by other members of the family. Scroll, delicately and masterly handled, a conspicuous feature. Felicity of design enhanced by a rich shade of varnish. Tone fairly pure and full.
------------------------------
Antonio Felice Carcassi
fece in Firenze, 1772
------------------------------

CARCASSI, FRANCESCO
Worked at Florence 1720-1740.
Workmanship of moderate excellence. Thicknesses of wood often wholly at variance with a really good conception of arriving at successful tonal results. Sound-holes and scroll have a clear and intelligent adherence to gracefulness. Yellow-brown varnish. Today’s price £300.

CARCASSI, GIOVANNI (1)
Worked at Florence 1688-1698. Known as a maker of spinets and clavicembalos. Few violins known, labelled as below, but it is not possible to guarantee that he made them. Was a general trader and quite likely commissioned some maker to supply them. Today’s price £250.
----------------------------
Joannes Carcassi fecit
Anno Domini
MDCLXXXVIII
----------------------------

CARCASSI, GIOVANNI (2)
Son of Lorenzo. Worked at Florence, 1760-1810.
Body length 35.7 cm. Today’s price £200.

CARCASSI, LORENZO AND TOMMASO
Brothers and sons of Francesco. Worked together at Florence, 1735-1789.
Workmanship shows correct and fine taste. Happy veneration for the Amati model, medium sized yet masculine, and a rather strict adherence to the mechanical proportions of that model. Medium high arching, gently graduated and with no accentuations near the edges - sincere resemblance to the early Cremonese school. Deep ribs and accurate purfling. Sound-holes mathematically perfect and well finished. Scroll perhaps a irifle.effeminate, but a microscopic cye will not find a blemish in the carving. Invariably rather heavily wooded medium-grained spruce and handsome curly maple. Yellow-brown varnish of good texture and amply applied. Tone of pleasing timbre, sometimes richly sympathetic but never very penetrating.
General measurements - body length 14 inches; upper bouts 6-9/16; middle 4-1/8; lower 8-1/8; ribs 1-3/8 to 1-1/4. Today’s prices £250 to £300.
Name frequently used in cheaper violins, thus an extremely disproportionate insignificance is occasionally attached to a Carcassi. However, these forgeries are easily detected, and all controversy respecting them shattered.
Made ’cellos and double-basses, also viol-d’amours and harps. Labels indicate that the brothers sometimes worked alone.
------------------------------------------------
Lore E Tomo Carcassi. In Firenze nell’
Anno 1749. All’ Insegna del Giglio
------------------------------------------------
(large; decorative border, sometimes three-lined)
------------------------------
Lorenzo Carcassi fec.
dalla Madonna del Ricci
in Firenze, l’anno 1756
------------------------------
----------------------------
Lorenzo Carcassi
in Borgo San Fridiano
fece l’anno 1742
----------------------------
(sometimes two-lined)
-------------------------------------------
Ristaurato da me LorenzoCarcassi
dalla Madonna de Ricci in
Firenze 1740
-------------------------------------------
-------------------------
Tommaso Carcassi
in Firenze, 1786
-------------------------
(small)
Tommaso occasionally well copied the Stainer portraiture. Quite interesting to trace the same physiognomy characteristics even to the exact shade of varnish.

CARCASSI, VINCENZO
Son and pupil of Tommaso.
No marked separateness from those of his father, though there are touches of a Ruggerius in the modelling. Generally refined workmanship, though the scroll may be criticised by some connoisseurs. Very clear warm-looking brownish varnish.
Also an appealing crystal tone - not large, but sufficiently penetrating.
’Cellos of Stradivarian design also known. Today’s prices £350 to £400.
------------------------------------------
Vincenzo Carcassi fece
Piazza San Michele Firenze 1815
------------------------------------------
(Written)

CARCHEREUX, FRÉDÉRIÇ FRANCOIS XAVIER
At La Flèche (France), 1924.
Patented a ‘rational perfectioning of the violin’. An invention for maintaining the plates, neck and resonant body in perfect equilibrium under the tension of the strings. Achieved by an internal construction consisting of two supports (literally roof rafters) made of pine - one running straight from the neck-joint to just under the bridge, where there is a block from which the other proceeds in a direct line to the lowest part of the back and is attached to a ‘sleeper’ fixed in the block. Bass bar longer than usual. Supposed to improve tonal purity, strength, sweetness, perfect homogeneity, and the free emission of old instruments.

CARDI, LUIGI
Worked at Verona (Italy).
Yellow-brown varnish - workmanship not especially refined, particularly in purfling and sound-holes. £25.
Especially good toned violas.
----------------------------
Curdi Luigi
Premiato Fabricatore
d’istrumenti ad arco
Verona 1886
----------------------------

CARDINET
Worked at Mirecourt, 1790-1809.
Quite second-class. Name branded.

CARÉ, PAUL
Born at Belgrade (Serbia), 1859. Thorough musician and oboist. Became interested in violin building. Opened premises at Danzig, 1893. Worked at Posen (Prussia), 1920.
Stradivarian sound-holes and arching, with Guarnerian waist curves. Various kinds and hues of varnish.
------------------
Paul Caré
Danzig, 1895
------------------
(Written)

CARESSA AND FRANÇAIS
Successors to the business of Gustave Bernardel, 1901, now situated in the rue de Madrid, Paris.
Felix Albert Caressa, born at Nice, 1866. Pupil of Gand and Bernardel. Decorated Chevalier de la Légion d’Honneur, 1910. Officer of the Academy, 1922. Died 1930. Violins modelled after the Lupot style, many bearing the label of Gustave Bernardel. Henri Français. born at Mirecourt, 1861. Pupil of Darte, Gand and Bernardel. Officer of Public Instruction, 1911. Producers of all classes of stringed instruments which do justice to the traditions of their predecessors - Lupot, Gand and Bernardel. Makers to the Conservatoire, Opera orchestras, etc. Medals gained at St. Louis Exhibition, Liege 1905, etc. Members of the Jury at the Milan Exhibition, 1906, London 1908, Brussels 1910, and Turin 1911. Experts at the Civil Tribunal of the Seine.
------------------------------------------------
Caressa & Français
Luthiers du Conservatoire de Musique
No. Paris. 19. . . .
------------------------------------------------
(monogram C.F. on left)
------------------------------------------------
Albert Caressa
Luthier du Conservatoire du Musique
No. Paris 19. . . .
-------------------------------------------------
(with monogram A.C.)
-------------------------------------------------
Fait sous la direction de
Caressa & Français
Luthiers du Conservatoire
12 Rue de Madrid à Paris 1901 à 1920
-------------------------------------------------
Bows stamped ‘Caressa’. Finest pernambuco sticks; generally worth about 3 guineas.

CARLANDER, ELIAS
Born 1721. Violinist at the Royal Chapel, Stockholm. Died 1784. Made several excellent violins and violas from 1760.
------------------------------
Elias Carlander
Köngl: Hofmusicus
J. Stockholm, Ao 1782
------------------------------
(Florid italicised lettering)

CARLES
Violinist in Theatre orchestras, Paris, 1819-1830.
Large Stradivarian model - orange-red varnish somewhat unevenly applied - strong tone.
-------------------------------
Carles. Luthier.
rue de faub: Saint Denis
à Paris. 1821
-------------------------------

CARLETTI, CARLO
Born 1873. Established at Pieve di Cento (Italy), 1925. Died 1941.
Made first violin 1890. Produced over 600 specimens up to the year 1925. Decided preference for the Gennaro-Gagliano model, but also copied Amati, Stradivarius and Guarnerius. Equally successful with his own model. Contour and workmanship practically perfect. Sound-holes not disqualified by any blemish from belonging to this complete picture of neatness. Large scroll (called parrot head) judiciously dealt with, and exceedingly steady purfling. Three shades of varnish - golden-yellow, golden-red and dark red - finest artistry attends the application. Tonal quality of surprising richness for new instruments.
-------------------------------------
Carolus Carletti Terrae Plebis
Centensis fecit 1890
-------------------------------------
---------------------------------------
Carletti Carlo
premiato piu volte an concorso
di Roma
fece in Pieve di Cento 1922
N. . . .
---------------------------------------
--------------------------------
Carletti Carlo
Fabbricante e Riparatore
d’istrumenti ad arco
Pieve di Cento
--------------------------------
(elaborately scrolled)
Assisted by his two sons - one born 1904, the other 1906 - and both worthily proving the workmanship and discipline of their accomplished father.
---------------------------
Premiato Liuteria
Carletti Carlo & Figli
Pieve di Cento
anno 1924
---------------------------

CARLETTI, GENUZIO
Won first prize for viola at Cremona, 1949.
---------------------
Genuzio Carletti
Pieve di Cento
---------------------
(written)

CARLETTI, NATALE
Born 1904. Son and pupil of Carlo. Talented ’cellist. Successor to Carlo, 1941, at Pieve di Cento. Aided by brother Nullo (born 1911).
Cremonese modelling, also one with slight originalities. Brilliant lemon-yellow to bright red.
--------------------------------
Natale Carletti fu Carlo
Liutaio
Pieve di Cento (Bologna)
--------------------------------
(lyre on left)
Won gold medal at Cremona for a double bass, 1949.

CARLETTI, OREFO
Born 1906, son and pupil of Carlo. Died 1940.
Excellent modelling. Golden-yellow to deep-red shades of varnish.
-----------------------------
Carletti Orfeo
fece in Pieve di Cento
(Bologna) Anno 19. . .
-----------------------------
(lyre on left)
----------------------------
Carletti Orfeo di Carlo
fece in Pieve di Cento
Bologna
----------------------------
(written)

CARLISLE, JAMES REYNOLD
Born at Ashland (Kentucky), 1886. Showed an early aptitude for violin construction, and was encouraged in the art by an enthusiastic amateur resident at Ashland. From 1900 to 1914, when working at Charleston, he busied himself in scientific research, and experimented in varnishes and their shades. Associated with Wurlitzer at Cincinnati since 1914.
Modelling after that of a Stradivarius or Guarnerius, in each of which he has endeavoured to obtain the distinctive tonal qualities found in examples of these masters. Also produces violins with a few entirely original points. Workmanship emulates largeness of style and superb neatness of famous prototypes. Scroll and sound-holes beautifully drawn. Rich plum-red varnish exuberantly shaded - own formula - called ‘Italian sunshine varnish’. Finest old spruce and finely-figured maple. Colourful tone, flexible, responsive in the upper register, and splendid penetrative quality which is rapidly gaining desired mellowness.
Many soloists in America use them and speak in terms of highest approbation.
-----------------------
No. J. R. Carlisle
anno
Cincinnati Ohio
-----------------------
(decorative border)

CARLMAN, JOHAN
Worked at Stockholm 1750.
Effective Stainer modelling - pretty varnish.

CARLO, GIUSEPPE
Worked at Milan 1768-1792.
Ordinary violins without much hope of future acceptance.

CARLSON, JOHN EMIL
Born in Sweden 1891. Pupil of Carl Becker (Chicago). Worked for Lewis and Son in that city, 1930.
Over 60 violins, Strad model. Own oil varnish of orange to red-brown shades.

CARLO, JOHAN AUGUST
Born 1892. Engineer. Worked at Stockholm.
Several splendid instruments known.
Author of Fiolbyggnadskonsten - a book on violin making - much read in Scandinavia.

CARLOMORDI, CARLO
Worked at Verona 1650-1672.
Violins and mandolines.

CARLSON, ALFRED
Born 1869. Woodworker at Doverstorp (Sweden).
Several well-designed Strad models - creditable application of varnish.

CARLSSON
see KARLSSON.

CARLSSON, ANTON
Born 1886. Worked at Flysta (Sweden).
Everything well-thought-out and determinedly accomplished.
---------------------------------------
Anton Carlsson No:
Hembygdevägen 5 Flyst 19. . .
---------------------------------------

CARLSSON, CARL AUGUST
Born 1873. Worked at Surbrunnsgatan (Stockholm). Regarded as the foremost maker in Sweden, 1925.
First series of instruments somewhat Guarnerian - later more Stradivarian.
Also made many lutes and guitars.
----------------------------
Carl Aug Carlsson
No. Stockholm 19. . .
----------------------------
(design of gold medals on left and right)

CARLSSON, CARL EDVARD
Born 1861. Amateur at Baggbron (Sweden).
Violins of fair workmanship - signed on the wood inside.

CARLSSON, EINAR
Born 1896. Amateur at Persnâs (Sweden).
Excellent workmanship of models with slight divergencies from the Stradivarian. Reddish-brown or reddish-yellow varnish attractively applied. Flourishing tone which has captured the enthusiasm of many votaries in that northern country.
-----------------------------
Einar Carlsson Persnäs
Oland no 29. 1949.
-----------------------------

CARLSSON, JOHAN SIXTEN
Born 1908. Amateur at Malmberget (Sweden).
Violins well-gauged to satisfy many Swedish players, and the especially free tone should cause them to be circulated in other countries.
-----------------------------
No. 9 Den 8/11. 1949.
Sixten Carlsson
Malmberget
-----------------------------
(written)

CARLSSON, OSCAR ALEXIUS
Born 1902. Amateur at Nybro (Sweden).

CARLSSON, PER JOHAN
Born 1867. Sculptor on wood. Resident at Tranas (Sweden).
Violins and ’cellos - generally quite ordinary.

CARLSSON, TOR
Worked at Tranas (Sweden). Won gold medal for a violin presented at Stockholm, 1925.

CARLSSON, TURE ERIK
Born 1889. Amateur at Gungvala (Sweden).
Sradivarian modelling - orange-yellow or reddish-brown.
-----------------------------------------------
nr. 17. T. F. Carlsson. Gungvala 1949
-----------------------------------------------
(written)

CAROLI
Said to have worked in Brescia about 1680.

CARON
Worked at Versailles 1770-1790. Held the appointment of lute maker to Marie Antoinette.
Model of violins somewhat follows that of an Amati, differing mostly in being of greater breadth, invariably of neat workmanship - rather scarce. Orange-yellow or brown varnish usually of fairly soft appearance, but a few specimens are less rich. Generally nicely figured wood, though there are backs occasionally of plain maple. Tone of excellent quality and satisfyingly responsive.
Violas mostly varnished in dark brown.
Ten-stringed theorbo, with initials of Marie Antoinette fancifully inlaid, preserved in the Paris Conservatoire Collection.
-------------------------
Caron
Luthier de la Reine
Rue Royale
à Versailles. 1775
-------------------------
(decorative border - maker’s name in prominent lettering)

CAROTTI, C.
Worked at Florence 1694.

CARPENTER, JAMES
Worked at South Kingston (Rhode Island). Died 1918.

CARPI, ORESTE
Worked at Dosolo di Guastella (Mantua), 1930. Won silver medal at Florence 1935.
-----------------------
Carpi Oreste
di Dosolo (M.N.)
Fece anno 1948
-----------------------

CARPINI
Violin realised £35 in a London saleroom, 1928.
---------------------
Luigi Carpini
fecit Milan 1795
---------------------

CARR, JOHN
Born at Spittal near Berwick-on-Tweed, 1839. Taught by his father to play the violin. Went to live at Falkirk (Scotland). Opened a music shop in that town 1885. Also principal violin professor in the district. Died 1918.
Made first instrument in twenty-fifth year, and altogether produced 60 violins, six violas, four ’cellos and three double-basses. Worked on a model resembling that of the Matthew-Hardie Stradivarius. Used Whitelaw’s varnish, and had a preference for ruddy-brown tint, though various shades from yellow to red were tried. Imported wood from Germany - generally good acoustically, as well as prettily marked. First few instruments have hand-made scrolls, but failing to satisfy himself, subsequently bought those made in German factories and affixed them. This also applies to the larger instruments. Tone generally strong, but just a trifle coarse.
Violas, ’cellos and basses having Stradivarian traits. Modelled the back of basses like that of a violin, therefore the neck (where joining the body) is very deep, and the ribs not being cut-in abruptly (usual on flat-back basses) the performer finds himself unable to easily ‘get about’.
Early period violins branded ‘Carr’ on back. Later used printed labels.
------------------------
Made by
John Carr. Falkirk
1890
------------------------
---------------------------
John Carr
maker. Falkirk, 1897
---------------------------
Excellent performer of strathspeys and reels, and composed some dance music.

CARR, RICHARD
Worked at Gateshead-on-Tyne. Died 1922.
Made about 20 violins of a very attractive model. Workmanship done very carefully and neatly. Golden-yellow varnish of own special preparation. Tone rather powerful and unusually mellow for comparatively new instruments.

CARRE, ANTOINE
Worked at Arras (France), 1750-1794.
Principally organ-vielles. A few violins known, dated after 1790.

CARRODUS
Commercial products made at Mirecourt for Haynes and Co., London, 1887-1910. Named after the celebrated English violinist J. T. Carrodus.
Amati-Strad pattern, graceful contour, handsome wood, slightly under, normal full size. Also Stradivarian and Guarnerian models, superb wood naturally seasoned, no portion baked, etc., excellent varnish - 8 gns. Tourte model bows - beautifully worked heads.

CARROLL, JAMES
Worked at Salford (Manchester), 1890-1913. Assisted by his son John. Stradivarian and Guarnerian modelling. Splendid workmanship - very responsive tone. Advertised that they copied any old violin, ’cello or bass, used timber at least a hundred years old and finished with Cremonese varnish.
------------------------------
James Carroll, maker
Manchester, anno 1895
------------------------------

CARTER, JEROME
Born 1878. Established at Omaha (Nebraska), 1915. Produced 105 instruments up to the year 1942.
Strad and Guarnerian modelling, desirable workmanship, artistic scroll and sound-holes, varnish of own formula.

CARTER, JOHN (1)
Worked in London, 1773-1790 for John Betts. Made splendid instruments, many of which were sold with the label of Betts, thus enhancing the fame of that maker. Amatese outline and arching, all details of workmanship done with facility and decision. Golden-brown varnish thinly laid on. Moderately powerful tone, very responsive and appealing.
’Cellos have similar estimable qualities.
--------------------------------------
J Carter
Violin Tennor and Bass Maker
Wysh Street. Drury Lane.
London 1781
--------------------------------------


CARTER, JOHN (2)
Not very desirable workmanship - sound-holes rather in-artistic - varnish nearly black.
-------------------------------
John Carter
St. Heliers. Jersey, 1865
No. 1.
------------------------------

CATHCART
Amateur a Shankill (Ireland), 1924.

CARTHEUSER, J. C.
Worked at Cologne.
Generally very good Amatese modelling. Resinous yellow varnish. Small tone but of warmish quality.
-------------------------------------------------
Johann Christian Cartheuser
in Koln in der Mariengartengasse 1790.
-------------------------------------------------

CARTRIGHT, WILLIAM JOHN
Born at Assenby near Thirsk, 1836. Resident at Yeadon near Leeds, 1889. Died at Hove 1919. Worked for John Fox.
Modelling bears a worthy affinity with the Cremonese. Workmanship of exemplary finish and exactitude. Magnificently strong and durable belly-wood, impervious to worms. Excellent quality of varnish. Tone not favourably attested by many players - lacks purity and delicacy though fairly responsive.
Produced over 1,000 instruments.
Invented a baritone-tenor tuned similar to the viola.
--------------------
W. J. Cartright
Yeadon
No. 1072 1898
-------------------

CARUANA
see MARSIGLIESE.

CARVER, H. W.
Born 1892. Amateur at Wewoka (U.S.A.), 1940.
Guarnerian modelling - oil varnish.

CARZOGLIO, B. LUIGI
Born at Finalborgo (Genoa), 1874. Went to Buenos-Aires, 1898. Died 1944.
Famous for guitars. Also produced violins, violas and ’cellos.
------------------------------
Ano 19. . . .
Serie No.
Luis Carzoglio
constructor
de Guitarras y Violines
Rivadavia No. 3585
Buenos Aires
------------------------------
(For guitars - very large and square - beautiful design).
------------------------------------
LuigiCarzoglio No. . . . .
Buenos Aires, Anno 19. . . .
------------------------------------
(For violins - customary oblong)

CASALE
Worked at Rome, 1920.
-----------------------------
Casale Liutalo
Via Emanuele Filiberto
-----------------------------
(name in large letters).

CASALINI, FAUSTO
Born 1908. Worked at Faenza. Died in 30th year, 1938.
Famous for finely constructed double-basses, generally of Bergoazi modelling - a few of Maggini pattern with double-purfling - many have splendidly carved heads of lions and other allegorical animals.
Father and grandfather also made good double-basses.

CASELLA FRATELLI
Catania, Sicily. Violins labelled ‘Mario Casella’. Founded 1880.

CASELLI, F.
--------------------
Fece Francesco
Caselli 1740
--------------------
(written).

CASIGLIA, CASIMIRO
Worked at Palermo, 1850-1870.
Violins with proportions carefully arranged. Excellent workmanship - orange-brown varnish - body length 13-3/4 inches - pretty back. £45 (1930).

CASINI, ANTONIO
Born 1630. Died 1690. Worked at Modena (Italy). Principal repairer and maker to the Duke of Modena.
Amateurs having preference for soft Italian tone to any other, will find these instruments to their liking. Moreover, they satisfy the best connoisseurs throughout the world. In some he has happily caught the spirit of Amati; and these (usually 13-7/8 inches body length) are his best. Other specimens closely follow the admirable contour of a Francesco Ruggerius (sometimes labelled as such). General measurements - 14 inches body length; upper bouts 6-3/8; lower bouts 7-3/4.
Nothing extraordinary about the workmanship, but we can always see the skill of artistic sincerity. Particularly elegant corners. Sound-holes very correctly designed. Inlay sometimes of a composition which gives the single commonplace touch to the general structure. No criticism can be offered concerning the scrolls. Quality of wood varies but is generally good - backs are usually of two pieces. Three shades of Varnish - golden-red, golden-brown and a somewhat dull cherry-brown - each splendid and of exceptional body. Tone brilliantly sweet, never very full, but delightfully penetrating.
’Cellos made on rather a large pattern, with fairly flattish arching, and varnished with a transparent chesnut brown shade of varnish. Double-basses have fine tone and are eagerly sought for by orchestral players.
--------------------
Antonio Casini
Modena 1673
--------------------
(somewhat similar to copper plate lettering).
--------------------
Antonio Casini
Modena 1658
--------------------
(ordinary lettering, with artistic border).
-------------------------
Antonio Casini fecit
Muttinae anno 1683
-------------------------
-----------------------------
Antonius Cassinus fecit
Mutinae anno 1687
-----------------------------

CASINI, LAPO
Born 1896. Son and pupil of Lapo di Serafino. Worked at Florence.
Individualistic modelling - red or yellow oil varnish.
Hoc Opus est LXXVI.
----------------------------------------------------
Quod Ego Lapus Casinius Filius Seraphini
Construxi Florentiae A.D. 1926
----------------------------------------------------
(Roman letters).

CASINI, LAPO DI SERAFINO
Worked first at Campi Bisenzio, near Florence, 1899. Later established at 8 Via San Elisabetta, Florence.
Not very highly finished instruments. Outline frequently too ugly to be passed over, and reminiscent of an amateur’s first attempts. Model of medium flat arching, yet there seems an unhappy bulginess which destroys pure harmony of design - an obvious striving after individuality, but lacking the necessary skill to achieve it. Deep curve round the purfling and the points of the edges very decided. No remarkable ingenuity in workmanship. Scroll starts with a narrow and pinched appearance, and finishes in-artistically wide. Varnish either of brown or dark red shade, but here considerable credit may be assigned.
In advertisements he acclaimed his oil varnish as Stradivari-like, and that the tone was superlatively rich. Several violins, made by him in 1912, consist of wood taken from a dismantled old church in Florence, built 400 years ago. Wood used for table is brown all through, the ribs and back being of a narrow-flamed native maple. Tone quality has a favourable sway on our opinion.
Violas and ’cellos largely used by orchestral players.
--------------------------
Serafino Casini
Premiato Liutista
Anno 1915. Firenze
--------------------------
------------------------------
Lapo Casini di Serafino
Fece in Firenze
N - LXI 1925 anno
------------------------------
(with signature in lefthand corner and crest in centre).
-------------------------------
Serafino Casini
Fece in Valpoda No. 49
Anno 1923. Firenze
-------------------------------
(with signature).
Branded S.C. on button.

CASPANI, GIOVANNI PIETRO
Worked at Venice, 1650-1670.
Produced upwards of 200 instruments which show considerable versatility of talent. Modelling generally partakes of Amati or Andreas Guarnerius style, with outline perhaps a shade smaller. Architectural details, including the medium arching, are always interesting, generating the idea that the designer was inspired in his occupation. Gave much thought to the varnishing as the yellow shade he applied well testifies.
Also produced ’cellos of similar excellencies.

CASSANELLI, GIOVANNI
Worked at Ciano (Modena), 1770-1778.
Workmanship not quite first-class. Brownish (dark yellow) varnish. Excellent tone, notwithstanding the very ordinarily conceived outline.

CASSARELLI, ANTONIO
Worked at Rome 1782.
Attractive outline with pretty medium arching. Some specimens with one-piece ‘decks’. Narrow grained material at right edge and gradually getting wider towards the left. Two-piece backs of striking wood - small figure across the diagonal figuring at the extreme lower and upper halves. Rich and deep shade of brown varnish. Tonal quality of remarkable viola-like sombreness. Catalogued at £100. One example realized 1,500 dollars in the United States (1920).

CASTAGNERI, ANDREA
Worked at Paris 1730-1762. He was fortunate to gain the notice of several opulent patrons before his twentieth year - rare instance of a young luthier, at the very outset of his career, meeting with the success his talent entitled him to. Became the best Parisian maker of his time.
Outline and arching have considerable relationship to the Stradivarius and Guarnerius, the former very slightly elongated and the latter the tiniest bit higher. But there is nothing the least constrained about entire contour. Workmanship perhaps not irreproachable in neatness, but nevertheless shows the hand of skill. Carving of scroll shows a cunning virtuoso - it being beautifully hollowed out. Interesting sound-holes notwithstanding the adverse criticism of some experts who have frequently alluded to them as being too large and too wide. Corners often made astonishingly slender. Very fine table wood, and always handsomely figured material for backs. Varnish varies considerably in shade - yellow, yellow-brown, pale red, golden-red, and reddish-brown - each of fine texture, and applied with artistry and persuasive beauty. Tone round and firm, powerful, brilliant and penetrating.
Violins of such robust build and tone can never fail to find patrons in men of unprejudiced taste - men who can or will judge instruments from a tonal point of view and not their particular school. Specimen, dated 1743, realized 1,000 dollars in America, 1929. £150 1959.
’Cellos are often of small outline - sometimes with swan-like heads ornamented. Body length 75 cm.; upper bouts 34.4; middle 23; lower 43.8. £250 1959.
----------------------------------
André Castagneri
fait à Paris
à l’Hôtel de Soissons 1736
----------------------------------
(border decorated with stars)
-------------------------------------------
Andrea Castagneri nell’
Pallazzo di Soessone Pariggi 1745
-------------------------------------------
---------------------------------------
Castagnery, rue des Prouvaires
Parigi 1747
---------------------------------------

CASTAGNERI, GIAN PAOLO
Born at Cremona. Worked at Paris 1630-1665.
Fairly true disciple of early Cremona school, and generally remained faithful to traditions set up by the Amatis. Particularly sweet tone but not strong. Instruments rarely met with.
-----------------------------
Castagneri Gian Paolo
nel palazzo di Soissons
in Pariggi. 1662
-----------------------------
----------------------
Paolo Castagneri
à Parigi 1651
----------------------

CASTAGNINO, GIUSEPPE
Born 1883. Pupil of Fiorini. Established at Chiavari (Genoa) 1910. Won medals at Milan and Turin.
Strad and Guarnerian models - splendid workmanship and especially attractive varnish.
----------------------------------------------------------
Giuseppe Castagnino
Premiato con Medaglia d’Oro
all’ Esposizione di Milano 1906 - Torino 1911
Fece in Chiavari anno
---------------------------------------------------------
Assisted by son Roberto (born 1925).

CASTANIER
Paris. Only known by a violin based on Stradivarian model. Covered with red-brown varnish. Dated 1934.

CASTELEYN
Worked at Liege 1914-1930.
Inventor of a ‘soul-bridge’ for amelioration of tone.
--------------------
M. Casteleyn
Luthier à Liége
19 Belgique 28
--------------------
Also branded.

CASTANIA, CARMELO and FRANCESCO
Worked at Catania (Sicily), 1930.
Bowed and plucked instruments.

CASTANIER
Worked at Paris 1934.
Strad modelling, not particularly good workmanship, brownish-red varnish. Signed with indelible pencil.

CASTELLANI, BARTOLOMEO
Worked at Florence 1806-1820.
Fostered the predilection which he showed in early life, and soon won prestige in his district. Productivity of violins rather small. Talent more naturally displayed in constructing guitars.
----------------------------
Bartolomeo Castellani
fece in Firenze, l’anno
1816 in Via S. Trinità
---------------------------

CASTELLANI, LUIGI
Son of Pietro. Born 1809. Died 1884. Worked at Florence. Capable double-bassist.
Made several violins and varnished them in pleasing harmony with the general contour.
Ultimately turned his attention to the production of guitars and mandolines, and achieved a splendid reputation.

CASTELLANI, PIETRO
Worked at Florence 1780-1820.
Fine reputation for guitars of splendid tone, ingenious workmanship, and sometimes beautifully embellished with ornamentations.
Also produced a few well-made violins, generally on the Gagliano model. Workmanship of no ordinary skill, particularly the beautiful gradation of the arching. Light brownish-yellow varnish.

CASTELLI, CESARE
Born 1912. Studied (in youthful years) the violin. Pupil (for violin making) of Celani, 1940. Won medals at Ancona and Cremona. Worked at Ascoli Picino. Excellent copies of classical models - oil and spirit varnish, reddish-yellow and reddish-brown.
-----------------------------
Caesar Castelli
Fecit anno 1949 N 16
Asculi in Piceno
----------------------------

CASTELLI, T.
Worked at Brescia.
Rare instruments of marked ensemble and considerable finesse in workmanship. Some with fanciful heads.
------------------------
Tomaso Castelli
fecit Brescia I 623
------------------------
(written)

CASTELLO, CARLO
Worked at Genoa 1760.
Minute examination of workmanship shows unmistakable neatness everywhere. Generally spruce of medium width and finely curled maple. Golden-orange varnish of surpassingly warm tint. Tonal quality splendid in mellowness and clarity though not powerful.
One specimen valued at 900 dollars in America (1920).

CASTELLO, GIOVANNI
Worked at Genoa 1770.
Irresistably fine outline of the smaller pattern. Easily speaking tone of bell-like and silver quality. £100 given for a fine specimen (1922).

CASTELLO, PAOLO
Worked at Genoa, 1750-1782.
Modelling assumes the specific formality of a Gagliano with something of Amati arching. Neither workmanship nor quality approaches either of those master’s productions. Laxity in purfiing often noticeable. Very occasionally double purfiing. Sound-holes sometimes appear to be almost novitiate - certain specimens have the right-hand one very slightly longer than the left. Inside workmanship often left in an unfinished state. Sometimes a medium sized pattern, and medium arching, with middle bouts rather contracted, giving the instrument a narrow appearance not altogether pre-possessing. Other times high arching, deeply-grooved near the edges, which in their turn seem unduly raised. Non-dignity of scroll rather detracts. Wood not always of the very best material, though some backs are of pretty maple with small and even figures. Fairly good varnish of orange-reddish shade or yellowish-brown. Tone not powerful but of attractive sweetness. £150 (1928).
Several excellently toned ’cellos. Frequently two-piece backs of close and straight figured material.
--------------------
Paulus Castello
fecit Genuae
Anno 1775
--------------------
(small, with decorative border - (sometimes two-lined)

CASTELLOTTI, ALDO DI LUIGI
Born 1913. Self-taught. Worked at Cremona.
Stradivarian modelling of fair achievement.

CASTENDORFER, MELCHIOR, MICHAEL and CASPAR
Three brothers working at Nördlingen (Bavaria), 1470-1500. Occupied principally with the production of lutes.

CASTON, JOHN
Lived at Piney Woods (Mississippi), 1850-1860.
Left-handed fiddler having remarkable dexterity in jig playing. Made a few primitive fiddles for the generally shiftless and uneducated natives.

CASTORINO, (CASTORINA) LORENZO
Worked at Aci Reale (Sicily), 1820-1830.
Nice and accurate outline and modelling. Scroll, though of robust conceit, not entirely inconsistent with the general structure. Reddish-brown varnish well applied over reasonably good workmanship. Produced violins and ’cellos - the latter principally. Generally of a desirable quality of tone.
---------------------------
Fabrica
di Lorenzo Castorino
Abitante
---------------------------
----------------------------
in Aci Reale 1825
Lorenzo Castorina
Abitante in Aci Reale.
----------------------------

CASTRO
Worked at Venice, 1.680-1720.
Often used fine wood, but how to ingeniously beabtify it, was something beyond his capability. Modelling, somewhat Stradish, alone shows how very ambiguous were his conceptions of artistry, and his easy contentment with unambitious workmanship. Roughly worked sound-holes and scroll further enlighten us of his defective comprehension of the artistic. Impverished quality of red varnish also, emphasises his acquiescence with slovenly principles. Yet one specimen realised £50 (1926).
Double-basses belong to a less degenerate class, and have an acceptable tone.
-------------------------
Castro fecit Venetiis
anno 1684
-------------------------

CATENARI, ENRICO
Worked at Turin for the long period of 75 years - 1671-1746. Name varies in spelling - sometimes given as Catenar, Cattenari, and Gattinari. Pupil of the brothers Cappa at Turin.
Outline somewhat akin to the Stradivarius, but arching slightly higher - entire contour showing a legitimate desire not to absolutely belong to prescribed limits of any one type. No maker worked more successfully to maintain the elevated and graceful character properly belonging to it. Scroll has that nicety of pose which gratifies the critical inspection of connoisseurs. Sound-holes, also, particularly happy and most agreeable to view. Emblem of distinction rightfully won with the brownish-red varnish - of delightful shade and texture. Table wood always of fine grain, and backs of nicely figured maple. Remarkably sweet tone, clear and penetrating.
Some specimens valued at £100 (1920).
--------------------
Enrico Catenari
in Torino 1682
--------------------
(very small lettering)
------------------------------
Henricus Catenar
fecit Taurini anno 1694
------------------------------
-------------------------
Enrico Gattinari
fece in Torino 1709
-------------------------

CATENARI, GIUSEPPE FRANCESCO
Son of Enrico. Worked at Turin, 1703-1724.
Keeps well up to the front as exponent of the advance and development of the Turin school. Workmanship exhibits all the quiet energy of successful experience. Guarnerius type outline combined in the most agreeable manner with rather high arching - something quite refreshingly original. Well developed all the often hidden resources of varnishing though applying it rather thickly - either red or reddish-brown shade. Tonal quality will be appreciated by all classes of players, for there is considerable brilliancy with silvery smoothness.
Produced violas capable of resisting the most forcible playing.
-----------------------------------------
Francesco Gattinari
Fecit Taurini Anno Domini 1711
-----------------------------------------
---------------------------------
Joseph Franciscus Catenar
Fecit Taurini, anno 1724
---------------------------------

CATENI, PIETRO
Worked at Livorno (Italy), 1780-1812.
Some instruments falsely dated 1680 and 1722. Well developed flat model. Workmanship rather limited in refinement. Scroll often too insignificantly small to seem at ease with general structure. Sound-holes perhaps a trifie too straight to be termed artistic. Good acoustical wood for table, and frequently of wide grain. Backs often of plain maple. Brown varnish not especially attractive. Instruments of minor importance.
--------------------------------
Pietro Cateni
fecit Livorno, anno 1793
--------------------------------

CATI, PIETRO ANTONIO
Worked at Florence, 1735-1763.
Modelling sometimes homogeneous to that of a Gabrielli, and at other times partaking more of the Stradivarius - the former being higher arched than the latter - and always of a pattern under full size. Legerity of hand not especially characterising the workmanship. Generally brownish-orange varnish of splendid texture. Tone very clear but not remarkably mellow. £80 (1920).
Also made many pocket fiddles, for which collectors often pay high prices.
--------------------------------------
Pietro Antonio Cati florentinus
fecit anno 1738
--------------------------------------
----------------------------------------
Petrus Antonius Cati florentinus
fecit anno 1749.
----------------------------------------

CATIGNOLI, GIUSEPPE
Worked at Milan, 1850.

CATITHERWOOD, JOSEPH
Watch-maker in London, 1775-1825.
Nice imitations of the Klotz style - brown varnish.
----------------------------------
Joseph Catitherwood
Made at country residence
near London, 1820.
----------------------------------

CATRICALA, VINCENT
Born in Italy, 1900. Professional violinist. Resident at Watervliet (New York), 1930. Studied violin making with Ehricke.
Won medal for sixth violin, 1940. Strad and Guarnerian modelling, excellent workmanship, red oil varnish.

CATTADORI, LUIGI
Born 1914. Studied at the violin making school, Cremona.
Strad modelling - spirit varnish.
--------------------------------
Cattadori Luigi
Liutaio
Scuola Int. liut Cremona
anno 1949
--------------------------------

CATrENARO, G.
Worked at Pavia, 1639-1670.
Violas and gambas.
------------------------
Gaetano Cattenaro
Fecit, Anno 1663
------------------------

CAUSSIN, FRANÇOIS (AINÉ)
Worked at Rouvres-la-Chétive near Neufchâteau (France), 1820-1865.
Modelling of rather small proportions - splendid intentions of Italian traits - varied designs. Many specimens sold as geniune Italian, but though the copying is remarkably good, careful examination dispels that imagination. Generally full arching - sound-holes and scroll completely artistic - nice purfling. Wood chosen to replicate the models imitated. Varnish (usually golden brown of good quality), also applied as though much used. Tonal quality often attractively clear and sweet.
Though expending painstaking labour he was modestly content with only charging £2 for each specimen - now catalogued at £18.
Also produced less elegant models - narrow bodied - short corners - very large scroll - long and nearly perpendicular sound-holes - and non-transparent brown varnish.
Made several experiments - some instruments having six sound-holes and eight strings. Also ’cellos.
Branded ‘Caussin’.
-----------------------------
Caussin Luthier
Neufchàteau (Vosges)
-----------------------------

CAUSSIN, FRANÇOIS HIPPOLYTE
Brother of the preceding. Worked at the same atelier, 1845-1898.
Wholly clever old imitations similarly branded.
-----------------------------------
Caussin Luthier
Neufchâteau (Vosges) 1880
-----------------------------------

CAUSSIN, NICHOLAS
Son of François. Worked at Neufchâteau, 1850-1888. Subsequently went to Mirecourt.
Retained the somewhat Amatese style with medium arching, but everything has an aspect of mediocrity. Some backs have painted stripes as representing flames of the wood. Muddy varnish, either brown or orange-yellow.
Branded ‘Caussin Nicholas’.
fils

CAVADA, FORTUNA
Exhibited a well made violin and ’cello at Cremona in 1937. Worked at Roveredo.

CAVALAZZI, ANTONIO
Born 1905. Pupil of Veggi. Worked at Ravenna.
First violin made in 17th year. Ultimately produced several excellent Strad designs. Yellow-orange varnish with a variant of brown - most effective.
-----------------------
Antonio Cavalazzi
Ravenna 1947.
-----------------------

CAVALERI, GIUSEPPE
Worked at Genoa, 1732-1747.
Modelling of the Amatese type, with distinctive marks pertaining to high art design. Arching between medium and flat, and beautifully graduated - back a trifle more pronounced than front. Corners slightly elongated - purfling rather close to edges, and narrow. ‘Beau ideal’ of a scroll not exactly delineated, but has certain touches of artistry, though the extreme part of the volute is approached too suddenly - very effective boss, and careful fluting. Long sound-holes without especial refinement of curvature - lower curve being rather inharmoniously enlarged for the upper - neither are the wings delicately finished.
Belly wood often very fine veined - backs of regularly marked figure without outstanding beauty. Deep shade of orange varnish, often very much worn off. Uniform tonal quality of nice strength and mellowness.
Instruments seldom seen with the original label, as the larger proportion have been subjected to insertion of more famous labels.
’Cellos of similar design.
---------------------------------
Joseph Cavaleri fecit
Genuae anno salutis 1745
---------------------------------

CAVALLI, ARISTIDE
Son of Savino (1830-1862). Born at Alessandria (Piedmont), 1856. Pupil of father and Beltrani. Established at Cremona, 1880-1930. Decorated ‘Cavaliere’ by the Italian Government.
Modelling somewhat original though reminding one of Ceruti and Beltrani. Built instruments of various grades differing in outline as well as in thickness of wood. Graceful slanting sound-holes sometimes with a fluted lower wing. Scroll, edges, corners and purfling each quite attractive to the eye. Dark, reddish-brown varnish indisputably of excellent quality.
Also produced cheaper classes of ‘commercial’ violins.
Guitars and mandolines in circulation.
-------------------------------------
Officina ‘Claudio Monteverdi’
Arist. Cavalli & suoi alumni
fecera Cremona anno 1923
-------------------------------------
(with signature ‘A. Cavalli’. Sometimes without first line, and no signature.)
(Stradiv.)
-------------------------
Magistrum admirans
Cremona 1920
-------------------------
(bearing Cremona shield)
-------------------------------------
Arist. Cavalli & suoi alumni
Fecera Cremona anno 18. . .
-------------------------------------


CAVALLI, LELIO.
Born, 1883, son of the preceding. Doctor of physics and mathematics. Director of the ‘Claudio Monteverdi’ establishment at Cremona, 1930.

CAVALLI, SAVINO
Born at Cremona 1830. Died at Alessandria, 1862. Violinist or organist who became successful as a violin maker.

CAVALLINI, ETTORE
Worked at Arezzo 1925.
Designer of mandolines - great circulation in Italy and Algiers. Also made bowed intruments of the commercial class.

CAVALLINI, LUIGI
Born 1831. Worked at Arezoo. Died 1903.
Instruments of the violin family - of no particular importance.

CAVALLINI, ORESTE
Born 1868. Son and pupil of Luigi. Worked at Arezzo. Died 1938.
Specialised in making double basses. Created designs to allow greater freedom for players when ascending the higher register, and to ameliorate tonal quality.
Several violins known - valued at £25 (1920) - quite ordinary. Some instruments dated as having been made 100 years previously.
Also common looking ’cellos - body length 29-1/2 inches. Width of lower bouts not in proper proportion to the upper. Thin orange-yellow varnish. Often wide grain belly wood and plain backs.
---------------------------
Oreste Cavallini di
Luigi fece in Arezzo
Anno 1810
---------------------------

CAVALORIO
Worked at Genoa, 1725. Perhaps same as Cavaleri.

CAVANI, GIOVANNI
Born 1851. Worked at Spilamberto. Maker to Conservatorios at Parma and Bologna. Last two violins made in 84th year. Died 1936.
Longish and somewhat narrow model - fairly dark red varnish. Greatly esteemed for tone.
--------------------------------
Giovanni Cavani
di Spilamberto (Modena)
Fece l’anno 1880
--------------------------------
(with design of lyre)
--------------------------------
Giovanni Cavani & Figlio
di Spilamberto (Modena)
fecero l’anno 19. .
--------------------------------
(with lyre)

CAVANI, VINCENZO
Born 1889. Son and pupil of Giovanni. Also studied the violin. Made first instrument in 11th year, and first ’cello in 13th. Received much advice from Bisiach. Ultimately became a master-hand. Won medals at Expositions.
Splendid modelling based on a Peter Guarnerius. Red or golden-yellow oil and spirit varnishes. Everything deserving the highest enconium.
---------------------------------------------
Cavani Vincenzo a. del. p. Giovanni
Fece in Spilamberto, A. 19. .
---------------------------------------------
-------------------------------
Cavani Vincenzo
da Spilamberto Modena
Fece Anno 19. .
-------------------------------

CAVAZZA, SANDRO (or ALESSANDRO)
Born 1903. Amateur at Ravenna 1945.
Cremonese models with a few slight divergencies. Scrolls of variegated designs, all deeply excavated. Oil varnish - deep red shaded.

CECCO, CRISTOFERO
Worked at Venice, 1665.
Tyrolese style quite undistinctive - dull yellow-brown varnish.

CECCONI, Q.
Resident at Portsmouth, 1896-1914.

CEDERBERG, GUSTAF
Modern, amateur Swedish maker.

CEJKA, JEAN
Son of Josef (2). Worked at Ödenburg. Died 1882.

CEJKA, JOSEF (1)
Worked at Prague, 1760-1802.
----------------------------------
Josef Cejka
Instrumentat, Praha, 1797
----------------------------------

CEJKA, JOSEF (2)
Born at Saar, 1781. Worked at Prague and Chrudim (Bohemia). Died 1859. Violins which show studious regard for the artistic. Sound-holes and scroll gracefully flowing.
------------------------------
Joseph Czejka
b. Instrumentenmacher
in Chrudim 1847
------------------------------

CEJKA, SEVERIN
Son of Josef (2). Worked at Chrudim, 1851. Died 1901.
------------------------------------
Sewerin Cerjka
hotovitel hudebnich nástroju
v Chrudime
------------------------------------
(Second lines means ‘maker of musical instruments’).

CELANI, CONSTANTINO
Born 1869. Brother and pupil of Emilio. Worked at Ascoli Piceno.
Ran a violin making school there, 1940. Won many gold medals. Produced 250 violins, also violas and ’cellos up to the year 1949. Retired (in 81st year) to Monticelli. Decorated with the Order of San-Maria.
Strad and Amatese modelling - fine workmanship, well chosen woods, and a beautifully transparent varnish of golden yellow shade.
---------------------------------
Celani Constantin
fece in Ascoli Picino 1900
---------------------------------
(written)
--------------------------------------
Costantinus Celanius
Emidii frater vulgo il Turco
Asculi in Piceno fecit An 19. .
--------------------------------------

CELANI, EMILIO
Born at Ascoli Piceno (Italy), 1866. Died in 32nd year, 1898. Received the sobriquet of ‘The Turk’.
Early violins of erroneous proportions, but later specimens absolutely untainted with anything indifferent either in the modelling, workmanship, or varnish. Splendid delineations of an Andreas Guarnerius, particularly in outline - a narrowish pattern as opposed to that of a Stradivarius, body length 14-1/4 inches. Also Amatese modelling.
Look well at such models, and most surely will it refine our perceptions and taste. Delightful medium arching enriched by a lovely reddish-yellow varnish. Tonal quality of that ripening quality which is for future generations to rave about.
Constructed over 200 guitars and mandolines.
----------------------------------
Emilio Celani
detto il Turco
fece in Ascoli Piceno 1896
----------------------------------
---------------------------------
Emidis Celani
fece in Ascoli Piceno 1881
---------------------------------
Some instruments dated 50 years anterior.

CELANI, LUIGI
Worked in Ascoli Piceno, 1890-1896.

CELIONATUS
see CELONIATO.

CELLIER
Workshop established at Hamburg, 1840 by Karl; developed into Cellier & Son, 1844; and F. Cellier & Son, 1864.
Instruments by Karl perhaps minutely exact in measurements, but accoutrements of fine art in modelling, workmanship and varnish, appear lost in commonplace conception. Those of F. Cellier & Son seem to have been made by workmen at Mirecourt or Markneukirchen (or perhaps by their own assistants) - instruments produced to any model required, and very readily accomplished, but there is always the absence of that art-perception so essential to the building of master fiddles.
Also a few ’cellos by Karl - similar to the violins.
-----------------------
K. Cellier
Luthier. Hamburg
-----------------------
(Squarish, with a white ovalshaped centre surrounded by dark shading)
--------------------
F. Cellier & fils
Luthiers
Hamburg
-------------------

CELLLNI, GIOVANNI
Born at Florence. Died there of the pest, 1528. Father of Benvenuto Cellini, the renowned engraver, goldworker and sculptor. Originally an architect, later becoming greatly proficient in lute and viol making. His viols dated 1500-1505 were highly esteemed.

CELONIATO, GIOVANNI FRANCESCO
Worked at Turin, 1720-1754.
Outline generally belonging to the large Amatese, but arching reminds one of the Bergonzi school. Some instruments seem influenced by traits of a large-patterned Joffredus Cappa. Workmanship quite in accordance with neatness. Some instruments have prominent corners beautifully finished. Always very carefully chosen spruce; and often gorgeously handsome material for back and ribs, but also specimens moderately plain. Rich transparent yellow or an orange-brown varnish of exceedingly fine texture. Tone of considerable nobility, full, clear, and of a soloist’s necessary quality of sonority and sweetness.
Measurements of an example dated 1734 - valued at £200 (1920) - body length, l4-1/16 inches; upper bouts, 8-9/16; lower, 8-3/8.
’Cellos also sought for. Several viol-d’amours in museums.
--------------------------------------------
Joannes Franciscus Celionatus fecit
Taurini anno Domini 1723.
--------------------------------------------
Some with decorative borders, others without. £400 1959.

CELSO
see FRANCHI.

CENTURIO, GIUSEPPE (Joseph)
Born at Tiber, ancient name of the town of Tivoli in the province of Rome. Worked at Padua, 1756-1784.
Modelling - an amalgam of the Amatis. Workmanship in every detail thoroughly creditable. Praiseworthy attempt to revive the colour of their varnish - fair measure of success attained.
------------------------------------
Jos. Centurio Tibertinus f. in
Padua. 1780.
------------------------------------

CERIN, MARCO ANTONIO
Pupil of Anselmo Bellosio. Worked at Venice, 1780-1820.
Pretty modelling somewhat on Stradivarian principles. Delightful flat arching, and all needful attention to technical details. Pale yellow or brownish yellow or darkish red shades of varnish - the latter quite lustrous. Well chosen table-wood of medium grain. Backs and ribs often of plain material. Usual body length, 35.8cm. Admitting the flexible tone of these instruments, we cannot quite join in the chorus of exalted eulogy which some connoisseurs have raised in their favour.
-------------------------------------------------
Marcus Antonius Cerin, Alumnus
Anselmi Bellosj, fecit Venetiae, an 1793
-------------------------------------------------

CERMAK, JOSEF
Established at Böhmisch-Schumburg (Sumburk), 1889-1908.
Rather limited productivity.
---------------------------
Josef Cermak
V Cesken Sumburku
u Tannwaldu
---------------------------

CERMÁK, JOSEF A.
Born 1874. Pupil of Patoéka. Established at Kutnà Hora (Kuttenberg), Bohemia, 1898-1910. Died 1943.
Fine modelling after Amati, Stainer, Stradivarius and Guarnerius. Workmanship unquestionably very superior indeed. Golden yellow and fiery red shades of varnish - and here we may go the length of saying that nothing antecedent on any Bohemian violin has approached it.
----------------------------------------
Anotovil J. A. Cermák. Houslar
Kutna Hora 1905
----------------------------------------
(Unusual design - strikingly effective)
-------------------------------------------
Anotovil houslar - maker of violins.
-------------------------------------------

CERNY, JOHANN (Jan)
Amateur. Born 1883. Resident at Prague, 1922-1950.
Invented (in 1919) new form bowed instruments (violins, violas and ’cellos) having an original resonance device which replaces the sound-post. Sound-holes not in the top plate, but in the ribs at the waist - and in this particular part, the top plate is not glued to the ribs - the inventor thus claiming greater tone strength. Bass-bar dispensed with, and a vibration rod substituted. This consists of an arched wooden stick, not glued, running directly under the left foot of the bridge thtough a wooden eye guide glued to the inner surface of the top plate, and sprung into position in the upper and lower blocks. Won Gold medals at Prague (1924), Brünn (1928), and The Hague (1949). Tonal quality pronounced by certain connoisseurs to be delightfully rich in carrying power and noble in strength. But after some years trial this invention seems to have had no better luck in the estimation of players than the many previous ones have had.
Also made a few ordinary violins of Strad modelling.
-------------------------
Csl-patent
Jan Cerny c. 3,895
zhotovil opus. .
v Praze r. 1925
-------------------------
(with J.A.C. on left - signature under opus)
---------------------
Jan Cerny
zhotovil opus 52
Praze r. 1932
---------------------
(J.C. in violin design - signature on right)

CERRONE, D.
Born at Arpino (Italy) 1891. Pupil of Emberger (Rome). Very precocious. Regarded as first-class maker in 14th year. Also a good musician - conductor of orchestral and choral societies. Worked for his teacher, 1938. Received several medals and diplomas.
Generally Strad modelling - spirit varnish. Instruments popular throughout Italy.
---------------------------------
Rinomata Fabbrica
Strumenti musicali a corda
Domenico Cerrone
Allievo Embergher
Arpino (Frosinone)
---------------------------------
-------------------------
Domenico Cerrone
Arpino (Frosinone)
violini
-------------------------
------------------------------------------
Direzione e Laboratorio in Arpino
Domenico Cerrone
------------------------------------------
(with signature)

CERUTI, CARLO
Son and pupil of Giuseppe. Worked at Turin.
Cremonese modelling without distinctiveness - brownish yellow varnish.
---------------------------------
Cerutti Carlo
fece in Torino anno 1886.
---------------------------------

CERUTI, ENRICO
Born 1808. Son of Giuseppe. Worked at 14 Via Borgo Spera, Cremona. Made about 370 instruments. Awarded silver medals at London Exhibitions of 1851 and 1870; also a gold medal at Cremona, 1863. Last instruments dated 1881. Died 1883.
A splendid craftsman working on the grand principles which guided the hands of the men of old, and who equalled in workmanship and impressive earnestness any of their productions.
Violins generally of a large Stradivarius, sometimes rather oversize in proportion, but accurately graded, and showing considerable individuality. Whole contour offers a comprehensive lesson to present-day makers. Also occasionally built on the Amati outline with reduced arching. Used strongly marked maple of handsome appearance for the back. No point of weakness anywhere in the splendid scroll of forcible and elegant pose. Graceful sound-holes harmonise perfectly with the entire. Purfling delicately and courageously traced. Orange-red and light brown shades of excellent amber varnish. Full, even and free tone.
’Cellos particularly valued by Italian orchestral players. £100 1959.
----------------------------
Enricus Ceruti fecit
Cremonae anno 1864
----------------------------
+G E within a circle
C
Some without the circled letters. Others have E.F.C. under a thickly printed cross.

CERUTI, GIOVANNI BATTISTA
Born 1755. Died 1817. Worked with Storioni at Cremona, and succeeded in 1790 to his business in the Via de Caltellai.
His precepts and practice did much towards upholding the Cremonese school. Made about 500 instruments of varying pattern in which the characteristics of the classical makers are combined with his own strong points of individuality.
Those of the Grand-Amati model generally adjudged to be his superior instruments, and 1809 his best period. These are of medium arching, covered with a thick reddish-brown varnish, and usually (1930) valued at £300. Body length, 36cm.
Also models after Guarnerius and the broad Stradivarius, invariably varnished light orange colour of a soft and elastic character. On his other violins the colour varies between yellow and a somewhat dullish cherry colour. Some specimens have one colour on front and a different one on the back.
Wood frequently of native growth, carefully selected for its acoustical properties, and plentifully used. Backs usually of small-flame maple, also furnishing pretty ribs and scrolls. Frequently the spruce is of very fine grain, but occasionally we meet with some of slightly uneven fibres, which, however, seems to have no particular deterrent effect on tone.
Very few violins of other makers have a more engratiating appearance than these. Scroll, sound-holes and purfling all admirably done. Tone brilliantly clear, sweet and penetrating. Violinists ought not to miss a chance of securing an example of this estimable maker, for he was a most conscientious workman, who always put in his best energies and paid the strictest attention to detail.
Also finely built ’cellos with Nicolà Amati’s modelling spread all over. Violas, rare, generally of 15-11/16 body length.
--------------------------------
Jo: Baptista Ceruti
Cremonensis
fecit Cremonae, an 1801
--------------------------------
(Ornamental border and +G B C within a circle
Sometimes branded G.B.C. £500 1959.

CERUTI, GIOVANNI MARIA
‘Trade’ instruments made in the workshops of Aristide Cavalli at Cremona.
Their general appearance prompts a condemnation, but on the other hand cheap violins are necessary and very marketable. Comparison not favourable with similar merchandise from Mirecourt and Saxony. Varnish generally very glossy or sticky looking. £50 1959.

Dum vixe tacui
Cremona
Mortua dulce canto
Officina Claudio Monteverde
Cremona 1923
Gio. Maria Ceruti written or printed undulatingly across label.

CERUTI, GIUSEPPE
Son and successor of Giovanni Battista. Born 1787. Worked at Cremona and Mantua. Died 1860. Contributed a set of excellent toned instruments at the Paris Exhibition, and came out the winner of the gold medal.
Workmanship not so refined as that done by father. Did not make many new, instruments - too busy building up a reputation as an exceptionally skilful repairer Small, dainty and altogether charming model. Neatly carved sound-holes meeting with everybody’s approval. Scroll does not escape unfavourable criticism for it seems all awry, slanting and indifferently rounded off. Backs often irregular curl wood. Reddish-yellow or yellow varnish.
Measurements - body length, 13-13/16 inches; upper bouts, 6-7/16; middle, 4-5/8; lower, 8-1/6; ribs, 1-3/16 to 1-1/4.
Violas - body length, 38.7cm. £300 1959.
--------------------------------------------
Joseph Cerutti filius Joannis Baptis
toe Cremonensis fecit anno 1812
Josephus Cerutti
filius Joannis Baptistae
Cremonensis fecit anno
1830
--------------------------------------------
------------------------------
Giuseppe Ceruti
fece in Cremone, 1830
------------------------------
Best instruments branded G.C.

CERUTTI, SEBASTIANO
Worked in Piedmont, 1620-1630.

CERVELLA, GIOVANNI
A little-known Italian maker of the 18th century whose wares are probably labelled with more illuStrious names.

CESARANO, ERNESTO AND SONS
Principally mandolines - also Violins and ’cellos.
------------------------------------------------------
Rinomato Laboratorio
d’istrumenti musicali a corda
Ernesto Cesarano & figlio
Roma - Via Principe Umberto, 129. Roma.
------------------------------------------------------
C.F.F. - brand of Ch. Fr. Ficker.
C.G.S. - brand of C. G. Schönfelder.

CHABOTTE, NICOLAS
Worked at Mirecourt, 1860-1892.
Typical Mirecourtian style - dull, dark yellow varnish.
Branded Chabotte a Paris.

CHADWICK, ALLEN
Springfield, U.S.A. Good work. Strad modelling.

CHALIN, PÈRE
Worked at Pont-a-Mousson (France), 1865.

CHALLARD, J.
Worked at Montpellier, 1908; and at Agen, 1935.

CHALLONER, THOMAS
Worked in London, 1750.
Stainer modelling with pronounced arching, not unlike the style of Peter Wamsley. Brownish-yellow varnish - rather effective.

CHALON
Worked at Châlons-sur-Marne (France), 1800-1818.
Maggini style with double purfling - yellowish-red varnish - everything quite ordinary.

CHALUPATZKY, ANTON
Worked at Steingrub (Bohemia), 1900-1915.

CHAMBERLAND, ARTHUR
Born in Canada, 1888. Amateur. Resident at North Troy (Vermont), 1930.
More than 200 violins - varnished with a spirit-oil preparation of own formula (first coats of spirit, then oil) - golden red and brownish, golden yellow.

CHAMPION, JEAN BAPTISTE
Worked at Paris, 1783-1808. Possibly son of René.
We are not convinced that his few violins possess the important mature tonal quality usually associated with French instruments of the same period. But it would be doing grievous injustice to his talent not to recognise the excellent modelling and carefully finished workmanship - also the varnish. Several very pretty six-stringed guitars are known.

CHAMPION, RENÉ
Worked at Paris, 1730-1762. Generally supposed that he was a pupil of Boquay - frequently imitated his style.
Modelling and workmanship (particularly the scroll) show that he held within his grasp all attributes and characteristics of gracefulness and neatness. And this panegyric still holds to the same truth after we have heard the splendidly clear tone, full and good enough for any soloist. Entire build nicely under the established full size - particularly convenient for technical performers in their mountainous running up and down the fingerboard. Measurements of one dated 1758 - length of body, 13-7/8 inches; upper bouts, 6-1/4; lower, 7-7/8.
Violin makers might advantageously think about the above measurements when constructing instruments. Magnitude of size does not necessarily send forth magnitude of tone - neither is the tone bound to be small because the model is so. Champion has proved it can be splendidly penetrating though the resonance box is of comparatively small dimensions. His Pardessus-de-violes (one time very popular in France) have five strings, fretted fingerboard, fancifully carved head, table and back beautifully arched - all very much in the style of Guersan.
---------------------------
René Champion
rue des Bourdonnois
à Paris 1735.
---------------------------
(Decorative border)
--------------------------------------------------------------------
René Champion de St. Julien, rue des vielles-Odriettes
au coin de l’échelle du temple à Paris, 1748
--------------------------------------------------------------------
-----------------------------------------------
René Champion, rue & coin
de l’Echelle du Temple, à Paris 1751.
-----------------------------------------------

CHANNON, FREDERICK WILLIAM
Born at Totnes, 1862. Worked at Plymouth, 1892-1912. First instrument produced in 1893. Rapidly gained recognition as an unusually skilled maker and repairer. Opened premises in London 1913, and gave lessons in violin making. Received four medals for tone production and workmanship. Subsequently lived at Byfleet, and finally at Weymouth. Died 1946.
Made about 50 violins. Worked for an ideality rather than for quick financia gain. Best instruments dated from Plymouth. Mostly modelled on various well-known Strads - only a few on the Guarneri. Irreproachable workmanship of a sure dexterity in all details, especially the elegantly flowing scrolls and delightfully traced sound-holes. Superb varnish of own preparation (the constituents being resin, dragon’s blood, gamboge, turpentine and boiled linseed oil), richly transparents golden brown of several shades, artistically applied, but slightly over polished. Tone of penetrative power, easily responsive, and of that quality which will become equal to the Cremonese 100 years hence, when concert soloists will probably be enjoying themselves in producing it.
Gave distinctive names to some of his finest productions - Lowman Strad, Paganini Guarneri, Zacharewitsch Strad and Ave Maria (his last instrument, made in 80th year). Nearly all instruments passed into the hands of various enthusiastic amateurs in Devon and Cornwall for sums varying from £50 to £100.
-------------------------
Made by 1893
Fred. W. Channon
No. 1 Devonport
-------------------------
-------------------------
Made by
Fred. W. Channon
No. 18 Plymouth
-------------------------
(with four dates of medals placed over name).
Others dated from London.

CHANOT, ADOLPHE
Eldest son of Georges (2). Born at Paris, 1828. Bow maker of considerable genius. Worked with Henry. Productions rather similar. Died in 29th year.

CHANOT, ALFRED ERNEST
Son and pupil of Frederick William. Born in London, 1890. Established at 29 Rathplace Place, London, 1930. Resident at East Sheen, 1940. Very conscientious workman - zealous in his art as any of those in past ages.
Outline and modelling after the principles of Stradivarius and Guarnerius, showing, in every instance (perhaps excepting the naturally erratic early attempts) worthy efforts to imitate the beauties of those models as well as an artistic appreciation of the true field of violin making. Workmanship has a ‘sharpness of line’ and an entire absence of anything carelessly done - plainly a freedom of handling which has all the attributes of aptitude and intuitiveness. Scroll particularly full of interesting features. Orange brown and dark chesnut shades of finely textured oil varnish.
Produced 29 instruments up to the year 1923. Similar ratio of productivity since, though largely occupied with repairs.
-------------------------
A. E. Chanot. Fecit
London. A.D. 1922
-------------------------
A.E.C.

CHANOT. EDWARD
Artistically designed bows with a nicety of balance. Catalogued at £2 (1920).

CHANOT, MADAME FLORENTINE DEMOLIENS
Wife of Georges (2).
Ever present in his workshop, inspiring and materially assisting him by enthusiasm and indefatigable assiduity. Fully conversant with all the technical and scientific details of violin making. Exhibited a few of her productions at Paris, 1827.
Made an instrument termed ‘Violon historique et monumental’ - described in a sixteen-page booklet by Desmarais, published at Paris, 1836. Back and ribs beautifully ornamented and altogether unique. Presented to J. B. Cartier (celebrated violinist at Paris), who had it painted and illuminated by an artist named Dariancourt.

CHANOT, FRANCOIS
Born 1787. Entered the French navy as engineer. Retired on half-pay, owing to some caustically worded political verses. Went to Mirecourt, worked with his father (instrument maker), and subsequently concluded that violins might be improved by certain scientific principles. Conceived a guitar-shaped model - corners and blocks entirely dispensed with. No overlapping of the edges, but ending flush with them in a rim of ivory (or hard wood), guitar-like. Sound-holes (ordinary length) follow the curvature of the sides and placed rather close to them - simply curved apertures without wings, etc., as seen in the customary shape.
This new form was supposed to reduce the cutting through of fibres to a minimum, consequently producing a maximum of long fibres - thus ameliorating the vibratory powers of the instrument. Bass bar set down the exact centre of the join of the belly. Strings fastened by pins to two plates of wood just above the lower edge - one glued outside and the others inside. Sound-post set in front instead of behind the bridge. Volute of scroll turned back instead of forward, thereby affording easier access to the hole for placing the ‘A’ string. Varnish of light colour and thinly applied.
Specimens submitted for trial against a reputed Stradivarius at the Academy of Sciences, Paris, 1817, and adjuged superior. A strange verdict since the instruments quickly deteriorated in tone, and now are of no consequence except as curiosities. Some later examples have an arc-shaped bass bar slightly to the left of centre.
Charged 300 francs for violins and violas - 500 for ’cellos.
---------------------------------------------
Chanot 1818
rue St Honoré, Passage des Maures
Paris C.I.D. No. 268
---------------------------------------------
C.I.D. - initials of his title ‘Capitaine, Ingenieur, Deuxieme-classe’. Some instruments of five strings, viola size, had a brief spell of popularity.
Presented a violin to Viotti, now preserved at the Paris Conservatoire, on which is inscribed
A Viotti
and four poetical lines garlanded with elaborate flowers
painted in black and white.
P.I.T. - Primiero intra Tutti (First amongst all).
Died at Rochefort, 1828.

CHANOT, FREDERICK WILLIAM
Son of Georges (3). Born in London, 1857. Died 1911. Studied at Paris with his grandfather Georges, 1864-1873, thus receiving the thorough training so splendidly exemplified in many of his subsequent productions. Established first in Berners Street, London, where he also started a publishing business known as ‘Edition Chanot’ - originally augurated to specially exploit the violin compositions of Guido Papini - a most beautifully got-up edition, but which, after his death, was most unaccountably allowed to pass into the land of oblivion (with the exception of a few of the ‘best sellers’ bought by other publishers). Some years later removed to Soho Street.
Produced three grades of violins - quality A, 20 guineas; quality B, 15 guineas; quality C, 10 guineas. Early dated instruments, though of sound construction, have a stiffish formality rather inexcusable from a descendant of such renowned makers as the Chanots, but later responded to the improvement which should be gained with experience. Most of these, of fine outline and modelling, and strongly built, slightly recall the productions of the elder Bernardel. Devoted much time to the manufacture and application of oil varnish (after being dissatisfied with his earlier efforts), and frequently got happy results in soft texture and shades. Claimed to reproduce any of the shades associated with the finest old violins (Italian, French or German), also that the materials of his preparation were identical with those used by Cremonese makers.
Regarded as one of the foremost connoisseurs in London, and many soloists and amateurs relied on his authoritative knowledge.
------------------------------
F. W. Chanot. London.
Fecit A.D. 1899 F.W.A
‘Le Messie’
------------------------------
(3rd and 4th lines written)
------------------------------
F. W. Chanot
F. W. Chanot. London.
Fecit A.D. 1905. F.W.
------------------------------

CHANOT, GEORGES (1)
Worked at Mirecourt, 1710-1730.
Known as ‘Du Joly’.

CHANOT, GEORGES (2)
Youngest son of Joseph. Born at Mirecourt, 1801. Started in his father’s workshop, making violins in his 13th year. Went to Paris, 1819, to construct the new guitar-violins of his brother Francois. Worked for Clement, 1820; and for Gand, 1821. Established own workshop, 1823. Retired 1872, went to live, at Courcelles (in the valley of the Chevreuse), and died there, 1883. Had the reputation of being the keenest connoisseuer in Europe.
Modelling principally after Stradivarius, with an occasional representation of a Guarnerius. Those of the former model will one day be recognised as the equal of a Lupot for finely, strong penetrating tonal quality. Presented us with gorgeous reproductions of the Italian masterpieces - workmanship as finished as that of his prototypes - several of which have been relabelled as Stradivarius. Something grand about the appearance, and the tone of best specimens ought to raise them to their rightful place in the ranks of French makers - even to be compared (allowfor the necessary ageing) with the Cremonas.
Workmanship shows a firm courageous hand, a minutely correct eye, and a most consummate judgment of what every little detail should be - to be measured by the loftiest standards, for genius forcibly displays itself in every part and from every point of view.
Scrolls (in particular) very magnificent, and exact replicas of the Stradivarius in contour, wood, and shading of varnish. Sound-holes altogether drawn with astonishing gracefulness. Perfect purfling. Always the most finely figured wood for backs and ribs; but we have seen one or two instruments whereon the belly wood is not of purely even grain, although we have not found that it affected the tone. In the matter of brilliance and clarity of rapid passages no other violins can claim superiority. Three-figure prices in pounds not exorbitant.
------------------------------
Chanot Jeune à Paris
rue de la Vrillière, 1820
------------------------------
--------------------------------------
Chanot jeune rue Passage
Choiseul No. 15 à Paris. 1825
--------------------------------------
------------------------------------
Georges Chanot, à Paris
Quai Malaquais Année 1856
------------------------------------
(monogram circled on the right)
Some splendid toned violas known - body length, 16-3/8 inches.
Produced a few double-basses of handsome appearance. £250 1959.

CHANOT, GEORGES (3)
Son and pupil of the preceding. Born at Paris, 1830. First worked in father’s workshop. Assistant to Maucotel in London, 1851-1857. Established own business premises in Wardour Street, 1858. Gained an undisputed reputation. All the principal players, English and Continental flocked to his place to enjoy or benefit by his counsels. Received a ‘mention honourable’ at the Paris Exhibition, 1878. Died 1895.
Guarnerius models possibly superior to anything else he made. Delicate workmanship done by one who had unusual skill and patience and, above all, an intelligent sympathy with the purpose of an artist. Workmen of this character have never been abundant - and it is not to be wondered at, as the chances of tonal realisation and public recognition are many, and the actual profit gained is very slight.
--------------------------------------------------------------------
Violin de Maître
Finished, fitted up, and varnished with best oil varnish
George Chanot, London, 1883.
--------------------------------------------------------------------
Made a good number of bows that do not generally come up to the exact standard of a soloist’s bow. Usually dark sticks a shade longer than the customary length, rather overbalanced at the top, generally heavy, and have a broad saddle and nut. Magnificently finished and rather exquisite-looking when cleaned up, but the sticks have little elasticity and the material sometimes of that kind which warps after several years’ playing. Stamped Chanot.

CHANOT, GEORGES ADOLPHE
Son of Georges (3). Born in London, 1855. Established at Manchester, 1879. Died 1923.
Modelling after Stradivarius, Guarnerius and Amati. Workmanship governed by the invaluable experience gained during apprenticeship under. father’s guidance. Also that careful attention to every contributing aid, from the selection of the wood to the splendid texture of the varnish. Worked and thought persistently to obtain a tonal quality which should compel the attraction of the best players - certainly met with a large measure of success.
Splendid ’cellos of Stradivarian modelling - one gained the gold medal at the Inventories Exhibition, London.
----------------------------------
Made by
G. A. Chanot
violin, viola, violoncello &
bow maker & restorer
Manchester. A.D. 1890
No 120. Model of Amati
---------------------------------
(Decorative border)
Bearing two designs of medals, and G.A.C. written.
Took out a patent, 1885, incorporating ideas of holding the violin correctly, and to assist players who had acquired a faulty method. Invented a folding bow, 1891, the object being to fold the bow to the length of the violin, so that the violin case of orchestral players could be much shorter, and consequently lighter and more portable. Claimed that his invention was fully practicable, the stick being (somewhere near the silver lapping) in such a manner that it could be folded.without unscrewing the nut or taking the bow to pieces in any way, and that it did not lose its strength, elasticity, balance or rigidity - in fact that it was as good and safe as any ordinary bow.
Also made a curiosity violin consisting of 700 pieces of wood.

CHANOT, JOHN ALFRED
Born at Dulwich, 1904. Son of Joseph Anthony, and assistant in his workshop. Resident at Tulse Hill (London), 1936.

CHANOT, JOSEPH
Born at Mirecourt, 1760. Worked there until death, 1832. Cultivated vine growing as well as violin making.
Excellent workmanship - greatly similar in style to that of Chappuy. Varnish almost red, or dark brown. Branded inside and on button.
Produced well balanced and considerably strong bows, catalogued at £4. Stamped (as though emanating from Paris) Chanot ainé, à Paris.

CHANOT, JOSEPH ANTHONY
Born in London, 1865. Son, pupil, and successor of Georges (3). Worked in Wardour Street from 1881. Died 1936. Had a high place in the record of the most noteworthy representatives who have constituted the violin-art world of London. Produced many admirable violins which have been and will be greatly appreciated. Absolutely splendid are those modelled on the lines of the ‘Pig Guamerius’ of Sainton. Undeniably beautiful in every detail of workmanship. Distinguished by a remarkable fullness of tone, and its capabilities for expressive playing - having unusual qualities (with regard to modern instruments) of delicacy, richness and resonance - everything brought to that high state of tonal power which will ultimately be equal to any Cremona or Lupot.
Such violins are a source of great pride and gratification to all who are fortunate owners - completely desirable acquisitions affording unqualified enjoyment in the present, and a valuable investment for the future. Covered with plenty of rich varnish of various shades (we prefer the golden yellow) that will stand the test of scores of years’ wear and become lovelier during that period.
Always (as a repairer) clever and especially neat and clean in everything he undertook - and as a connoissuer and valuer never otherwise than conscientious, this being backed up by unbendable honesty.
Produced many bows now considered fairly valuable. Usually light coloured sticks. Stamped J. A. Chanot.

CHANOT, WILLIAM ARTHUR
Born at Dulwich, 1899. Son of Joseph Anthony, and assistant at father’s establishment.
Orange-red varnish of own preparation.

CHANOT AND CHARDON
see J. M. Chardon.

CHAPIN, JOHN OLIVER
Born 1900. Established at San Francisco, 1923.
Stradivarian modelling generally - early specimens built on the Gilbert (Canadian) principles - neat workmanship - ruby red and brownish varnish. Built 100 up to year 1940.

CHAPPELL, LEWIS THOMAS
Born at Aldgate (East London), 1870. Resident at Forest Gate, 1927.
During the period of his “teens” he manifested a natural aptitude for edge tools which attracted the friendly aid and advice of George Pyne, to whom he became indebted for much valuable information and timely tuition in the practical art and craft of violin repairing. Attained a complete mastery over every little bit of delicate workmanship, and did everything quickly with unerring certainty. Did much responsible repairing for the principal dealers as well as having a large clientele of private patrons.
Instructor in bow making and general violin restoration at the British Violin Makers’ Guild, Hampstead, 1915-1918. Learned the art of bow making from James Tubbs, and invariably modelled his productions on that of his celebrated teacher. Altogether magnificent bows, equal in balance to any French bow of any period. If Chappell had concentrated his energies solely on bow making, a fortune would certainly have been within his reach.

CHAPPINE
Name branded on certain violins having the appearance of old instruments, but produced at Mirecourt factories.

CHAPPUY
Frenchman working at Dublin, 1790-1825.
Excellent modelling and varnish imitation of the Stradiyarius.

CHAPPUY, NICOLAS
Worked at Mirecourt.
Violins of customary French style.
Made several viol-d’amours of superior workmanship.
------------------------
Chappuy l’ainé
A Mirecourt 1729
------------------------
Branded N. Chappuy.

CHAPPUY, NICOLAS AUGUSTIN
Born 1730. Worked at Mirecourt and Paris. Died 1784.
Astonishingly large and rapid productivity. Violins bearing the name Chappuy, either branded or labelled, are comparatively innumerable - a phenomena giving rise to several writers’ unanimous opinions that there must have been two makers one named Nicolas, the other Augustin. We, however, rather think there was only the one individual - a maker whose output varied in merit from indifferent to first-class workmanship according to moods or to the wants of clients - a maker of astounding versatility and natural quickness.
Some models altogether inelegant, with stunted corners and broad waist. Others of more artistic outline (of long pattern) having a combination of Italian and French characteristics. Arching always flat and quite academical. General measurements - body length, 14-1/16 inches; upper bouts, 6-1/2; middle, 4-1/4; lower, 8-1/16.
Scrolls sometimes large, often well carved, also as often rather too much scooped, and generally with small boss. Wings of sound-holes, at top and bottom, not so close to the curve as those generally associated with the neatest workmanship. Frequently used very inferior material - the one particularly outstanding drawback that has so often brought down the lash of criticism from experts. Occasionally there are specimens with straight and even-grained spruce and nicely flamed maple, and they are eagerly snapped up even at the rather excessive figure of £60 (1925). But generally the table wood is tinged with imperfections very noticeable under the bridge and between the sound-holes and edges, and without straight - or width uniformity of fibre.
Varying shades of spirit varnish - transparent yellow, orange yellow, brownish yellow (with too much brown), and reddish brown - often of very common appearance and hard looking. Best specimens have a strong tone of considerable brilliance but quite without sympathetic quality. Altogether superior viol d’amours and quintons, having splendidly carved fancy heads, and never betraying the lapses from his finer capabilities so unfortunately belonging to many of the violins. Also produced pochettes, now highly valued by collectors.
------------------------------
Augustinus Chappuy
fecit Parlsiis anno 1766
------------------------------
-------------------------------------------------
N. A. Chappui, Luthier
de S.A.R. la Duchesse de Montpensier
-------------------------------------------------
--------------------------------------
Augustinus Chappuy
Olim Parisis. Nunc Mirecurtio
fecit annon 1778
--------------------------------------
(Beautifully festooned, with wording crescent-wise, and bearing the coat-of-arms of the Duchess)
----------------------------
Augustin Chappuy
fait à Mirecourt, 1742
----------------------------
---------------------------
Nicolas A. Chappuy
Luthier à Paris, 1780
---------------------------
Examples on which he expended his best technical gifts generally have the honour of being labelled by one of the above. Others branded near the tail-pin or on the button with
----------------
N. Chappuy
à Paris
---------------
or
-------------
Chappuy
à Paris
--------------
Habeneck (the famous violinist-conductor, the man who first introduced the Beethoven symphonies to the Parisians, personal friend of the eccentric genius Berlioz, and of Paganini) played on a Chappuy during the 37 years he was professor at the Conservatoire, the institution in which it is now preserved.
Some violins dated as late as 1794, but they must be the incompleted parts he left, finished and put together by successors. £100 1959.

CHAPPUY, PIERRE FOURNIER
Worked at Mirecourt, 1775. Brother of the preceding.
Violins having similar demerits - unquestionably the work of a maker whose productivity was restricted to supplying ‘trade’ instruments to dealers. Hard, yellow varnish. Tone of slight vitality, impoverished in quality. Occasionally branded P. F. Chappuy.

CHARDON, ANDRE
Born 1897. Son of Georges. Worked at Paris.
Many splendid bows bear his name - very successful in perpetuating the Tourte-Lupot heads - fine pernambuco sticks. Immaculate designing and superfine workmanship. Stamped with name and initials.

CHARDON, JOSEPH MARIE
Born at Paris, 1843. Pupil of Georges Chanot, and worked with him until 1872. Then opened own atelier. Went to Italy and collected a large number of valuable specimens which he subsequently copied with marked success. Died 1930. Esteemed as a very honourable connoisseur.
-------------------------------------------
Joseph Chardon à Paris
1 Quai Malaquais Année 1872 J.C.
-------------------------------------------
Also bows - stamped Chanot & Chardon. Paris, and three C’s on the lining.
Assisted by his son Georges - born 1870; died 1949. Expert modellist of the Cremona and Lupot. Completely artistic workmanship, beautiful woods, superb varnish, excellent tone.
--------------------------
Chardon père & Fils
Luthiers
Paris 1900
--------------------------
(Fancifully scrolled)
---------------------------------------
Fait sous la Direction
de Chardon & fils Luthiers
6 Rue du Faub. Poissonnière 6
Paris 1900
---------------------------------------
--------------------------
Chardon et Fils
Luthiers
3 rue d’Edinbourg 3
Paris 1925
--------------------------

CHAREL, BENÔIT
Worked at Strassburg, 1866.

CHARLE
Born at Mirecourt. Worked at Paris, 1730-1750.
Outline and arching created by rote and rule. Workmanship and varnish both show that he lacked artistic intent.
----------------------------------------
Charle, luthier dans les Quinze-
Vingts à Paris année 1748
----------------------------------------

CHARLES, JEAN
Worked at Marseilles, 1780-1790.
Some specimens quite similar to the small proportioned Amatese designs favoured by his uncle Guersan. Others of larger and flatter model - generally pretty onepiece backs - orange and reddish brown varnish. Rather powerful tonal quality, and not without a modicum of mellowness.
--------------------------------------------
J. Charles, Maître Luthier de
Paris, Neveu du sieur Guersan rue
St Ferréol, à côté du Café Dupai
A Marseille. 1783
--------------------------------------------
(Decorative border)

CHAROTTE (AINÉ)
Born at Mirecourt. Established in the rue Beauvoisine, Rouen, 1827. Died 1836. Typical Mirecourt style, without much artistic or individual character, though not devoid of good workmanship. Varnished dark red. Branded inside on the back - Charotee à Rouen.
Some instruments dated after 1836 but, quite possibly, ordinary Mirecourt ‘trade’ violins branded, etc., by successors.
Sometimes place of origin given as Paris instead of Rouen, branded Charotte ainé à Paris on the back and inside. These are frequently his best instruments.

CHAROTTE, CHARLES CLAUDE
Worked at Mirecourt, 1743.
Non-attractive modelling, straightish sound-holes, considerable excavating towards edges, brownish red varnish, strongish tone but unsympathetic.
Branded Charotte Paris.

CHAROTTE, CHARLES FRANÇOIS
Worked at Mirecourt, 1721. Later at Nancy.
High modelling - bulginess emphasised by deep excavating towards edges. Straight hound-holes. Rather attractive brownish red varnish.

CHAROTTE, CLAUDE
Worked at Mirecourt, 1763-1768.
Also fully entitled to the appellation ‘good Mirecourt style’. Branded as made in Paris - a common practice with the numerous makers of his town.
----------------
Cl. Charotte
à Paris
----------------

CHAROTTE, HIPPOLYTE
Born 1829. Son and pupil of Joseph. Worked at Mirecourt. Died 1876.
Design and workmanship approached by a rightly managed hand. Pleasant tonal quality.

CHAROTTE, JEAN FRANÇOIS
Worked at Mirecourt and Nancy, 1780-1805.
Instruments modelled with considerable nicety - also a little originality about scroll - yellow varnish. Branded Charotte à Nancy - sometimes with only one ‘t’.

CHAROTTE, JOSEPH
Born at Mirecourt, 1794. Worked at Rouen, 1830-1836.
Violins having various points of merit - reddish brown varnish.

CHAROTTE, VICTOR JOSEPH
Worked at Mirecourt, 1870. Died 1925.
Violins (especially of a Guarnerius dated 1733) and violas of perfect contour. All curvatures harmoniously artistic. Very transparent and flexible ‘Stradivarian’ varnish showing up the prettily figured wood, and enhancing tonal purity.
Discoverer of ‘special air-holes giving full value to sound waves’.
----------------------
Charotte luthier
à Mirecourt 18. .
----------------------
----------------------------------------
Type Nostra-Damus No.
de V. J. Charotte. Luthier. ++
dedicé à Maître M. P. Marsick
Fait à Mirecourt (Lorraine) 19. .
----------------------------------------
----------------------------------
Nostra Damus No.
Victor Joseph Charotte
fecit Mircurtioe Anno 19. .
----------------------------------
--------------------------------
Concerto Hercul
Victor Joseph Charotte
fecit Mircutioe Anno 19. .
--------------------------------
------------------------------------
V. J. Charotte. Luthier.
Mirecourt Lorraine l’an 19. .
------------------------------------

CHAROTTE-MILLOT, JOSEPH
Pupil of Aldric. Born at Mirecourt, 1798. Died 1849.
Stradivarian modelling - clear and brilliant brownish red varnish. Tonal quality of considerable volume.
Also some excellent ’cellos and double-basses with deep grooving towards the edge.
-----------------------------------
Charotte-Millot ++
Elève d’Aldric
Luthier à Paris - Anno 18. .
-----------------------------------
--------------------------------------------------------
Charotte-Millot
élève d’Aldric de Paris
fabricant d’instruments à Mirecourt (Vosges)
--------------------------------------------------------
(sometimes with decorative border)
-----------------------------
a la Ville de Crémone
Joseph Charotte-Millot
-----------------------------
----------------------------
Fabrique
de
Charotte-Millot
à Mirecourt (Vosges)
----------------------------
Sometimes branded Charotte-Millot à Paris.

CHARPANTIER
----------------------------------------
Fait à Bordeaux
par
Charpantier Luthier
Galerie de Spectacle l’ano 1784
----------------------------------------

CHARTRAIN
One of the many who worked at Mirecourt, but branded instruments as though from Paris, 1750-1770.
Stradivarian outline, very flat arching, wide across middle bouts, large and bold scroll, straightish and narrow sound-holes (very neatly done), dark and dull reddish brown varnish, not especially good or pretty wood. Prettily scrolled Chartrain A Paris. on centre of back inside.

CHARTREUX, EUGENE
Worked at Lyons, 1900-1925.
Replicas of a J. B. Vuillaume, varnish admirably imitated, good workmanship, strong tone. £3 (1925).
Expressly made for Beare & Son, London.

B S
Veni & Vidi
L
Vici

-----------------------
Eugène Chartreux
-----------------------
-----------------------
Eugène Chartreux
Luthier à Lyon
-----------------------

CHARTRIN
François (1700-1748) - Louis Charles (1715).
Both worked at Mirecourt - excellent violins of their class - branded Chartrin.

CHARWATH, F.
Worked at Vienna, 1865-1896.
Commonplace designs and workmanship. Light brown varnish.
---------------------------
Franz Charwath
in Wien
Leopoldstadt no. 312
---------------------------

CHASE, DAVID H.
Worked at Brooklyn (New York), 1923.

CHASE, GEORGE E.
Worked at Cloron (New York), 1880-1925.

CHASE, HOWARD N.
Born 1907. Pupil of Herrick at Hillsboro. Resident at Bennington (New Hampshire).
Strad modelling, immaculate workmanship, remarkably neat purfling, splendid scroll, sound-holes of perfect curvature, old native woods of beautiful figure (plentifully used to give instruments.a long life), yellow-brown or reddish-brown oil varnish.

CHATELAIN, FRANÇOIS
Worked at Paris, 1765-1800. Associated with Renault after 1781.
Excellent designs, nice arching, elongated corners, well shaped sound-holes, scroll perhaps less elegant. Pleasantly responsive tonal quality with no ‘gruffness’ on fourth string. £50 (1925).
’Cellos of medium arching, brownish varnish, narrow veined belly wood, pretty back, brilliant tone. 500 dollars (1929).
--------------------------------
récoupé par Chatelain rue
de Bracque à Paris 1780
--------------------------------
Later labels dated from Rue de Berry. Sometimes branded.

CHATELIN, ADRIEN BENOIST
Worked at Valenciennes (France), 1746-1761.
Viols of various kinds - several preserved in private collections.
-----------------------------
Fait par Adrien Benoist
Chatelin à Valencienne
1758
-----------------------------

CHAUVET, JEAN
Born 1913. Worked for Marchand (Mirecourt), Maucotel (Paris) and Blanchi (Nice). Established at Paris, 1945.

CHAUZEAU, N.
Worked at Nantes, 1780.

CHAVANNES, ROGER
Swiss amateur. Born 1860.
Constructed 50 violins on the Chenantais principles. Several preserved in Geneva Museum.
-------------------------
Roger Chavannes
Chambésy. Geneve
192. . No
-------------------------
(With design on left)

CHELY, FRANCESCO
Worked at Venice, 1742-1753.
Extremely fine grain table wood, back and ribs of beautifully figured material. Graceful outline belonging somewhat to the Stradivarian. No infraction of nicety in the arching or the Amatese sound-holes. Narrow scroll, 4-1/2 inches in length. Golden red varnish of splendid quality. Label - consisting of three strips of parchment - squarish lettering.
----------------------
Franciscus Chely
Venetiis
Fecit Anno 1752
----------------------

CHENANTAIS, DR. JULES EDWARD
Born 1854. Celebrated doctor of medicine and occultist, also amateur ’cellist at Nantes (France).
Formulated certain constructive principles, and investigated acoustical phenomena of the Maggini, Amati and Stradivarius. Collaborated with Kaul (violin maker) - produced a ’cello that gained an easy victory over a Strad (in full sonority of tone) at a contest in Paris, 1910.
Violins had a similar triumph in 1912 - and their remarkable success in tonal suavity as well as brilliance was attributed to the perfection of their structure (as regulated by Chenantais) rather than to any so-called secret of varnish. Subsequently associated with Le Lyonnais in producing ‘ideal tone’ instruments.
-----------------------
‘Chenantais-Kaul’
Nantes No.
-----------------------
---------------------------------
Chenantais & Le Lyonnais
à Nantes 1921 No. 4
---------------------------------
Bearing C.L.L. within a fleur-de-lys, and the signature of Le Lyonnais. Some have J.C. in a design on the right.
Author of The Violinist and the Violin (Nantes, 1927). Chapters on myths, prejudices, sonority, its judges, and architecture - discussion of profiles, arching, contours, etc. - establishes basis for string quartet - gives weights of violins. Written with alert knowledge and impeccable language.

CHERBOURG
Worked at Paris, 1760-1780.
Instruments that embody a modicum of grace with rather excellent varnish put on with propriety. But sound-holes are too wide for complete approval.
Inventor of a harpo-lyra, very original in design.

CHERICONI, CARLO
Enthusiastic amateur. Bank manager at Massa (Italy), 1935.
Produced several well-built violins. Golden yellow varnish. Dated as from Pisa, and Lodi, as well as Massa.

CHERON, DAVID
A 19th century Italian maker.

CHERPITEL
Bow maker at Paris, 1912.
Pernambuco wood - octagonal and round sticks - two guineas.

CHERPITEL, GEORGES
Born 1870. Son of N.E. Worked for Cuesnon at Paris, 1896. Died 1943.
Not many instruments labelled with his name. Workmanship very refined.

CHERPITEL, LOUIS
Born at Mirecourt, 1877. Son and pupil of N.E. Also studied with Moinel. Worked at Mirecourt, 1900-1924. Died 1940.
Stradivarian model admirably realised. Workmanship has that inimitable neatness associated with the modern French. Golden brown or golden orange varnish very successfully applied.
Also good reputation for ’cellos and violas.
---------------------------
L. Cherpitel. Luthier
Mirecourt
Diplomé 1906
---------------------------
-------------------------------------------------
Louis Cherpitel
Diplomé Angers. 1906
23 Faubourg Saint-Vincent - Mirecourt
-------------------------------------------------

CHERPITEL, NICOLAS EMILE
Born at Mirecourt, 1841. Worked with Grandjon; and Gand Brothers, Paris, 1859-1870. Established own workshop at Paris, 1871. Won medals at Paris Exhibition, 1878. Died 1893.
Most successfully worked up the characteristics of the Stradivarius model without being ultra-slavish. Splendidly graduated arching - everything delightfully proportioned. Careful and sure handed purfling. Scroll is faithful to its prototype. Light red oil evidencing the fact that neither the magnitude of the subject nor the complexities of its application presented obstacles to the successful aceomplishment of the art. Satisfying tone and workmanship both favourably commented on by persons of known taste and knowledge. £40. . . a wise speculation.
---------------------------------------
Nicolas Emile Cherpitella Paris
16 Faubourg Poissonnière
N. E. Cherpitel
---------------------------------------
N. E.
C.
--------------------------
Luthier à Paris
364 rue Saint-Denis
anno 1881
--------------------------
Branded inside. £90 1959.

CHESTER, W.
Worked at Watford, 1640-1650.
Soundly conceived idea of outline places this comparatively unknown man slightly outside the amateur class.
Andrea Guarnerius and Amati model of unusually flat arching for that early period - in fact almost foreshadowing the Strad.

CHEVRIER
Period, 1780-1790.
Broad and ftat model - rather thick dark brown varnish - strong tone.

CHEVRIER, AMABLE
Born at Mirecourt, 1823. Eldest son of Claude. Worked at Cherbourg until death, 1916.
Fascinated in boyhood with the mysteries of wood carving. Became keenly interested in watching his father at his profession, and eventually became impressed with the fact that such an occupation must be the height of felicity. Delighted that his father entrusted him with small repairs, which soon led on to more ambitious attempts. Made his first instrument in 15th year which, in the main, was rather satisfactory than otherwise. Refinement of workmanship soon began to get the upper hand, followed by a few instruments which were eulogised at Mirecourt. Went Cherbourg (in 22nd year) and from that date seems to have been more of a trader - his own work deteriorated, therefore the fruit of early predilections rotted. Violins dated from Cherbourg did not receive the adequate care necessary to what he undertook. Consequently they are of slight value - sometimes selling in sale rooms for a few pounds. Varnished with a hard and dry preparation of brown tint - occasionally a yellow brown.
--------------------------
A. Chvrier
Luthier à Cherbourg
--------------------------
Some branded Chevrier, but more frequently neither labelled nor branded, which has often caused many of his instruments to be sold as cheap Mirecourt productions. But some of these have since been identified by repairers who, when having to take the belly off, discovered ‘A. Chevrier’ written in an almost obscure place in one of the corners.

CHEVRIER, ANDRÉ
Born at Mirecourt, 1893. Son of Victor. Worked at Lyons, 1923. Returned to native place and replaced father at the Thibouville-Lamy factory.

CHEVRIER, ANDRÉ AUGUSTIN
Born at Mirecourt. Pupil of Koliker. Worked at Paris and Brussels, 1820-1842.
Achieved excellent reputation for a class of work which may be termed the Lupot style, but though soundly and ably made, they have a slightly heavier appearance. Outline rather fine, and full corners. Other architectural details outside and inside quite splendid. Sound-holes nicely executed and happily placed. Usually fine grain wood for tops, and equally fine material (of good figure) for backs and ribs. although we have seen a few of plain wood. Varnish of own preparation - a red-brown or bright orange red applied thickly - unfortunately very liable to crackle, consequently many of the backs have a webbed appearance.
Some of his best instruments have double purfling traced perfectly. Notwithstanding all the above honourable essentials there is something vaguely dissatisfying about the tone - not in its strength, but in its quality.
Made many fine pocket-fiddles - much admired by antiquarians.
-------------------------------
André Augustin Chevrier
-------------------------------
------------------------------------
Chevrier, Luthier à Bruxelles
1840
------------------------------------
--------------------------
Par Chevrier
Luthier à Paris. 1831
--------------------------
------------------------------
André Augustin Chevry
Bruxelles 1860
------------------------------

CHEVRIER, ANTOINE
Worked at Mirecourt, 1732-1775.
Neither signed or branded his instruments. Consequently they pass from hand to hand as excellent nondescripts, or have probably received labels of well-known names.

CHEVRIER, CLAUDE
Born at Mirecourt, 1798; worked and died there, 1878.
Not particularly graceful outline nor harmony of beautiful arching. Followed the traditional Mirecourt style with much of its rather commonplace appearance. Model generally broad and large somewhat like a Nicolas; only occasionally do we meet with one of more ordinary dimensions and something like the Stradivarian. Scroll rather insignificant for an instrument so robustly proportioned. Occasionally careless in his choice of belly wood - we have seen specimens where the left piece is of an uneven wide grain and on the right a fine and Straight grain - but almost invariably managed to get prettily figured one-piece backs. Varnish - golden yellow or light red-brown.
Branded C. Chevrier. Sometimes written on the place usually occupied by a label. Very seldom labelled.
------------------------
Claude Chevrier +
luthier à Miremont
------------------------

CHEVRIER, CLAUDE AUGUSTIN
Second son and pupil of Claude. Born at Mirecourt, 1828; but did not establish own workplace until 1888. Died 1913.
Applied his talent for skilful workmanship in judicious representations of the classical models which, with the large tone, led to his obtaining considerable patronage from Parisian orchestral players. Unfortunately, he rarely signed or even branded his productions.
-----------------------
Augustin Chevrier
luthier à Beauvais
-----------------------

CHEVRIER, JOSEPH
Born 1833. Son of Claude. Died 1911.
Made many really good instruments. Acknowledged to be the best of the Mirecourt makers of his period. Director of the violin making department at the Thibouville-Lamy factory from 1866 to death.

CHEVRIER, NICOLAS
Born at Mirecourt, 1700; died there, 1774.
Undoubtedly the greatest artist of the family as well as being the first of his name to make instruments. Workmanship superb in every detail. Had the accomplishment of designing beautifully wrought scrolls. Applied the varnish with exceeding nicety.
Also made viols with exquisitely and elaborately carved heads and other decorative embroideries.
Sometimes branded N. Chevrier; other times only Chevrier. We have not seen or heard of a label.

CHEVRIER, PAUL
Born at Mirecourt, 1863. Son and pupil of Joseph. Established at Châlon-sur-Saône, where he manufactured pianos as well as violins, violas and ’cellos. Working there, 1924. Won gold medal at the Ecole de Lutherie, Mirecourt, 1882.
Outline, arching and sound-holes somewhat Stradish. Workmanship and tone are of that order which will be appreciated through future generations. Excellent varnish of rich tint and is rather transparent.
------------------------------
P. Chevrier, Luthier
Chalon-sur-Saone. 1904
------------------------------
(Golden coloured paper and slight border)

CHEVRIER, VICTOR
Son of Joseph. Born at Mirecourt. Succeeded father at the Thibouville-Lamy factory, 1891. Died 1925.

CHEVRY
see A. A. CHEVRIER.

CHIARAFFA, GUGLIELMO
Worked at Rome, 1900.

CHIARAVALLE DI FALERI
Worked in Tuscany, 1815-1819.
Instruments having something of the massive simplicity of design and general large proportions of the Stradivarius final model - of 1702 - 1714. Sound-holes revert to quite an earlier period. Scroll has Milanese characteristics. Light red varnish of rich quality. Splendidly responsive tone with reasonable sweetness.
Violins of this class cannot be passed by. Much enthusiasm and taste have been exercised in their construction.
---------------------------
Fabbrica di
Chiaravalle di Faleri
in Toscana. 1819
---------------------------

CHIARELLI, ANDREA
Born at Messina (Sicily), 1675. Celebrated performer on the organ and various viols, a virtuoso on the arch-lute, and a maker of lutes, violins and theorbos. Studied at Rome and Naples. Played at all the Courts in Italy, and astonished everybody. Died in 24th year, 1699.
Made some improvement in the construction of the arch-lute.
His scarce violins follow, in general design, the Maggini model. Double purfling done under the hand of a genius. Conspicuously good scroll having that chaste contour which is a delight to connoisseurs. Another thing calculated to arrest the critical eye is the dark red varnish. One sold for £100 (1925).
--------------------------------
Andreas Chiarelli
fecit Messina
in Via Provinciale. 1694.
-------------------------------
There are other labels of which we have been unable to obtain information regarding the wording.

CHIARELLINO, F.
Worked at Genoa, 1855-1890.
Modelling somewhat flat, neat workmanship, well-posed scroll (rather large and brdad at back), purfling near edge, warm looking yellow varnish.
----------------------------------------------------
Francesco Chiarellino
Premiato Costruttore di strunienti ad arco
fece in Genova anno 1860
----------------------------------------------------

CHIARESCHI, PAOLINO
Worked at Del Bagno (Italy), 1827.
Had no particularly qualified ingenuity - did not exercise much knowledge, and was unambitious in workmanship. Failed in the art of delicate construction - tone likewise a failure. We cannot find a suitable word to adequately describe the poor quality varnish.

CHIAVELLATI, DOMENICO
Worked at Lonigo (Italy), 1790-1798.
Careless workmanship - for it is but charitable to assign that word as the cause - considering his inventive powers in creating instruments of unusual formation. Viola of eight strings designed by him.
Violins and ’cellos valued respectively at £40 and £60 - varnished rather effectively. Prices rather high-flown for instruments of such ordinary tone even though they are Italian.
-------------------------
Domco Chiavellati
Fece
L’anno 1796
in Lonigo
-------------------------
(Written in printed characters - surrounded with a filament)

CHIBON, JEAN ROBERT
Worked at Paris, 1753-1785.
The great makers had an exceedingly acute faculty of observation, and highly developed it by constant cultivation, consequently attaining perfect success in their productions. They also understood and appreciated the harmony that results from not tampering with natural causes, and succeeded in practice without over theorising. Chibon evidently did not have this perceptive faculty, and has partly failed for want of knowledge of psychological facts. Frequently accused of impregnating the wood with a process for prematurely maturing the tone, and thus missed producing that important result by opposing natural causes.
Workmanship and conception of contour limited to the rank of the ordinary trade instrument. Generally medium arched. Usually handsome and evenly marked curly maple one-piece back. Common looking deep brown or golden yellow varnish. Tone not very free and by no means really sweet.
Also made violas and ’cellos.
---------------------------------------------------------------
Fait par
Jean-Robert Chibon, Maîtrc Luthier
rue de la Sourdière au coin de la rue Saint-Honore
A Paris 1757
---------------------------------------------------------------
(Decorative border)
Later labels give his address as rue de la Comtesse d’Artois, 1775-1779; and rue de la Grande Truanderie, 1783-1785.
Branded Chibòn a Paris.

CHICK, ISAAC
Worked at Worcester (Massachusetts), 1910-1927.
Made a large number of instruments. Every detail of workmanship is completely well finished. Yet he never succeeded in reaching an equally high standard in tonal qualities.
Also produced bows having the requisite balance to attract soloists.

CHIERICATO, LUIGI
Worked at Venice. Contrabassist.
Specialised in producing strong toned double-basses - immaculate workmanship. Also made violins and violas of splendid design.
---------------------
Chiericato Luigi
in Venetia 1912.
---------------------

CHILINSKI, PAUL AUGUSTINOVITCH
Born in Poland, 1830. Originally a play actor. Became interested in violin construction, studied all the literature he could find, and ultimately became a professional maker. Worked at Warsaw, 1876 - later at Kiev. Died 1914. Won gold medal at St. Petersburg Exhibition, 1908.
Much of his work plainly evidences the fact of his being self-taught. Generally Guarnerian in character. Purfling shows traces of nervousness. Sound-holes (in the matter of artistry) have not been treated with the highest skill. Outline, arching and middle bouts belong to the Guarnerian. Managed to secure pretty wood for backs, but the material for the tops is often faulty in fibre. Full red oil varnish containing copal. Tonally not successful - most instruments sounding as though muffled - even those that have a certain weak sweetness are dull, particularly in rapid passages.
Name sometimes given as .Chylinski

CHILTON, WILLIAM HALLAM
Born at Walsall (Staffs), 1874. Good violinist. Expert swimmer - won several local contests. So much immersion in water ultimately caused total deafness. An adept penman in ecclesiastic and other fanciful letterings. Resident at Cricklewood, 1920. Owned a John Furber violin. Made 15 creditable copies - sold them to dealers for £15 each, some subsequently relabelled. Rather muddy reddish varnish.
----------------------------
Made at Cricklewood
W. Hallam Chilton
1925
----------------------------
(Beautiful penmanship, each word more or less scrolled)

CHIOCCHI, ANTONIO
Worked at Venice, 1770-1790.
Rather masculine outline and broad edges. Almost unimpeachable workmanship and excellent tone. Varnish of a warm brown tint.

CHIOCCHI, GAETANO
Born 1814. Lived at Padua. Died about 1881. Studied philosophy and medicine. Also a good violinist of the classical school. Musical director at the Ballet Theatre, Padua, 1844.
Made his first instrument, 1858. Devised an original model with modified soand-holes of the Maggini style. First-class honours must be assigned to him for his varnish. Workmanship totally in accordance with capability and enthusiasm. Tone characteristically Italian and rather powerful. Inscriptions and phrases alluding to the political fluctuations of his country at the time sometimes found on the inner side of breast. Produced about 50 instruments, now rather eagerly sought after.
---------------------------
Chiocci Gaetano
fece in Padova 1866.
---------------------------

CHIOCCHINI, PIETRO
Worked at Pisa (Italy), 1740-1765.
Peculiar arching having association with that of the Stainer. Small scroll of on particular high order either in shape or workmanship. Sound-holes tolerably graceful in not being upright. Especially nicely figured wood, and acoustically good. Yellow tint of varnish rather opaque.
-------------------------------------
Auspice
Sancto Antonie de Padu’a
Petrus Chiocchini Fecit
Mauritius Beuvomini Direnit
Anno Salutis. MDCCCCXI
Pisis
------------------------------------

CHIODI, GIOVANNI BATTISTA
Italian - worked 1870-1902.
Expert copyist of the Lorenzo and Tommaso Carcassi violins (including the labels) and made them for dealers.

CHIPOT, PAUL JEAN BAPTISTE
Born at Mirecourt, 1887. Son of C.V. Worked at Vendôme, 1923.
Excellent replicas of Italian and Tyrolese models - oil varnish - various labels according to model.
-----------------------------------------------
Instrument Garante Exécuté à la Main
par le
Maître luthier J-B Chipot
-----------------------------------------------
---------------------------------------------
Litherue artistique
Paul J-B Chipot
petit fils
de Jean Baptiste Vuillaume, à Paris
Vendome Annee 1924.
---------------------------------------------
-----------------------------------------------------------
Lutherie d’Art
Jean-Baptiste Chipot
Chevalier de la Legion d’honneur
Fils de Chipot-Vuillaume
Petit-fils de Jean-Baptiste Vuillaume
Annee 19 Vendome
Grand Prix. Exposition Artisanale. - Paris 1928.
-----------------------------------------------------------
Some bearing a facsimile of his signature - P. Chipot.

CHIPOT-VUILLAUME
Born at Mirecourt, 1847. Died 1892. Married the daughter of a Parisian cobbler (named, by strange coincidence, Jean Baptiste Vuillaume), and immediately availed himself of attaching that name to his own, also deceived the public (especially the English) by stating (on his labels) that he was the son-in-law of the violin maker.
First of all made instruments for Collin-Mézin. Subsequently established own business - engaged several workmen to whom he paid the ridiculous sum of ten francs for each product in the white - varnished in the style of Vuillaume and Derazey - had immense popularity for several years. Some examples of excellent tone - others often of indifferent qualities. An illiterate artisan - died prematurely owing to dissolute habits - workshop sold to Charles Drouin.
----------------------------------
Chipot-Vuillaume
Gendre de J. B. Vuillaume
A Paris
----------------------------------

CHIRONE, DAVIDE
Reddish golden varnish, good modelling, £20.
-------------------------------
Davide Chirone Mariano
Comonese. 1904
-------------------------------

CHISOLIS (CHIUSOLE), ANTONIO DE
Worked at Rovereto (Bolzano), 1775-1786.
Somewhat Tyrolian, red brown varnish, small but nicely mellow tone. Specialised in ’cellos and double-basses - fine modelling and precise workmanship.
--------------------------------
Antonius de Chisolis
fecit Roboreti anno 1782
--------------------------------
---------------------------------
Antonius de Clusolis
faciebat Roboreti. opus II
---------------------------------

CHOUX
Worked at Paris, 1730.
Artistic modelling - golden yellow varnish.

CHRISTA, JOSEPH PAUL
Worked at Munich, 1730-1776.
Many years assistant to Aletzie whom he largely imitated with consummate skill - an imitation which renders it difficult, without minute inspection to determine between the copy and the original.
Occasionally indulged in very high arching, although all his instruments have this detail fairly pronounced. Brown varnish not of the finest texture which, as the years pass by, is becoming darker and will probably get nearly black.
Made some magnificent viol-d’amours with a beautifully decorated peg box bearing the head of Themis.
--------------------------------------------
Josephus Paulus Christa, Lauten
u.Geigenmacher in München, 1740
--------------------------------------------

CHRISTIANI
Worked at Amsterdam, 17-.

CHRISTIANSON, A. W.
Resident at Stowe (Vermont), 1920.

CHRISTIE, JAMES
Born at Arbroath (Scotland), 1857. Worked at Dundee, 1897.
Made first instrument in 1889. Large proportioned violins, plentifully wooded, modelled after the large pattern Stradivarius, but arching is considerably modified with original ideas. Workmanship beautifully finished. Interesting and strong looking scroll in complete harmony of design with general contour of instrument. Amber oil varnish with reddish tinge. Big tone. Years of vigourous playing will bring it to that penetration necessary to first-class orchestral players.
-------------------
James Christie
Violin Maker
Dundee
-------------------
(Golden border - date written above)

CHRISTIE, JOHN
Worked at Kincardine-on-Forth (Scotland), 1840. Teacher of dancing and violinist of fair reputation. Died 1859.
Amati model instruments showing influence of Matthew Hardie. Also produced a few after the smaller Stradivarius pattern. Passably accurate design and tolerable workmanship. Indifferently varnished. Generally a really fine tone, resulting from the fact that most of the instruments are made from a log of plane tree, that lay for many years on the shore of Kincardine which he bought for the backs and ribs - nicely figured material.

CHRISTOPHLE, JEAN
Viola in the Conservatoire Museum, Paris.
----------------------------------
Jean Christophle l’Avignon
1695
----------------------------------

CHRISTOPHORI, JOHANN
Worked at Vienna, 1746-1800.
Modelling and workmanship without artistry. Plump scroll. Widely cut sound-holes.
-----------------------------
Joannes Christophorus
à Wienn
-----------------------------

CHRISTOPHORI, PIETRO
Worked at Naples, 1790-1800.
Light red varnish. One-piece back.
-------------------------
Pietro Christopheri
fecit Napoli
anno 1793
------------------------

CHUDLARSKY, ANTONIN
Born 1877. Pupil of Vitácek. Established at Prague, 1925.
nstruments that add prestige to the Prague style. Workmanship characterised by care and thoroughness.

CHURCHILL, GEORGE T.
Worked at Pasadena (California). Died 1949.
Instruments much appreciated in his country.

CHURCHYARD, T.
Lived at Dittisham (Devon), 1800-1835.
An outstanding personality in that district - dressed in the old English style - wore his hair in a long pig-tail. Devoted his whole life to making stringed instruments.
Produced about 50 violins - splendid modelling, neat workmanship, orange shade of varnish, clear and penetrating tone, but a trifle hard.

CHURRUBILLA
Viol-da-gamba of refined workmanship (seen by Poidras).
------------------------------------------
En Madrid por Pedro Churrubilla
ano de 1790.
------------------------------------------

CIANIBRI, GAETANO
Worked at Ascoli Picino (Italy), 1800-1820.
Constructed ’cellos and small size double-basses. Admirable transcepts of the Cremonese, which should engender the glow of enthusiasm in future generations. Workmanship of extreme delicacy. Transparent varnish of chestnut shade.
--------------------------------------------
Cajetanus Cianibri
Asculanus fecit anno Domini 1818.
--------------------------------------------

CIARMA, DOMENICO
Born 1836. Worked at Ascoli. Died 1889. Violins of unhappy Strad modelling. Made small double-basses and guitars. Manuscript label in Latin.

CIARMA, N.
Born 1879. Son and pupil of D. Worked at Ascoli.
Made a few violins - mostly indifferent in design, varnish and tone. Subsequently turned his attentions to making accordions.
-----------------------------
Ciarma Nazzareno
fece in Ascoli nel 1906.
-----------------------------

CICOGNANI, UMBERTO
Born 1902. Studied the violin at Milan Conservatorio. Amateur in violin making. Resident at Lucca, 1945.

CIFKA, WENCESLAS
Said to have made a bizarrely decorated violin in the 19th century.

CIGARINI, ARTEMIO
Born 1923. Pupil of Soncini. Resident at Cavriago, 1945.
Violins which presage complete excellence as he gets older.

CIGL, JEROMOS
Born 1874. Pupil of Pilát. Worked at Buda-Pesth.
Stradivarian modelling - reddish varnish.
-----------------------
Cigl Jeromos
fecit Budapestini
anno 1913. op. .
-----------------------

CIGWALD, LARS
Born 1877. Amateur at Hudiksvall (Sweden).

CIMAPANE, SIMONE
Worked at Rome, 1690-1705.
A few ’cellos known - some with heads of a griffin and other allegorical animals.
----------------------------------------------------
Simone Cimapane
Musico Stromentista fece in Roma, 1692.
----------------------------------------------------

CININO, ANGELO
Worked at Vittoria (Ragusa), 1900.

CINTI, GIUSEPPE
Worked at Bologna, 1856.

CIOCHI, ANTONIO
Worked at Venice. Ordinary style, varnish and tone.
---------------------------------
Antonio Ciochi di Venezia
anno 1790.
---------------------------------

CIONI, EMILIO
Worked at Mont’Orso, Frignano (Italy), 1880-1890. Pupil of Fiorini.
Connoisseurs who examine these Stradivari models with a certain recollection of the originals, will confess that the cleverest cunning of artistry has been achieved. This belongs to his better class work, but unfortunately for his reputation he thought fit to attach his name to specimens rather indifferently executed.
Also producep ’cellos of slight consequence.

CIOTTI, LEON
Of Siena. About 1890 - typical work of that period.

CIOTTI, SERAFINO DI PIETRO
Born 1927. Sculptor in wood. Resident at Ascoli. Had lessons from Celani in violin making.
Violins with lion heads, or leaves and various fruits. Backs enriched with inlay representing mythological scenes.

CIPOLLINI, CARLO DI GUIDO
Born Ascoli, 1930. A young Italian maker whose work gives great promise for the future. Already highly thought of by local connoisseurs.

CIRILLI, GIOVANNI
Tolentino (Macerata). Worked around 1925 but appears to have been a casualty of the 1939-45 war as he has not been heard of since.

CLRCAPA, TOMMASO
Worked at Naples, 1730-1736.
Does not appear to have been successful in producing anything beyond the ordinary. Modelling has no particular distinguishing marks except a faint reminder of an Alessandro Gagliano. Inconsistency seems to have been his ‘alpha and omega’. Generally an orange-yellow varnish.
Also ’cellos of similar design.
Mandolines united to more artistic qualifications.
-----------------------
Tomaso Circapa
fecit Neap. 1738.
-----------------------

CIRCERON, LE
Name of French trade violins.

CLAÈS, J.
Worked in rue Deneck, Brussels, 1925.

CLAINE, JEAN
Bow maker at Mirecourt, 1772-1800.
Excellent round sticks of light brown colour. Scarce. Stamped Claine-M.

CLARE, HARRY
Born at Stretton (Cheshire), 1884. Studied violin playing with Speelman at Manchester. While fulfilling professional engagements as leader around Newcastle-on-Tyne, took the opportunity of working with J. E. Harris in violin making. Settled at Merthy Tydfil (Wales), 1920.
Violins, violas and ’cellos mostly of Stradivarian modelling. Every detail handled in the most skilful manner. Also built a few violins of Guarnerian type - each resulting in happy tonal qualities. Adopted an original model since 1925 - instruments likewise meriting the highest enconium. Amber oil varnish - light to dark brown shades.
Each instrument named after a celebrated virtuoso or maker.
---------------------------
Made by Harry Clare
19-
‘Kreisler’
at Merthyr Tydfil.
---------------------------
Won first prize at the Royal National Eisteddford, Pontypridd, 1924, with a violin bearing the name of the present writer.

CLARK, A. B.
Worked at Richmond (U.S.A.), 1890-1914. Customary Cremona modelling.

CLARK, EDWIN
A tailor resident in Mill Street, Sidmouth (Devon).
Produced several interesting violins. Also made the greater part of the tools necessary. Local people found the workmanship surprisingly good, and nicknamed him ‘Wonderful Clark’. Also made two bows, the hair being obtained from the tail of a local brewery horse.

CLARK, GEORGE
Worked at Des Moines (Iowa), 1890.

CLARK, JAMES
Worked at Turnmill Street, Clerkenwell (London), 1779-1810. Pupil of Matthew Furber.
Workmanship calls up a memory of his teacher, and this is no small praise. Usually brown varnish of nice appearance. Tone similar to that of other instruments of the same period - reasonable quality, perhaps a trifle dull, and of slight power.
----------------------------------
Clark. Clerkenwell. London
----------------------------------
------------------------------------
James Clark, Maker.
Turnmill Street
Clerkenwell, London, 1781.
------------------------------------

CLARK, JOHN
Born at Riga (Latvia), 1830. English parentage. Artist painter. Died 1905. Exhibited (with success) several violins and ’cellos at St. Petersburg.

CLARK, OSCAR L.
Worked at Northampton (Massachusetts), 1906-1924. Pupil and successor of Andrew Hyde.
Splendid examples of mechanical perfection, also an originality ascertainable only by narrow inspection.
We must pay him the very high compliment that very nearly identified himself with that cast of genius which understands diversity of tone, and leads us into the belief that we are playing on an Italian instrument.
--------------------------
made by
Oscar L Clark
Northampton. Mass
No. 160. a.d.1911
--------------------------
Surmounted with a large circle; within which is placed a design of the American Eagle under which is a violin and bow crossed - 1911 stamped with a pad.

CLARK, WILLIAM
Worked at Exeter (England), 1800-1820.
Unpurfled, and decidedly commonplace but not altogether indfferent workmanship. Tone reasonably sonorous for a £5 fiddle. Written label.

CLARKE, CHARLES H. S.
Established at Turramarra (Australia), 1928. Worked for A. E. Smith at Sydney, 1924.
Splendid handling of all details. Stradivarian and Guarnerian modelling. Yellow to red-brown varnish.
---------------------------
Charles H. S. Clarke
Sydney 1931
---------------------------
(Initials C.H.S.C. written)

CLARKE, H.
Miner. Resident at Gornal (Worcestershire). Made in his 74th year (1927) an exact replica of a ‘Strad’ with self-made tools.

CLASENIUS, WILLEM
Worked at The Hague, 1650-1670. Known for a few well constructed viol-da-gambas.

CLASQUIN
Worked at Paris, 1900. Pupil of Bazin. Died 1926. Bows of refined workmanship, perfect balance, strong heads. Stamped Clasquin.

CLAUDE, NICOLAS
Commercial products made at Mirecourt - soundly constructed - handsome appearance, back and front - red varnish of dark shade - five guineas.
------------------------
Lutherie Artistique
N C
Nicolas Claude
------------------------

CLAUDE, VINCENT
Bow maker at Mirecourt, 1740-1760.
Stamped V. Claude.

CLAUDON, CHARLES FRANCOIS
1750-1780 worked at Mirecourt, probably as assistant, as his own personal instruments are seldom seen.

CLAUDOT, ALBERT
Born at Mirecourt, 1899. Worked with his uncle at Dijon, 1920. Own premises, 1936. Strad and Guarnerian modelling. Splendid workmanship. Red or reddish orange oil varnish.
------------------------------
Albert Claudot, Luthier
à Dijon 19- No-
------------------------------
(With monogram in circle)
Albert Claudot branded on the interior, also below tailpiece button.

CLAUDOT, AUGUSTIN
Born at Mirecourt, 1776. Died there, 1843. Said to have worked in Paris as well as Mirecourt.
Accomplishments of this maker are not brilliant. Produced too prolifically to be really a first-class craftsman. Nevertheless, the workmanship is rather excellent up to a certain degree, and this degree is certainly creditable. Large Lupot model, too broad for comfortable playing. Yellow, chestnut brown or orange varnish of an ordinary but clear texture. Wood invariably of good quality, though that used for backs is not always of attractive figure, and often of wide grain for tops. Very useful orchestral instruments.
Branded in square lettering-
------------
Augustin
Claudot
------------

CLAUDOT, CHARLES (1)
Born at Mirecourt, 1750. Died there, 1828.
Singular and uniform absence of real merit in workmanship. Yellow brown or reddish brown varnish giving the instrument a very ordinary amateurish sort of appearance. Tone not worth the consideration of a sensitive ear.
Supposed to have worked in Paris as well as Mirecourt. Branded name inside on the back. Also bows bearing his name.

CLAUDOT, CHARLES (2)
Born at Mirecourt, 1794. Died there, 1876. Brother of Augustin.
Concentrated on producing the usual Mirecourt violin - a kind of superficial recollection of Stradivarian outline and slightly higher arching, with a touch of the commonplace but not necessarily of indifferent workmanship. Long scroll. Yellow brown varnish lacking transparency, and an easily recognisable inartic method of applying it - in the middle of the breast, also on the back, it has ‘gathered up’. Tone of ordinary sonority and rather loud, consequently the instruments had considerable vogue with the threatre orchestra players.
Instruments generally recognisable by a slight peculiarity near the lower nut.
--------------------
Charles Claudot
--------------------
The name sometimes branded inside on the back. One of the makers who adopted the well-known method of branding on the back-
--------------------------------
‘Marquis de l’air l’oiseau’
--------------------------------
(- Sometimes ‘Le Marquis’ under sound-hole)

CLAUDOT, CHARLES (3)
Born at Mirecourt, 1824. Son of Charles (2). Worked at Edinburgh and Glasgow; and for Bonnel at Rennes, 1875. Died there, 1887.
Before taking up appointment at Rennes, he made at Mirecourt several violins (not more than ten) in which he inserted own label. Workmanship marked by the skilful disposition of a youthful enthusiast, accurate and masterly throughout, and quite superior to the usual Mirecourt productions.
Some years ago a violin came under our notice which had been certified by a leading firm of experts to be an old English specimen. We had occasion to afterwards remove the fingerboard, and to our astonishment, found the following written in ink on the flat surface of the neck-
----------------------
Charles Claudot
Edinburgh, 1852.
----------------------
Fairly well made instrument, slightly of the Guarnerius type in sound-hole and middle bouts, with dark varnish.

CLAUDOT, FELIX
Born at Mirecourt, 1871. Gained art experience with Silvestre at Paris; afterwards with Jaquot; finally, returning to Mirecourt. Died 1906.
Made few violins, but principally devoted his energies to the making of double-basses. Model imitative of the best schools. Workmanship and tone quite splendid, and show how he must have systematically graduated himself into the niceties of neatness with a view to obtaining a clear tone - not easily accomplished when dealing with large instruments.
Branded Félix Claudot.

CLAUDOT, FRANÇOIS
Born at Mirecourt, 1865. Brother of Félix. Worked in Paris for Gand and Bernardel, 1881-1886. Established an atelier at Dijon, 1889. Appointed luthier to the Conservatoire. Worked there at 9 rue du Bourg, 1925. Died 1937.
Model which has much of the subtle gradations of the Stradivarius. All details of workmanship treated with sincerity for the beauty and harmony of design.
Red or brown oil varnish applied very sensibly.
Received several medals for meritorious work. Instruments extensively used by Frenchmen, and this conveys volumes of praise considering that, as a rule, his countrymen are almost invariably apathetic towards new violins.
------------------------------
Claudot Luthier à Dijon
l‘an 1898 No. 67
------------------------------
(Plain, large, and squarish lettering)
Also Claudot, Dijon branded interiorally.

CLAUDOT, NICOLAS
Born at Mirecourt, 1777. Died there, 1861.
Lupot style but with more pronounced arching. Name branded on the interior.

CLAUDOT, PAUL
Son and pupil of Augustin. Born at Mirecourt, 1805. Died there, 1888.
Always desirous of producing instruments similar to those of father. Occasionally varnished somewhat sparsely. Excellent orchestral tone, not altogether without quality.
But his fame chiefly rests with many now-much-used double-basses.
Branded in sloping lettering
-----------
Paul
Claudot
-----------

CLAUDOT, PIERRE
Born at Mirecourt, 1906. Worked with Granier at Marseilles, 1925. Succeeded him, 1937.
Generally large modelling with Bergonzi traits. Red oil varnish.
-----------------------------
Pierre Claudot, luthier
Marseille 19 No. P.C.
-----------------------------

CLAUSEN, JOKUM
Born 1882. Pupil of Kortsen. Worked at Svendborg (Denmark), 1935.
Faithful portraiture of a Strad, with essential accuracies of breadth and length. Oil varnish on early specimens - spirit on later.
-------------------------------
Violinbygger J. Clausen
Svendborg - Anno 1948
-------------------------------
All bowed instruments - mostly commercial.

CLAXTON, THOMAS
Founded a violin making business at Toronto (Canada), 1868. Retired from active employment, 1912. Died 1923. Firm (1926) known as Thos. Claxton Ltd. with C. B. Coleman as manager.

CLELAND, PETER
Worked at Paisley (Scotland), 1840-1860.
Strad modelling. Arching well developed. Sound-holes and scroll good but without distinctive attributes. Sometimes beaded edges very skillfully done. Yellow varnish on excellent native grown wood. Played no tricks with the material, consequently the tone is now germinating towards a rather mellow maturity. Catalogued at £10 - cheap indeed.

CLÉMENT, JACQUOT (JACOB)
Worked at Mirecourt, 1747-1757.

CLÉMENT, JEAN LAURENT
Born at Mirecourt, 1783. Established workshop at Paris, 1810; and worked there until 1848. Not supposed to have done much actual violin making, as he was fortunate in acquiring the talents of Georges Chanot, Augière, Calot and Thomassin to assist in that art. Evidently one of the leading experts of his day, and enjoyed the patronage of wealthy amateurs as well as professionals.
Completely typical Stradivarian model with perhaps some impressive touches of a Lupot - generally of the fully proportioned outline. Workmanship always superb and instantly fixes the attention of the connoisseur. Boss of the scroll sometimes brought out by what will perhaps be considered excessive. Of the various perfections for which makers strive, none in these violins show themselves more complete in elegance and precision than in the sound-holes. Purfling worked out with exquisite delicacy. In the matter of wood we have to concede him the highest praise not only for its splendid acoustical properties, but also for its handsome appearance. Rich red brown varnish delightful to view. Occasionally a yellow not quite so good in texture. Also a few with a dark red varnish. The steadily improving tone has now reached a certain maturity in resonance and roundness.
Also made guitars, some fancifully decorated. Received medals at the Exhibitions of 1823 and 1827.
------------------------------
Clément
Luthier breveté
Rue Croix-des-Petits
Champs. No. 16. Paris.
------------------------------
(On the left a profile (perhaps of himself) within a circle, also a design on the right)
---------------------------
Fait par
Clementen 1831
rue St. Orge No. 33.
---------------------------
Other labels (often figurative) give rue des Bons-Enfants as the address.

CLEMENT, V.
Worked at Nancy. Rather long and somewhat slender model. Sombre yellow varnish.
---------------------------
V. Clement
Luthier Nancy 1739.
---------------------------
Also branded C.V. on button.

CLEMENTI, PIETRO
Probably fictitious. Violin of small pattern - yellow varnish.
------------------------
Peter Clementius
en Cremona 1678.
------------------------

CLERCQ, A. DE
Worked at Roubaix (France), 1920.

CLERGUE, A.
Worked at Sisteron (France), 1908-1925.

CLOMER, LUDWIG
Born 1904. Trained at Mittenwald, 1919. Worked for the Thumhart Firm at Munich, 1932.
Excellent copies of old Italian models. Also first-class reproductions of old viols.

CLOTELLE, H.
Worked at Mirecourt for Laberte-Humbert.
Examples of good-class workmanship. Well shaped scroll though sharply edged. Deep reddish brown varnish - elastic and of good appearance. Excellent sonority of tone for ‘trade’ instruments.
------------------------
Lutherie artistique
H. Clotelle
Année 1891
------------------------
--------------
H. Clotelle
--------------
(Prettily designed)

CLOUGH, GEORGE
Born 1881. Worked at Blackburn, 1909.
Individualistic modelling, Montagnana outline, interesting arching, Stradivarian sound-holes, splendid reddish brown oil varnish. Catalogued at £18 (1925).
---------------------
1925
George Clough
Violin Maker
Blackburn
---------------------
Also frequently having the name of the person for whom he built a particular instrument.

CLOZ
Name seen in an old violin - perhaps italianised for Klotz. Certainly of Mittenwald style - dark brown varnish.
-------------------
Matthias Cloz
Palermo 1686.
-------------------

CLUSÒLIS
see CHISOLIS.

CLUTTERBUCK, Richard
Established at Oxford, England, as violin maker and repairer. This family known as far back as 1638 for excellent violins.

COAD, ALBERT
Born at Camborne, 1884. Established at Redruth, 1916; and Penzance, 1930. Modelling (except for two early productions on the Mayson principles) based on the Messie Strad. Altogether splendid in outline and arching. Body length, 14 inches; upper bouts, 6-1/16; lower 8-3/16; narrowest at centre, 4-5/16; depth under bridge, 5/8 full; ribs, 1-1/4 to 1-3/16; waist curves, 3. Praiseworthy workmanship. Shades of varnish - yellow to chestnut brown, and a fine red (his best). Handsome backs and beautifully grained pine.
Excellent tonal results - strong, clear, ringing, and free of newness or harshness - obtained (according to the maker) partly by the dimensions of the wood, but more particularly by the special preparation with which the wood is coated before applying the finishing varnish.
Also a few violas and ’cellos.
------------------------
A. Coad
Camborne
Cornwall
‘Jane’ Fecit 1914
-----------------------
-------------------------
Made by
A. Coad
Redruth, Cornwall
1924
-------------------------
(Also inscribed on inner side of back)
A few specimens branded A. Coad below the button.

COCHET
Worked at Paris, 1808-1824.
Flat modelling - Mirecourtian style - turgid reddish brown varnish.

COCHRAN, EARL J.
Resident at Poplar Bluff (U.S.A.)
Stradivarian modelling showing a dominant sense of fluent curves and gradations. Yellowish red varnish.
------------------------
Earl Cochran
- A.D. 1928 -
Poplar Bluff. Mo.
------------------------
(With signature)

COCHRAN, JOHN R.
Born 1903. Solo-violinist and professor at Assumption (Illinois), 1927. Specialist in bow making for artists.
Octagonal pernambuco wood sticks. Quarter inch longer than the standard length. Stamped J. Cochran. Produced over 100 highly valued specimens.

COCHRANE, JAMES
Born at Caputh (Perth), 1853. Lived at Lochee, 1880-1925.
Produced over 300 violins - some of Cremonese modelling - and many of own designs ‘just wrought as fancy led’ but with no exaggerations, and nothing contradictory to artistry. Workmanship enforces concurrence. Used best. copal oil varnish - condemned amber varnish as being too hard.
-------------------------------
James Cochrane. Maker
Lochee, Dundee, 1920.
-------------------------------
(Blue, pink and white paper)

COCHRANE, WILLIAM
Resident at Lochee (Dundee), 1921.
Large Stradivarian modelling - dark brown varnish.

COCKCROFT
Rochdale, 1860.

COCKER, L.
Born 1908. Amateur.
Ordinary Strad modelling - Millington varnish. First instrument dated 1934. Also very excellent bows.
------------------------
Made for Mr-
by
Laurence Cocker
Derby 1949
------------------------
(Written)

COCKMAN, F. C.
Resident at East Finchley (London), 1910.
Experimented for several years by making many instruments of various shapes for the purpose of finding out why tone is what it is. Found that it can only result from the proper arrangement of curved sound-boards all vibrating in conjunction. Made (keeping to usual proportions) violins of oblong shape with square corners - of complete circular shape - of oblongs with rounded corners - and many other queer shapes - also the usual outline, but with flat back and breast - all conclusively proving that as the curves are added and properly placed, so the intensity of sound develops.

COENEN, LUDWIG AND FRANZ
Brothers. Residents at Rotterdam. Ludwig (1797-1873) violinist, organist and publisher. Franz (1802-1875) dealer. Doubtful if they actually made instruments. Violins of commonplace style, poor varnish, and impoverished tone.
-----------------------------
L. Coenen
Rotterdam fecit 1827.
-----------------------------
--------------------------------------------------
Fratres Ludovicus & Franciscus Coenen
ad Rotterdam. F. 1830.
--------------------------------------------------

COFFE, JEAN JOSEPH
Worked at Bayonne (France), 1845-1880.
Violins and guitars - good workmanship.

COFFEEN, FREDERICK
Born 1878. Resident at Valparaiso (Indiana), 1910-1927.
Stradivarian modelling - splendid workmaflship. Beautifully flamed one-piece backs - light red brown varnish - gratifying tonal quality.
--------------------------
Frederick Coffeen
Expert Violin Maker
Valparaiso. Ind. 19-
--------------------------
Repairer of bows and all string instruments

COINUS, ANDRÉ
Born at Eloyes (Vosges), 1907. Pupil of L. Cherpitel. Worked at Mirecourt, 1927. Careful modelling - no indiscriminate bits of originality - fairly rich reddish brown varnish - tone of that quality which has brought many votaries.
---------------------------
André Coinus
12, rue Fernuni
19. . Mirecourt. No.
---------------------------
(With pretty scrolling)

COLAS, PROSPER
Born at Coincourt (Vosges), 1842. Worked for Vuillaume at Paris, 1871. Died 1918. Perfectly balanced and finely headed bows.
Stamped Prosper Colas - or P.C..
Made few good ’cellos and violas.

COLE, JAMES
Worked at Manchester, 1845-1892. Pupil of Tarr, who often criticised his work as somewhat crude. Associated with Craske, who rather favoured his efforts. Did much unequal work.
Produced a few really fine representations of the Amati and Guarnerius traits with workmanship altogether splendidly finished. Also thinly wooded specimens of poor outline, shoulders drooping, and fully exemplifying his first teacher’s opinion. The better instruments are more accurate in thickness. Orange red varnish not too satisfying. Tone never very pure, though perhaps suitable for the second-rate orchestral player who wants loudness in lieu of anything else.
Also made violas and ’cellos which have their merits and demerits.
------------------
Cole (Senior)
Raby Street
Moss Side
Manchester
------------------
-----------------------
James Cole
Fecit Manchester
1857.
-----------------------
Used a label until 1858. Later work stamped J. Cole inside the instrument.

COLE, THOMAS
Worked in London, 1670-1690. Gave most of his attention to lutes and viols. A few large sized violas exist, Doubtful whether he made any violins. Those connoisseurs who are willing to allow that his violas have an unusually fine deep tone, pronounce the work and appearance as rough and inelegant.
----------------------------------------
Thomas Cole, near Fetter Lane
In Holborn, 1672
----------------------------------------
------------------------------------------------
Made 1690 by
Thomas Cole, of
London, on Holborn Hill, who selleth
all sorts of musical instruments.
------------------------------------------------

COLES, CHARLES F.
Born at Salt Lake City, 1885.
Copied the old Italians with authoritative impulse - thickness meticulously treated to soon awaken to responsive tonal splendour.
Also bows much favoured by Americans.

COLETTI, ALFRED
Born at Vienna, 1878. Studied profoundly with Carl Hermann Voigt, 1892-1904. Gained knowledge, while under this tutorship, of the variegating examples of old masters, and developed a culminating master mind especially for exactly knowing at a glance the peculiarities and modifications of every school. Developed also his gift, for which he later became famous, of repairing and reconstructing old instruments. Purchased the business and premises of Hamberger, 1905 (for whom he had been manager for twelve months). This old workshop (one of the curiosities of Vienna) is situated in a side wall of an old convent - a dark narrow room with furniture and tools of bygone centuries, where musicians, artists, connoisseurs, and oddities made repeated visits for a téte-a-téte with old Hamberger.
Appointed violin maker to the Viennese Imperial Court, 1906. Honoured with the difficult task of repairing and rebuilding the Royal collection of mediaeval and Renaissance instruments which had been allowed to get into a lamentable state of neglect and dilapidation.
Produced instruments of superb outline and workmanship. Used excellent wood discovered in the demolition of a mansion built in 1535. Richly tinted orange varnish applied beautifully. Tone of that kind which, in the years to come will be enthused over as the Cremonese is today.
----------------------------
Alfred Coletti
K Hof-Geigenmacher
in Wien
Anno 1900
----------------------------
(artistically scrolled; and bearing design of the Austrian double eagle)
In the penetration of the ‘spirit’ of an old instrument lies the first requisite for successful representation on the part of the modern maker, as no refinement of technical dexterity can compensate for a absence of that appreciative instinct whereby is comprehensively grasped the inner or unseeable elements of the construction. That Coletti qualified himself for this intuitive perception of what the Cremonese makers succeeded in attaining is strongly evinced in a critical tonal test of his instruments, while a cultivated fertility of artistic inventiveness kept him from the wild weeds of eccentricity. Continual examination of all the examples that came under his attention naturally affected a nature highly impressionable to such influences, and being endowed with the instinct for accuracy and Proportion, he initiated and developed and pursued that glorious path which leads to the Parnassus of art. He found the ‘soul’ of violin construction, and posterity alone will inscribe a suitable memorial to this Stradivarisecundus.

COLIGNI, G. B.
In the auction room at Sheffield, 1920, one of these instruments realised £11.

COLIN, JEAN
Worked at Mirecourt, 1745-1770, but inscribed his instruments as of Parisian manufacture.
Violins with deep waist curves, well graduated medium arching, rather elegant sound-holes slightly slanting, dry and resinous varnish yet not displeasing.
-----------
J. Colin
J.C.
-----------
(with small design in centre. Branded on back and near tail piece button)

COLIN, JEAN BAPTISTE
Mirecourt work, though sometimes inscribed as from Paris.
Usual order of the low priced factory instrument. Some models are a kind of replica of the Collin-Mézin, but, not so excellently finished. Others follow the Vuillaume style of imitative antiquity. Customary even grain wood, and pretty backs. Purfling well traced, but does not go to the usual point at the corners. Top of sound-holes often very pointed, and not quite pleasing. Yellow or orange spirit varnish, very glossy, for the Collin-Mézin type - ruby red for the Vuillaume copies. Strong tone and nice enough in a general way, but higher notes often harsh and blatant - same notes also shrill and weak on the few fiddles modelled for sweeter tone. £35 1959.
-----------------------------------------
Lutherie Artistique J.B.C.
Jean Baptiste Colin, année 1893.
-----------------------------------------
Sometimes Jean omitted.

COLLENOT, LOUIS
Born 1863. Worked with Caussin and Derazey at Mirecourt, 1876-1889. Established at Rheims, 1897. Maker to the Conservatoire. Moved to Paris, 1917. Assisted by son. Died 1933.
Made 100 or more violins in Cremonese style - model generally a trifle smaller than customary French type - backs frequently varnished in the popular Derazey method - dark orange red shade of considerable brilliancy. Also many higher models rather Tyrolean in style. Always good woods, and desirable workmanship.

COLLENOT, RAYMOND
Born at Rheims, 1901. Son and pupil of L. Worked at Paris, 1931. Excellent copies of a Strad and Cappa - varnished as though worn. Popular with Parisian orchestral players.
-----------------------
Collenot fils ainé
Luthier
Paris 1948
-----------------------
(with signature)
Placed on left side of table and left side of back.

COLLICHON, MICHEL
Worked at Paris, 1670-1693.
Viols, gambas and pochettes. Transparent yellow varnish.

COLLEONI, CESAR
Italian. Worked at Nice, 1930.

COLLET
Worked at Paris, 1860.
Ordinarily good workmanship. Sound-holes and scroll drawn with that knowledge which proclaims the maker a man who considered artistry essential. Yellow varnish of excellent texture.

COLLETTE, JEAN
Established at Mirecourt, 1930.
Artist model violins - shaded amber varnish - £3.

COLLIER AND DAVIS
Worked in London, 1766-1780.
Fairly flat models of splendid outline. Workmanship has that appearance demanding respect. Purfling sometimes inlaid diamond shape, and neatly done. Red brown oil varnish. Fully wooded instruments, made not for their day but for a future; and now the tone, mellowed and chastened, has an exceptionally nice quality which should appeal to lady soloists. £40 (1948).
-------------------------------------------
Collier and Davis makers
at No. 7 Fish-Street-Hill. London.
1775.
-------------------------------------------

COLLIER, SAMUEL
Worked in London, 1740-1760.
Modelled after Stainer in a somewhat roughish manner. Dark yellow varnish disclosing poor quality. Tone seems husky, at any rate far from agreeable.
------------------------------------------------------
Samuel Collier, musical instrument
Maker, at Corelli’s Head on London Bridge
1755
------------------------------------------------------

COLLIN, CLAUDE NICOLAS
Established at Mirecourt, 1835; died there, 1865. Pupil of N. F. Vuillaume at Brussels.
Though not one of the finest makers of the French school, his instruments, nevertheless, exhibit artistic features that have engaged the frequent attention of connoisseurs. Pose of scroll particularly noteworthy. Other details evince the fact that he was stimulated by a desire to give a kind of masculine character to the whole. Completed the mandate of his inspiration with a specially prepared varnish masterfully applied. £60 1959.

COLLIN, JEAN
Bow maker at Mirecourt, 1744-1784.

COLLIN, LOUIS
Bow maker at Mirecourt, 1783.

COLLIN, NICOLAS
Bow maker at Mirecourt, 1788. Died 1830.

COLLINGWOOD, F. W.
Amateur merchant for Australian products. Resident at South Norwood (London), 1928
Splendid conception of the Guarnerius model. Workmanship in all details without a blemish. Beautiful arching and narrow ribs. Light brown varnish very effectively applied. Superlatively good tone, of such calibre as to warrant £35 being willingly paid at the time of production. Every inch of wood as fine as possible.
-------------------------
F. W. Collingwood
Londiniensis
Fecit 9 Sep. 1919
-------------------------
(written)

COLLINGWOOD, JOSEPH
Worked in London, 1735-1779.
He had that classic feeling which is not the result of education only, but to the existence of that original inexplicable power which no extent of training ever creates. Made many fine instruments after the models of Stradivarius, Guarnerius, Amati and Stainer. Amati type brought out his intellectual ascendancy and induced him to be less conventional than when dealing with the other models. Inexplicable that so refined a craftsman should have hitherto received such scant notice from experts and writers.
Outline and arching finely conceived and realised with a remarkable sense of harmony. Approach to the edges very happily effected. No superfluous fiddling about to get nice corners. Sound-holes though not ungracefully designed have not the same embodiment of beauty as the other parts owing to the centre wide-mode style. Purfling secures unqualified admiration. Scroll, resembling the Italian, is more impressive than language can depict. Wood, always what a good judge of such things chooses. Oil varnish, golden brown, orange tint or light yellow, lustrous and transparent (particularly the first-named shade) and applied in a manner none but a master could have accomplished. Entire contour has all the character of an Italian. Tone outstandingly sweet, not strong, but of refreshingly clear penetration.
--------------------------
Joseph Collingwood
Londini. 1763.
--------------------------
--------------------------------
Joseph Collingwood
at the Golden Spectacles
on London Bridge. 1771.
--------------------------------
His labels have without doubt, been extracted so frequently that few instruments are now known with his name. Yet so naturally gifted a man must have produced prolifically, so we feel right in asserting that more imposing names have been inserted and passed off as genuine Italian.

COLLINGWOOD, JOSEPH
Born at pittsburgh (Penn), 1853. English ancestry. Established at Ottumwa (Iowa), 1882. Died 1928.
Produced 600 violins, several violas and a few ’cellos. His knowledge of selecting woods so that the tone waves from an impulse would co-ordinate into a perfect vibrating unit was almost uncanny. Believed in that kind of intuitive mating of certain types of pine with certain types of sycamore (varnish being quite secondary) in building up a ‘singing’ quality of tone. Stradivarian and Guarnerian modelling, but not exact duplicating - the first having the customary boldly free sweeping lines without being quite so large at the waist, and perhaps not so deep in the ribs - the second having the superb gracefulness of the original but without being quite so large in dimensions. Pre-eminently satisfactory in finished workmanship - splendidly free emission of tone - meriting enconiums from several violin virtuosi, and have met with distinctive approval in the States. Also a third model of slightly small dimensions, known as the ‘Collingwood de Luxe’, especially desirable for ladies who desire ‘mellow soprano’ tone.
Each instrument covered with a varnish of own preparation possessing depth, lustre and fire, surely exercising a beneficial influence on the tone quality.
Assisted by his son Drew (born 1883) for many years - also possessing his father’s remarkable acumen in the judging of woods.
--------------------------
Joseph Collingwood
Ottumwa. Iowa
Anno 1890.
--------------------------
--------------------------------
Joseph Collingwood Fecit
Ottumwa. Iowa
No. . . Anno. 19. .
--------------------------------
(name in fascimile of his signature - the rest in ordinary print)
Later labels have Joseph Collingwood and Son.

COLLIN-MEZIN, CHARLES JEAN BAPTISTE
Born at Mirecourt, 1841. Son of C. L. Collin. First apprenticed to his father; removed to Paris, 1868. Soon became a favourite and prosperous repairer; and commenced to make his own instruments, which in all details other than the varnish, follow the larger models of Stradivarius, Guarnerius and Amati. Awarded gold and silver medals at the Paris Exhibitions of 1878, 1889 and 1900. Named Officer de l’Académie des Beaux-Arts, 1884. Died 1923.
Formed a friendship with influential people and was considerably popularised. Solicited the opinions of such eminent violinists as Joachim, Sivori, Massart, Armingaud, Maurin, Sauzay and Marsick. Joachim performed on one of his violins in a quartet at St. James’s Hall, London, and was pleased with its penetrating quality. Sivori was presented by Collin-Mezin with a replica of Paganini’s Guarnerius, and the violinist wrote a flattering testimonial concerning the conscientious trial he had subjected the instrument to. Léonard played on one of the Guarnerius type, and was delighted with the unusual responsiveness of tone for a new violin. Armingaud said that a Collin-Mézin would ultimately vie with a Stradivarius for flexibility of sound. The ’cello virtuosi Franchomme and Jacquard used instruments of Collin-Mézin in the later years of their career.
All the comparisons made by these various soloists admitted the superiority over other new violins, particularly for sonority, resistance and pefect evenness of vibrations on all the strings in every position. Collin-Mézin frequently stated that he mistrusted any artificial process of heating or chemically treating the wood. Guaranteed all instruments to be made of wood grown old naturally, and attributed the tonal success to his knowledge of wood and experiments in acoustics with a special system of bass barring according to the age and kind of material used.
For our part we think he failed where some Frenchmen have succeeded, and that is, he never succecded in imparting any real beauty of tone notwithstanding the assertiveness of his secret processes. We admit the extremely powerful order of this tone, coupled with hard-to-get brilliance, but it will take many years of strenuous playing to bring its now comparative harshness to the necessary purity for a successful soloist. Workmanship in every part particularly fine, therefore players fifty years hence may be proud of their possession. Varnish, yellow or brown yellow, not distinguished by any gorgeous splendour of transparency, in fact it is often very thick and dull.
Benjamin Godard’s Concerto Romantique was first performed at a Pasedeloup Concert, Paris, 1876, by Marie Tayau on a Collin-Mézin violin with (what was then an innovation) E and A steel strings suggested by the maker. which rather points to the fact that he was attempting to get brilliance and clearness at the expense of purity.
Violas and ’cellos are larger imitations of the violins. £60 1959.
-----------------------------------------
Longeur: 9 cent. Lauteur: 2 cent.
Ch J. B. Collin-Mézin fils
Luthier. Paris l’an 1870
-----------------------------------------
(1868-1876)
------------------------------------------------
Longeur: 9 cent. hauteur 3-1/2 * 1890
Ch. J. B. Collin-Mézin C M
Luthier à Paris
Rue du Faubg: Poissonnière No. 29
------------------------------------------------
(1876 onwards)
----------------------------------------------------
Ch. J. B. Collin-Mézin
Luthier C.M.
Grand Prix-Exposition Universelle, 1900.
Paris, 1921.
----------------------------------------------------
Each instrument stamped at the side of sound post with Collin-Mézin, a copyright facsimile of signature.
Popularity of these violins gave rise to many counterfeits in the nature of violins labelled Collin, being foisted on the credulous public by unscrupulous vendors in the trade instruments made by Collin-Mézin. Collin-Mézin instruments are only genuine when bearing the signature, and (on the later ones) the announcement of the Grand Prix.
Produced excellent bows of pernambuco wood for which he received as much as £5; but of late years this price has steadily dropped although the article has considerable resistance and flexibility with nice weight and balance.

COLLIN-MEZIN, CHARLES (Junior)
Son and collaborator of the preceding. Born 1870. Worked at Mirecourt (after some years in America), 1900. Officier de l’Académie des Beaux-Arts, 1911.
Won considerable success with his exceptional gifts of neat workmanship of violins, violas and ’cellos imitative of his father’s style but at a more moderate price. Varnish of thick texture somewhat Italian in appearance. Worked at Mirecourt, 1925, but continued the use of Parisian labels. Supposed to have made violins in later years of more individualistic character.
---------------------------------------------------
‘Le Victorieux’ type grand Soliste
par Ch J. B. Collin-Mézin
Maître Luthier
Grand Prix Exposition Universelle, 1900
Paris
---------------------------------------------------
(with signature)

COLLINS, GEORGE WILLIAM
Worked at Bloomington (Illinois), 1923. Of English origin.

COLLINS, WILLIAM HENRY
Born in Marylebone (London), 1860. Became a skilled workman in pearl, ivory, tortoise shell and other materials. Made first instrument, 1891. From this date his violins mostly belong to a slightly modified Stradivarius model of l4-1/8 body length. Arching somewhat flatter at the front than at the back. Also produced a few of a modified Guarnerius model. Purfling inlaid very cleverly, but frequently rather nearer to the edge than usual with the old masters. Thoroughly good workmanship. Edges neatly finished - curves of the outline practically perfect. Sound-holes are a combination of several Cremonese traits. Scroll ingeniously and carefully wrought. Experimented in varnishes - ultimately developed one having fossil amber for basis, of orange red shade, very transparent and elastic, altogether of that quality which will not chip or crack. Tone rather sympathetic and reasonably penetrating.
----------------------------
William Henry Collins
London, 1900
----------------------------
(monogram circled, and year within an oval)

COLOMBO, CAMILLO
Worked at Milan. Exhibited two violins at Cremona, 1937.
Was at one time associated with Hassler. Uninteresting work on the whole.

COLONNA
Worked at Paris, 1890-1910.
Excellent violins of mature workmanship and attractive varnish. Some broadly built and having a tone of real sonorous quality.
Also invented a mechanical bow.

COLTON, E. WALTER
Trained in England. Established at New York, 1880.
Splendid modelling - all phases nicely brought together - transparent varnish - very flexible tone.
Made several copies of the Gaspar da Salò owned by Ole Bull, and presented one to that famous violinist.

COLUBER, MICHAEL ANGELI
Worked at Innsbruck (Austrian Tyrol), 1683-1701.
Treated his indifferently chosen wood with slight ceremony. Scroll, sound-holes and purfling show his timidity and incapability. Brown varnish almost of a chocolate colour.
Made violins, violas and ’cellos.
-------------------------------
Instrumentium Originalle
Michael-Angeli Coluber
Tiroliensio
fecit in Insbruch. 1689.
------------------------------

COLVILLE, DAVID
Worked at Cupar (Scotland), 1845-1885.
Made many instruments of that kind of workmanship to attract the attention of the collector who, after examining it, became desirous of making further acquaintance by searching for other productions from the same hand.
Excellent modelling after Amati and Stradivarius.
Finely acoustical wood - usually splendidly figured for back.
Succeeded in obtaining a nice purity of tone which, however, lacks that power to render it ideal.
No label, but pencilled his name across the back.
-------------------
David Colville
1857.
-------------------
A talented but extraordinary man with a chequered career.
A hypochondriac, hated drink, tobacco and women. Kept a number of canaries which he trained to come to his call. Went to Canada with a large number of violins, but they got submerged in one of the lakes and were destroyed. Never lived in any one place for longer than a few weeks. Wandered all over America, New Zealand and Australia. Became insane and was sent back to Scotland. Also a pungent and sarcastic writer.

COLVIN, G.
Born 1841. Worked at Sunderland. Died 1910.
Nothing particularly memorable, but no serious blemishes. Generally the customary Strad model. Several violinists in Durham County and Northumberland have testified their enthusiasm for the excellent tone.
--------------------------
Gavin Colvin
Maker. Sunderland.
1890.
--------------------------

COLY (COTY)
Worked at Versailles, 1760-1790.
Known for good lutes and viols. Made a few violins which are of small value.
-------------------------
Jean Claude Coly
Luthier à Versailles
1786.
-------------------------
(written)

COMEL, STEFANO
Born 1890. Resident at Gorizia (near Trieste). Pupil of father with same christian name.
Stradivarian modelling.

COMINS, JOHN
Worked in London, 1790-1808. Pupil of William Forster whose style and kind of varnish he successfully imitated.
Modelling altogether graceful - workmanship well finished. Fairly deep ribs. Light yellow brown varnish intensifying the excellent material it covers.
On the label (in addition to the year), will be found the day and month the instrument was finished.

COMMUN, LOUIS
Established at Château-Thierry (France), 1925.

COMPOSTANO, ANTONIO
Worked at Milan, 1693-1710.
Nicely conceived resemblance to the Grancino model. Sound-holes and scroll splendidly executed. Generally brown yellow varnish of excellent quality. Euphonious and full tone quite worthy of a soloist’s regard.
-------------------------------
Antonio Compostano
fece in Milano
in Contrada larga, 1703.
-------------------------------
(written and printed)

COMTE
Miss Florence Austin (renowned American soloist) used a bow stamped with this name, for which she paid 400 dollars.

COMUNI, ANTONIO
Worked at Piacenza (Italy), 1810-1825.
Seems to have penetrated the spirit of Stradivarius and Guarnerius models combined. Repeated in counterpart the exact peculiarities of the two former creations of power. Workmanship may not be of as high a standard as some Italian makers, but the conception of outline and arching is as beautiful as anyone could possibly desire. It is said that he made some instruments without a recognised style and even without excellence of any kind, but such imperfect work bearing Communi’s name has never come under my attention, and if it ever did I should be strongly inclined to pronounce them as forgeries. The few instruments I have played upon and minutely examined are to my mind wrought from the irrepressible impulse common to genius. We admire his fertility of inventive power - an inventiveness avoiding the eccentric and taking the other path leading to perfection of style - and this not only in the character of the outline and arching, but in the harmonious treatment of subordinate parts.
Stradivarian outline with Guarnerian waist curves and medium arching. Long sound-holes (or they appear long according to the aspect of the entire) rather suggestive of the Amati. Finely carved scroll with prominent boss. Splendid table wood - back of narrow, close and straight flamed maple. Varnish and its application proves his possession of artistic powers. Perfect tone for quartet playing - ideal purity and clear as crystal.
-----------------------------------
Antonius Comuni
fecit Placentiae. Anno 1816
-----------------------------------
(small - with decorative border)

CONÉ, GEORGES
Born at Mirecourt, 1877. Worked at Lyons, 1895. Succeeded Boulangeot, 1928. Repairer for the Conservatoire and Philharmonic orchestra. Reddish shades of fine texture oil varnish. Personal model based on Strad traits. Produced 200 violins and 25 ’cellos up to year 1950.
---------------------------
Georges Coné et Fils
à Lyon l’An 19 No.
---------------------------
G.C.
-----------------------------------------
fait dans l’atelier
de Georges Coné à Lyon en 19-
----------------------------------------

CONÉ, ROBERT
Born 1920. Son and pupil of G. Successor, 1950.

CONFECTOR, F.
This word corresponds with ‘maker’ and is not a surname.
Violins of Tryolean style - quite ordinary. Made at Gratz (Styria).
----------------------------
Franciscus Confector
fecit Graecii 1775.
----------------------------

CONKERTON, E. R.
Worked at Newark, 1940.
Several well made violins and violas.

CONN, C. G.
At Elkhart (Indiana), 1912-1936. Largest equipped factory (for the manufacture of high grade instruments) in the United States. Conn engineers have developed several ingenious machines for cutting and shaping the essential parts of violins, and by this means mathematical exactness is secured, so that each violin conforms to dimensions which experiment has shown to be best.
Violins are then assembled by expert workmen who take as much pride in their craftsmanship as any old masters of centuries ago, and their work is completed by men who have built and repaired instruments for fastidious soloists and connoisseurs. Two special models - perfect designs, finest materials, very finished workmanship and a continually improving tonal quality.
(1) ‘The Symphony’ - copied from a fine Strad;
(2) ‘The Virtuoso’ - modelled from the Paganini Guamerius.
Also cheaper grades designated ‘Orchestra, Standard, Commercial, Student, Amateur’, etc.

CONNARRI, ANTONIO
Italian - brown orange varnish - sonorously sympathetic tone - £35 (1922).

CONNOR, ANTHONY
Worked for a time at Newcastle.

CONOT, ANDRÉ
Born at Mirecourt. Worked at Paris and Nice; and at Lyons, 1919. Died 1931.
Ingratiating Strad and Guarnerian modelling - very supple reddish orange varnish.
--------------------
André Conot
à Lyon 19- No.
--------------------
(with monogram circled)

CONRADT, ARTHUR
Worked at 110 Hauptstrasse Danzig, 1925.

GONSIGLI (CONSILI) GIOVANNI
Worked at Terni (Italy), 1825-1835.
Principally made violins of unique and curious shapes. One was designated ‘Poggia violino’.
-----------------------------------
Joannes Consili fecit
Interamnae Anno Dni 1826
(Decorative border)
-----------------------------------
Label in a violin of viol-d’amore form-
-----------------------------------------------------
Giovanni Consigli a Terni
inventò la nuova forma del violino
per eseguirvi con maggior facilità
e sicurezza la difficoltà
nelle portamenti acuti. Op. quart. A. 1829
----------------------------------------------------
Translation: ‘Invention of a new violin-form for performing with greater ease and sureness the difficulty in shifting quickly. No. 4’.

CONTAL, F.
Worked at Mirecourt, 1800-1830. Customary style - yellow-brown varnish. ’Cellos especially excellent - esteemed in France; neat workmanship, nice varnish.
Branded
-----------------
F. Contal
A Mirecourt
-----------------
or
-----------------------------
‘F. Contal à Mirecourt’
-----------------------------

CONTAL, GEORGES
Born at Mirecourt, 1874. Pupil of Poiron. Worked in England, Switzerland, Tyrol, Italy, Belgium and Austria. Settled at Paris 1899.
Produced many violins up to the usual standard of the ten-guinea French (1905) though there is no marked individuality. Oil and spirit varnishes.
-------------------------
Georges Contal
Violin maker, Paris
-------------------------
--------------------------------
Georgius Contalini
Violin maker, 1900, Paris
---------------------------------
---------------------------
Georges Contal
Luthier, Paris
Nr. 204 Année 1910
---------------------------
Inventor of a ‘Violaline’ - an art-mandoline in the form of a viol-d’amour. Five varieties - soprano, alto, tenor, bass, and contrabass.
-----------------------------------------------
Année 1901
Violaline
Brevetée S.G.D.G.,
et deposée en France et à L’Etranger
Georges Contal, Paris
Nr. 955 Serie B
------------------------------------------------

CONTAVALLI, LUIGI
Born 1862. Worked at Imola (Bologna), 1884-1920.
Produced 60 violins, violas and ’cellos. Stradivarian outline - edges slightly raised, small ‘hillock’ on the outside of sound-holes. Yellowish-golden varnish, light and dark shades. Nearly always used woods grown in native country. Tonal quality of splendid purity and sonority.
Won gold medals at exhibitions in Marseilles (1903), London (1905), and Bologna (1907). Received the Grand Cross from Italian Royalty, 1915. £100 1959.
---------------------------
Fatto
de Contavalli Luigi
nel 1895 . . in Iimola
---------------------------

CONTAVALLI, PRIMO
Born 1899. Son and pupil of Luigi.
Made first instrument in 13th year. Built 40 violins up to the year 1925. Stradivarian outline, raised edging, Guarnerian sound-holes with slight ‘rib’ on the outside. Purfling all in one piece going from bottom to top and passing under the neck join. Yellowish-golden varnish, light and dark shades. Studies the best quality woods, their sonority etc. - continually sought new varnish compositions.
Invented an electric device which forms the ribs to required curvature.
--------------------------------
Fatto da
Contavalli Primo di Luigi
nel 1925 in Imola
--------------------------------
Name also written across label.

CONTE, GIACOMO
Worked at Turin, 1906-1915

CONTE FILS, H.
Worked at Villefranche (France), 1852.

CONTEGIACOMO, GIOVANNI
Worked at Turin, 1900-1915.

CONTI, LUIGI
Born 1891. Worked for Oreste Cavallini at Arezzo, 1914.
Constructed ‘commercial’ violins of various grades. Some of unusual form, elliptical sound-holes, good spirit varnish of hazel-nut shades.
---------------------
Conti Luigi
fece 1930
Liutalo. Arezzo
---------------------
(block lettering - oval frame)

CONTINO, ALFREDO
Born at Naples, 1890. Apprenticed in 12th year to Vincenzo Postiglione - ultimately succeeded to this maker’s establishment and clientéle.
Up to year 1949, constructed 300 violins, 70 ’cellos and 15 violas. Splendid modelling after the various Italian masters. Requisite artistry embodied in his conceptions. Varnish of various shades.
-----------------------------------------
Liuteria Itatiana
Alfredo Contino
Costruttore di Strumenti ad Arco
Napoli
------------------------------------------
----------------------------------------------------
Alfredus Contino
Premiato al Concorso di Liuteria in Roma
unico allievo di V. Postiglione
Fecit Napoli anno 1914
-----------------------------------------------------
(A.C. with cross, circled. Also signed A. Contino)
Today’s price £85 to £100.

CONTRERAS, ELIAS
Guitar maker. Worked at Guatemala.
Exhibited at Paris 1881, a guitar composed of 6,000 pieces of material.

CONTRERAS, JOSÉ
Born at Granada (Spain), 1710. Known as ‘El Granadino’. Worked at Madrid, 1745 to death, 1780. Served apprenticeship in Cremona - possibly worked with Stradivari and Guarneri.
Instruments often quoted as resembling the Stradivarius to such a marvellous degree, that they have been frequently mistaken for genuine Cremonese. Certainly the points of similarity are incontestable in that general spirit of simple grandeur, purity of outline, and beauty of varnish pervading the models he so faithfully copied. Sound-holes exhibit all that versatility so noticeable with Cremonese instruments. Also had periods of originality - some violins having Stradivarian outline with sound-holes recalling Guarnerius - others have Guarnerian characteristics except the sound-holes which are Stradivarian. No point of superior workmanship out distanced him. Every intricacy accomplished with delightful ease and freedom. Likewise penetrated into the spiritual when building - and tonal results have further distinguishing similarities between him and his masters. Tone of grand sonority, and artists are always eagerly searching for these beautifully-sounding masterpieces, knowing that their performance will be greatly enriched thereby. An air of impressive grandeur and dignified pose diffused in every curve of the scroll. Purfling too, fully confirms the high rank assigned to him. His intention and sentiment in varnishing memorialises the Cremonese - either yellow or yellow-red of superb texture. Much of his work re-labelled with names of Italian makers. £300 1959.
--------------------------------
Matriti per Granadensem
Josephum Contreras
Anno 1760
--------------------------------

CONTRERAS, JOSÉ
Son and pupil of the preceding. Born 1751. Worked at Madrid. Died 1827.
Did not produce work just to gratify the whims of patrons, nor pursue his art merely for the profit it brought to the producer. Worked with the hope and the motive that his instruments would improve and endure beyond the moment of their production. And his futuristic wishes have been fulfilled. Entire contour and varnish practically replicas of father’s ideas. Every detail of workmanship shows that rapid and facile executive ability only attained by the greatest. £200 1959.
-------------------------------------
Matriti per filium Grandtenstr:
Joh de Contreras
Anno 1792. Num. 11
-------------------------------------
(Beautiful decorative border)
-------------------------------------
Matriti per filium Granadensis
Joseph de Contreras
Anno 1793. No. 16
-------------------------------------

CONTURIER
Ordinarily worked instruments made in French factories. Yellow varnish. Possibly a mis-spelling of ‘Couterieur’.

CONWAY, GEORGE SAMUEL
Born in the State of Ohio, 1872. French and Irish ancestry. Studied with Leo Ruschenberg at Denver. Made first instrument 1894. Established at Newark (Ohio), 1926.
Produced 250 violins. Modelling follows that of Stradivarius and Guarnerius - mostly imitating the Alard Strad. Orthodox work but all details artistically realised. Red and reddish-brown oil varnish, the result of several years of experimenting. Successful. Agreeable and effective tone. Particularly clear though not large, and nicely responsive.
-------------------------
No. 82
George S. Conway
Maker
Newark. O. 1926
-------------------------

CONWAY, WILLIAM (1)
Worked in London, 1736-1758.
Violins of good work of that early period. Sweet tonal quality offering delectation to amateur players. One specimen realized £30 (1927). Also a few ’cellos.

CONWAY, WILLIAM (2)
Son of the preceding. Worked in London 1760-1810. Specimens of really good modelling and workmanship.

COOK, A.
Ipswich. Little-known English maker of the 19th century.

COOPER, ALFRED ERNEST
Born at Manchester, 1857. Vicar at Haverthwaite near Ulverston (Lancashire). Made ’cellos and violins as a hobby.
Interesting models somewhat of the proportions and traits of the Stradivarius. Light-brown varnish.
-------------------
A.E.C. id fecit
1910
-------------------

COOPER, A. W.
Bitterne Park, Southampton. Maker and dealer. 20th century.

COOPER, CLARENCE
Born 1909 in Stratford, Ontario (Canada). Lawyer and graduate forester by profession. Resident of Victoria, B.C.
Violins patterned on Strad and Guarnerius models, mathematically modified. Has a method of computing the form of violin based upon the intervals of music. 14 violins and 2 violas made up to year 1959. Member of the Violin Makers’ Association of British Columbia.
------------------------------------
Made by
CLARENCE COOPER
At Victoria, B.C.
No. 16 (Viola 2) A.D. 1959
------------------------------------
(Beautifully scrolled label hand done, with signature on left-hand side)

COOPER, HARVEY
Born 1892. Resident at Quincy (Illinois), 1930.
Produced a few violins of fair workmanship - much appreciated by several professionals in district.

COOPER, HUGH WILLIAM
Born at Airdrie (Scotland), 1848. Worked in Glasgow.
Made a harmonium in 16th year - later built a two-manual pipe organ with pedals. Produced first violin in 1893. Modelling principally after the Sainton Stradivarius, also occasionally followed the Guarnerius. Very fine masculine type of outline. Workmanship comes up to the highest standard. Scroll treated with splendid ingenuity, and with a dignified idea of pose. Rather original sound-holes: near the upper turns they are perceptibly drawn towards the inner bouts. Also set nearer to the edges than is usual with Stradivarius. Used Whitelaw’s oil varnish - red, ruby-brown, or orange - well applied and polished artistically. Bright and firm tone - equal on the four strings.
----------------------
Hugh W Cooper
Maker
No. . . Glasgow
----------------------
-----------------------------------
Hugh W Cooper
Maker
75 Dumas Street, Glasgow
No. 93 1905
-----------------------------------

COPE and ROBERTS
Established at Melbourne (Australia), 1888.
Manufacturers of the ‘Copens et Robertus’ violins, violas, and ’cellos - claimed by them to be unsurpassed in workmanship, appearance and quality of tone. Instruments made to order on any model required by their clients. Specially prepared varnish named ‘Cremonae Redivivous’ in brown, ruby, orange, and golden shades, guaranteed to last for centuries, and materially improve any instrument.

COPERE, THOUVENER
French violins of indifferent quality. Even in America one only realised 95 dollars (1928). Possibly a made-up name.

COPLAND, JOSEPH N.
Born at Chicago. Worked there from 1905. Professional violinist.
Produced about 50 instruments up to the year 1924. Outline based on that of a Stradivarius or a Guarnerius (this particularly), but of wider and bolder modelling, and arching. Altogether fine conceptions created under the potency of the finest workmanship. Being a good violinist himself, enabled him to give more than usual attention to all the details for convenient handling. Brilliant golden-yellow or red-brown varnish. Fine strong tone that does not collapse under the spirit and vigour indulged in by orchestral players. Such satisfying instruments have doubtless brought considerable remunerative reward for the maker.
Also many bows of fine balance.
-----------------------------------
Joseph N. Copland
fecit Chicago. Ill. anno 1923
IIII
-----------------------------------
(bearing monogram)
Roman figures denote number of instrument.

COPPI, SANTE DE
Worked at Mantua (Italy), 1800-1820.
Modelling and outline somewhat resembling an Alessandro Zanti. Workmanship sometimes exhibits inartistic recklessness. Scroll frequently faulty in geometrical proportions. Wood generally of that order only chosen by the uninitiated in its various qualities. Yet with all these demerits his violins occasionally ‘speak’ quite nicely.
-----------------------------
Sanctus de Coppi fecit
Mantoae Anno 1816
-----------------------------

COPPING, J. B.
Born at Hardwick, 1845. Resident at Worstead (Norfolk), 1920. Amateur.
Did not construct (though he had for several years done local repairs) a violin until his 75th year. Stradivarian modelling on the Farrell system - tonal result quite satisfactory. Sherwood’s super-copal varnish.

COPPO, ARMANDO
A maker of Flemish origin who is said to have worked in Naples at the beginning of the 17th century. His work is unknown to me.

COPPO, R.
Name (probably fictitious) given to Italian commercial instruments possibly emanating from Naples or Catania.
--------------------------------------------
Raffaele Coppo figlio del fu Nicola
Alunno Gagliano Antonio
Anno 190
--------------------------------------------

COQ, JULES
Worked at Toulon, 1840-1870.
Average workmanship, Strad model - scroll and sound-holes not of innate sweep, but tone sometimes of marked sweetness. Good quality varnish of reddish shade, applied as though worn.
----------------------------
Fait par Coq
Luthier à Toulon, 18-
----------------------------
(written)

CORANI, VINCENZO
Worked at Trieste, 1815-1832. Little known of this maker.
-----------------
Vinc. Corani
Triest 1826
-----------------

CORARA, GIACOMO
Worked at Venice.
Pretty violins beating with a warm pulse of tone. Red varnish, Amati model
---------------------------
Giacomo Corara
Fecit in Augo. 1775
Venezia No. 3
---------------------------

CORBUCCI, DOMENICO
Worked at Parma, 1850.
Model laid out on broad enough lines, but arching interweaved in a style far from ideal in its rather abrupt rise from the purfling. Backs often of plain wood. Ordinary workmanship, wide purfling, brownish-orange (good), or a bright yellow of bilious hue. Excellent tonal quality. £125, 1959.
--------------------------
Domenico Corbucci
fece nel anno 1861
--------------------------
Others in Latin.

CORDANO, JACOPO FILIPPO
Worked at Genoa, 1770-1779.
Instruments to be estimated and sought for as eagerly as those of his great predecessors. Outline and arching, strongly reminiscent of the Cremonese Ruggerius school, altogether gracefully exquisite - a naturally classic model - which term is meant to convey the impression it gives of the combination of the beautiful with technical knowledge. Nothing timid or unmethodical in the smallest particle of an inch in workmanship. Young aspirants in violin building, whose thought and style are formed principally by the close study of examples, might direct their attention to Cordano’s workmanship as something greatly worthy of imitation. In our opinion it is calculated to produce an elevating effect on any person.
Arching perhaps a little higher than a Ruggerius. But there are examples when he preferred the flatter method. Gracefulness embodied with individuality in the sound-holes without showing the vaguest eccentricity although generally shorter than the Cremonese. Purfling conveys that sense of certainty which executes without blemish. Scrolls have that ease of pose to be found only when viewing the violins of great craftmanship. Yellow or brownish-red varnish, applied with taste and thoroughness, and justifies anticipation of that rich tone so essential to solo instruments.
-----------------------------------------
Jacobus Philippus Cordanas fecit
Genuae. Anno sal. 1774
-----------------------------------------
Some examples dated as early as 1716. Indubitably the labels of these have been tampered with.
Today’s prices £250 to £350.

CORDANO, PIETRO
Worked at Venice.
Orange oil varnish. Tonal quality which passes over a strong sea, but without any hazard of shipwreck in brilliancy, and without fear of being drawn into the quicksands of unevenness. Body length 14-1/8 inches, upper bouts 6-5/8, middle 4-3/8, lower 8-3/16, ribs 1-1/4 to 1-3/16. £250, 1959.
--------------------------
Pietro Cordano fecit
Venetiis anno 1913
--------------------------

CORIGLIANO
Genoese maker of the 19th century whose work was typical of the period, nothing to distinguish him from the other luthiers of Genoa; neither good nor bad.

CORNELETTO
Modelling carried out wisely - skilled workmanship. Purfling very close to the edge, slab back. Brown varnish applied with discriminating moderation.
--------------------
Corneletto
Toulouse 1822
--------------------

CORNELL, L. H.
Born at Centralia (Illinois), 1870. Doctor of chemistry, amateur violinist, owner of a Stradivarius, resident at Minneapolis 1927. Self-taught in violin making. Produced 40 instruments from 1888 to 1926 - all Stradivarian models.
Accidently met with an old Italian book which described the Amati varnish and gave minute directions how to prepare it. Set himself the task of reproducing this special varnish, and achieved splendid success. Sap obtained from a tree belonging to the conifer family (exclusively grown in Italy). Formula for the first varnish applied - a golden-yellow that later turns to a purplish chocolate shade as may be seen on a Cremona wherever it has had contact with the hand, chin, or any other wear.
-------------------------
L. H. Cornell
Minneapolis. Minn.
-------------------------
Also adept at bow making. Tourte model.

CORNELLI, CARLO
Worked at Cremona, 1702.
----------------------------
Carolus Cornelli fecit
Cremonae, anno 1702
----------------------------
(Roman lettering)

CORNELLI, GIORGIO
Worked at Venice, 1792-1799.
Mathematical certainty combined with gracefulness characterise the outline and flattish arching. Longish pattern but exceedingly pretty in contour. Splendid material harmoniously covered with a rich full red varnish. Amidst all the undoubted enjoyment these ‘pictures’ give we are also delighted with the tone he managed to impart - which proves that he understood the paramount importance of tonal quality over any other philosophical and theoretical notions he may have had. £400, 1959.
---------------------------
Girogio Cornelli fecit
Venezia anno 1797
---------------------------

CORNESSE FILS, HENRI
Established at Troyes (France), 1900.

CORNIA, GIUSEPPE
Worked at Iddiano (Modena), 1884.
Produced many double-basses, greatly esteemed throughout Italy.

CORNINO
1800-1820 circa. Spilamberta. Little known and undistinguished.

CORNISH, F. W.
Working at Doncaster, England. Stringed instrument repairer.

CORNU
Worked at Marseilles, 1752-1760.
Thoroughly Italian in modelling and outline. Workmanship imbued with spirit of neatness. Considerable subtlety about the scroll and sound-holes. Yellow varnish.
----------------------
Cornu Fecit
A Marseille 1759
----------------------
(written)

CORSBY, GEORGE
Worked in London, 1785-1830.
Produced a few yiolins generally of Amati modelling. Style and workmanship in the manner just then in vogue - in other words, rather ordinary. Dark orange-red varnish, rather thinly applied. Usually fine grain material for the top.
’Cellos follow the Amati in outline, but flatter arching. Workmanship and varnish quite ordinary - the latter of red-brown shade sparsely used.
Also produced several fairly good bows. £65, 1959.
-----------------------------------------
George Corsby
Maker
Princes Street. Leicester Square
London
-----------------------------------------

CORSI, GUISEPPE
Born 1876. Descendant of noble family. Studied double-bass playing at the Conservatorio, Rome. Member of the several orchestras in that city. Died 1931. Violins generally of Gagliano modelling - beauteous scroll, elegant sound-holes; everything associated with splendid workmanship. Warm yellow varnish. Tone which calls forth no discontent.
’Cellos of similar characteristics, and notably fine double-basses.
-------------------------------------
Guiseppe Corsi fece in Roma
Anno 1908 No.
-------------------------------------
(written)

CORSINI, G.
Born at Tivoli, 1913. Studied violin playing at the San-Cecilia Academy, Rome. Became interested in violin making through association with Fredi. Though generally occupied in commercial affairs with father, he managed to complete ten violins up to year 1949. Instruments highly commended - some Stradivarian, others more personal. Oil and spirit varnishes - golden-yellow or deep-red shades, splendidly applied.
-------------------
GiorgioCorsini
Roma 1949
-------------------
(with signature - shield-like design on left)

CORTE, ALFONSO DELLA (DALLA)
Worked at Naples, 1860-1887.
Splendid imitations of the old school - more especially of the Gagliano. No contrarities between outline and arching. Sound-holes and small scroll afford true complement to and correlative of the entire. Upper part of scroll throat cut square. Yellow or reddish-brown varnish. Some well-made ’cellos bear his label.
-----------------------------------------
Alfonso+della Corte
Fabbricante di Violini
Napoli, Chiostro S. Chiara, 1884
----------------------------------------
Today’s price £300.

CORTESE, ANDREA
Worked at the ‘Sign of the Three Hearts’, Genoa, 1920. Pupil of Cesare Gandi. Established at Milan, 1940.
Exalted modelling, Pressenda-like, superfine workmanship, artistry in varnishing (bright red and golden-yellow), lovely wood and delightful tone.
Completed 120 violins up to year 1950. £85, 1959.
----------------------------------------
Andrea Cortese - al segno dei
fece in Genova - tre cuori. 1925
----------------------------------------
(Effectively scrolled - bearing the three-heart design - also initials)
--------------------------------------
Andrea Cortosi fece in Genova
al Segno dei tre cuori 1919
--------------------------------------
(With 3-heart design in smaller frame)

CORTESI, CARLO
Worked at Pesaro (Italy).
High-arched instruments in the style of a Gasparo de Salò or Mariani. Also a few specimens of Maggini type.
-----------------
Carlo Cortesi
-----------------
-------------------------------
Cortesi fecit Pisarri 1612
Carlo Cortesi
------------------------------
(Second line written)

CORVISIER, EUGÈNE
Born 1873. Pupil of Cunault. Worked for Deroux and Audinot. Established his own atelier, 1908.
Splendid variegated modelling, immaculate workmanship, red-orange varnish of excellent texture. £100, 1959.
-------------------------
Eugène Corvisier
Luthier à Paris 19-
-------------------------

COSETTO, GUISEPPE
Worked at Venice.
Attractive modelling, strikingly substantial corners. Sound-holes peculiarly original; very broad purfling. Masculine scroll with an enlarged spiral. Splendidly and strongly wooded. Tonal quality of noble sonority and full brilliance. Body length 36.4 cm. £300, 1959.
-----------------------------
Guiseppe Cosetto fecit
anno 1786 Venezia
-----------------------------

COSMOGLIO, PIETRO
At Casale Monferrato, also worked for a short time in Buenos Aires.

COSS, R. D.
Resident at Harvard (Illinois), 1927.

COSTA, DIEGO
Worked at Cadiz (Spain), 1785-1793. Studied in Italy.
Principally guitars. Also some violins of minute accuracy carried out on sound artistic principles. Achievements that helped a little to give impetus to the Spanish school.
Also lutes and mandolines.

COSTA, ANTONIO
Born 1891. Resident at Bertinore (Italy).
First instrument dated 1919 - copy of a Guadagnini. Produced 25 violins and some ’cellos of excellent modelling - yellow or reddish varnish.
-----------------------------
Costa Antonio
Copscolle di Bertinoro
(Prov. Forli)
fece anno 1921
-----------------------------

COSTA, FELIX MORI
Worked at Parma, 1798-1825.
Walked warily on the foundations set up by the Amatese-Stradivarius; medium arching, attempted no revolutions or eccentricities that frequently descend into cramped crude elements. Workmanship, though not displaying the gifts of many predecessors, is nevertheless very good. Belly wood of closely grained spruce - occasionally one of medium grain and getting slightly wider towards the edges. Rather favoured the one-piece back of a small figured maple. Golden-red or orange-brown varnish galvanized into warmth by being of good texture. Tone of very appealing quality with considerable clarity. Today’s prices £450 to £500.
Also some good ’cellos.
-------------------------
Mori Costa Felice
fece in Parma 1802
-------------------------
-----------------------
Felix Mori Costa
Fecit Parmae
anno 1804
-----------------------

COSTA. GIOVANNI BATTISTA
Worked at Venice, 1770. Presumably a pupil of Seraphin as he seems to have responded rather liberally to that maker’s principles.
Outline and arching not minutely exact imitations of any particular model, the former reminding of an Amati and the latter of a Stainer. Arching seems slightly too excessive to be in complete harmony with the outline. Scroll thoroughly Serafinesque. Did not dedicate much imagination or show much artistic sensibility in the shaping of sound-holes. Golden-brown varnish tinged with red - rather thinly applied, therefore not particularly lustrous. £300, 1959.
Authentic instruments seldom met with; large proportion labelled as Seraphinos.

COSTA, LUDOVlCO
Worked at Urbino (Italy), 1786.
Appearance ordinary, and workmanship altogether mediocre.

COSTA, MARCO DALLA
Worked at Treviso (Italy), 1640-1680.
Characteristics of the Antonius-and-Hieronymus-Amati modelling happily delineated. Varnish equally satisfactory, of deep orange shade.

COSTA, PIETRO ANTONIO DALLA
After passing through early struggles of apprenticeship, not very prolonged, he found it comparatively easy to climb the steep hill leading to ‘Fame’s eternal Temple’. Worked principally at Treviso, but also at Mantua and Venice, 1720-1768. Did not allow commercialism to swallow up high hopes and ardent spirit. Used his talent to successfully copy the principal traits of the Antonius-and-Hieronymus-Amati model, but also added a very slight touch of the Stradivarius. Some instruments a trifle under normal measurements, but always retaining the typical characteristics of the brothers Amati violins. And his fancies never wandered from the fine model to which he had pledged his troth - never strayed off trying to create independent ideas, neither did the lures of a Guarnerius appeal to him as might be expected.
Workmanship altogether splendid. No better examples of graceful yet fairly robust contour can be traced, the longish waist curves perhaps enhancing the whole. Everything refined, and the slightest blemish in any detail whether outside or inside cannot be found by any microscopic eye. Scroll boldly cut - this pleasant task being discharged with critical nicety and sound discretion. Sound-holes also bear strong evidence of facility and certainty associated with skill, although some connoisseurs would be better pleased if the cutting had been less parallel. Purfling conveys conviction of sincerity to achieve perfect regularity.
Always used the finest spruce of particularly intense and straight grain - and maple of the prettiest curl - some one-piece backs having an especially fine appearance resulting from the figure slanting downwards from left to right. Shades of varnish vary - yellow, orange-yellow, deep orange, lovely soft brown, deep red-brown, and even one almost blood-red, all of splendid texture, and amply applied. Tone very flexible, delightfully uniform from bottom to top, and of very desirable mellowness. £200 (1927) - 2,000 dollars in U.S.A. (1930).
Also made three-stringed double-basses. Today’s price £500.
----------------------------------
Pietro Antonio dalla Costa
fece in Treviso Anno 1742
----------------------------------
----------------------------------
Antonio dalla Costa
fece in Treviso Anno 1757
----------------------------------
-------------------------------------------
Petrus Antonius della Costa. Fecit
in Treviso anno 1729
-------------------------------------------
------------------------------------------------------------
Petrus Antonius a Costa fecit ad
similitudinem illorum quod fecerunt:
Antonius & Hieronymus Fratres Amati
Cremonenses, filii Andreae. Tarvisii, anno 1755
------------------------------------------------------------
----------------------------------------------------------------------
Pietro Antonio dalla Costa fece
in Treviso. Anno 1760
Ad examplar Antonii & Hieronymus Amati Creinonensis
----------------------------------------------------------------------
-------------------------------
Petrus Antonius a Costa
fecit Tarvisii. anno 1760
-------------------------------
Some instruments relabelled with that of the brothers Amati. Mirecourt manufacturers export violins labelled ‘Della Costa’. Stradivarius modelling, and yellow-brown varnish. £30.

COTE, J. B.
Resident at Fall River (Massachusetts), 1916-1925.

COTTON, ROBERT
Worked at Rouen, 1709-1790.
Made six-stringed tenor viols or violas-bastarda of exceptional and curious model. Body length 36 cm, depth of ribs 9, total length 68. Fancifully carved head, and red varnish.
-------------------
Robert Cotton
à Rouen
-------------------
Some violins known - Italian style - good varnish.

COTTRILL, J.
Born at Slough 1879. Resident at Torquay, 1927. Self-taught. First instrument produced 1923.
1st to 9th of modified Guarnerian modelling, 10th to 12th somewhat Stradivarian. 13th experimental, top curves of upper bouts half-an-inch nearer to bridge, all other positions and curves untouched. Light brown, orange-red and yellow shades of varnish, excellent quality, splendidly applied. Some instruments have a colourless oil varnish applied to the bare wood, then covered with a thin film of copal and juniper gums, with suitable colouring materials, the solvent for the gums being spirit. Well seasoned and acoustically perfect belly wood, handsome backs, skilful and very accurate workmanship. Tonal quality of nice resonance.
-----------------------------
Hand-made on
True Tone Principles
by J. Cottrill Torquay
Epsilon 1924 J.C.
-----------------------------
------------------
Made by
J. Cottrill J.C.
Torquay
Nu. 1927
------------------
Each instrument named after the letters of the Greek alphabet, thus Alpha (first), Delta (fourth), Kappa (tenth).

COTUGNO, GIOVANNI
Born at Pizzo Calabro, 1894. Worked at Ancona, 1925.

COUDER, FRÈRES
Worked at Paris, 1850. New forms of stringed instruments preserved at Paris Conservatoire.

COULSON, M.
Period 1880. Violins having a tonal quality which should help to animate the bowing of some amateurs.
----------------------------
M. Coulson
Maker. Stamfordham
----------------------------
(decorative border)

COURTIER, LOUIS CHARLES
Born at Mirecourt, 1878. Pupil of Aubry.
Strad and Guarnerian modelling - not mere copies, but something having an ensemble of little touches of originalities; reddish-brown oil varnish applied with more than a modicum of success - finally a notable tonal colour. Signed on the wood with pen.

COUTURE, CAMILLE
Worked at Montreal (Canada), 1906-1935.
Original design, careful and skilful workmanship, splendid varnish. Produced ‘alto-or-octave’ violins, violas with ’cello tonal quality.

COUTURIER, MICHEL
Worked at Mirecourt (though branded as from Paris), 1860-1895.
Various types of violins, some quite commonplace. Backs generally of small-curl material, belly wood often of Vosgian wood, sometimes double purfling; yellow or red varnish. Branded ‘Couturier Michel A Paris’.

COUTURIEUX
Violins made at Mirecourt.
Dark yellow or reddish-brown varnish. £5 to £10.
------------------------
Lutherie artistique
M.Couturieux
M+C M+C
------------------------
(With small design of a harp-like instrument)
--------------------
M. Couturieux
Paris 1889
--------------------
(Also with design)

COUTURIEUX, JOSEPH
Well-made Mirecourt-type violins, flat modelling, prettily flamed backs.
------------------------------------------------------
Joseph Couturieux fils à Chalons sur Marne
élève de M. Vuillaume de Paris
------------------------------------------------------
Also with signature - and brand. £20.

COUTURIEUX, N.
Born at Toulon. Worked at Mirecourt, 1830-1850. Afterwards associated with Deroux. All instruments branded as emanating from Paris.
Large and broad Stradivarian modelling, somewhat similar to the Nicolas style. Width of upper bouts, 6-3/4 inches, middle 4-1/2, lower 8-3/8. Always strongly wooded, often pretty backs, satisfactory but not refined workmanship Hard and drylooking varnish - dark reddish-brown, orange-brown, deep red, and occasionally yellow. Loud and healthy ‘orchestral’ tone.
‘Couturieux à Paris’ branded below button on back. ‘N.C.’ or ‘N.C.N.’ branded inside.
-------------------------
Couturicux Deroux
Aine
A. Paris
-------------------------
(branded - with small design - where label is usually placed)
Some Nicolas-style violins known, branded ‘N. Couturieux Montpellier’. £30.

COUTURIEUX, T. FILS
Worked at Mirecourt and Paris, 1840. Pupil of Vuillaume, and adopted his style. Masculine design, strong edges, splendid workmanship; red varnish, often shaded to resemble ‘wear’.

COUTURIEUX, XAVER
Worked at Mirecourt, 1830-1850.
Branded -
---------------
Couturieux
Deroux
A Paris
---------------

COVELL, J. LUMAN
Born 1880. Resident at Seneca (Michigan), 1906; later at Morenci.
Strad and Guarnerian modelling, good craftsmanship fully evident - 100 leonine specimens at least, soft textured oil varnish usually of brownish-yellow shade. Tone not yet of crystal clarity, but has firmness and responds to expressive playing.
--------------------------
Jaspar L Covell
Seneca. Mich. 1928
--------------------------
(written)

COVI, FRANCESCO
At Cavareno. Born 1870. A prolific maker following the classic models of Stradtvarius, Guarnerius and Amati. Good quality oil varnish of red or golden tint. Some of his instruments bear a brand in addition to his label.

COX, HENRY
Model and workmanship belong to ill-fated efforts of mediocrity. Opaque brown varnish, almost like a stain.
--------------------------------
Henry Cox, Dublin, 1838
--------------------------------
(branded in three places on the inner side of breast).

COX, HENRY
Resident at Swayling (Hants.)
Modelling reminiscent of Strad or Guarnerius - good application of golden-yellow or brownish-ruby varnish.
----------
H. Cox
1926
----------
(written)

CRAIG, JOHN
Born 1860. Carpenter.
Stradivarian model of excellent style; restful yellow-brown varnish. Good reputation in Scotland.
-----------------------------
John Craig
Maker
Edinburgh. A.D. 1900
-----------------------------

CRAMER, LOUIS M.
Worked at Sioux City, 1890-1927.

CRAMMOND, CHARLES
Worked at Aberdeen (Scotland), 1800-1845.
Violin making to this prolific constructor (said to have produced one or two every week) was not an impulse of genius, nor stimulatus with the hope of immortality, but, applied himself so diligently in order to make an abundance of five-pound notes - the price he invariably charged for his instruments. Mercenary motives caused him to over-thin the wood in order to obtain a temporary sweetness of tone, and at the present day many have to be strengthened inside with fresh wood, a process not calculated to enhance the value.
Model certainly original, having an Amati outline, Stainer arching, and a touch of a Duke characteristics. Workmanship regulated by the instinct of considerable judicious taste. Scroll shows he was not insensible to the charms of finished excellence, but relinquished good taste in the matter of varnishing - a spirit one, either yellow or dark brown. Wood acoustically good, though invariably very plain. Small tone, clear and responsive, but energetic playing soon wears it out and the instrument must be given a rest for recuperation. Therefore it ceases to be a matter for wonder that his artistically worked affairs are of very little use today. If he had had noble ardour inspired by love of fame, instead of detracting incitement of monetary gain, he would have entertained greater attention to thicknessing of the plates, and fostered painstaking care together with patience in the gradual drying of the varnish, then we could have acknowledged his productions as being among the best of the British school.
Emigrated to America, 1836. Finished his days at St. John’s, Newfoundland.
-----------------------
Chas. Crammond
Maker
Aberdeen, 1819
-----------------------
(oval-shaped)
‘Crammond, Aberdeen’ also branded in square lettering on or under button.

CRANK, GEORGE W.
Worked at Madrid (Iowa), 1912-1926.
Exhibited at the Music Trades Convention, St. Louis, 1914.

CRASKE, GEORGE
Born at Bury St. Edmunds (England), 1795. His father (brought over from the Continent by the Duke of Grafton) was bandmaster of the West Suffolk Militia. Early in life young George showed a taste for violin making, and was sent to London to study with William Forster. Made instruments for Thomas Dodd and for the firm of Muzio Clementi. But the pedal-harp (then coming into fashion) sadly interfered with the violin trade, and became so serious that he left London and went to Bath. Here he met John Loder and Nicolas Mori (both renowned violinists) who encouraged him to make instruments for their pupils. Also made the acquaintance of Sir Patrick Blake (an enthusiastic amateur and friend of King George IV), who possessed a fine Stradivarius and Amati, from which Craske made many copies. Lived a short time in Leeds and Sheffield. Removed to Birming ham, took a shop on Snow Hill, and remained there about 20 years. Resident at Manchester, then Salford, and finally at Stockport where he lived in complete seclusion for more than 20 years, allowing nobody in his workshop except a lifelong friend of his (George Crompton) who subsequently did much to popularise the instruments. Retired to Bath, and lived upon the proceeds of his genius and financial industry. Died at the age of 93, 1888. Repaired Paganini’s violin when that great virtuoso visited Birmingham. Forster said ‘He copied Guarnerius so that people couldn’t tell the difference and consequently were taken-in’. Craske never attempted to sell his violins except as his own make and it was no fault of his that unscrupulous dealers frequently disposed of them as genuine Cremonas.
Stradivarius and Guarnerius were both sculptors and painters; for, to use a Latinism, varnishing violins is strictly a pictorial art of the highest order, and Craske was often very successful in imitating the great masters in this respect. A good deal has been written about fiddle varnish by people of no practical knowledge or experience. To suppose that the bituminous substance called ‘amber’ (which is insoluble except in alkalies) is used for this purpose is as nonsensical as the idea that fiddle-strings are made out of cats’ entrails. The term ‘amber’ merely refers to the colour.
No man, unassisted, ever made as many instruments as Craske. In addition to those he made for Forster, Dodd, and Clementi, his tremendous productivity amounted to 2,050 violins, 300 violas, 250 ’cellos, and 20 double-basses, the latter resembling magnified violins. According to George Crompton, the sum of £200 has been paid for a Craske - doubtless an astonishing bit of advertising puffery. Flattering testimonials concerning the tone were frequently showered upon him by eminent virtuosi, who also had no objections to self-advertisement which sometimes is the underlying reason for giving complimentary and high-flown panegyric to instruments they never use publicly.
Crompton acquired the whole of Craske’s stock. Later, Hill & Sons were disposing of them for various sums ranging from £10 to £20.
Between creative genius and adaptive talent lies the gulf that for ever separates the artist from the manipulator.
The surest indication of artistic power is possession of that creative instinct, belonging only to those whom nature has destined to be the representatives of her highest gifts, gifts by which are evoked from out the varied conditions of being new types of feeling - revelations of beauty and grandeur that shall remain ‘a joy for ever’.
The services rendered to the human intellect by the exercise of such endowments claim our highest homage. By their penetrative sympathetic power, mind is brought into communion with kindred mind; the spark of spirit once struck, flashes with lightning speed through the ranges of human endeavour.
If, according to the Chinese proverb, a sage is the instructor of a hundred ages, so an artist is the teacher of all times succeeding his own; as the instruments of Maggini, Amati, Stradivarius and Guarnerius, after holding the admiration of the world for several centuries, are still regarded as the models for all future productions, and possess that interpretable moral of being perfect. On such grounds Craske must be relegated to that of the clever imitator and manipulator. Of the mighty quartet of models mentioned above, that of Guarnerius exercised the most potent influence over Craske, although Stradivarius and Amati, claimed his attention at different periods.
Outline, arching, scroll, sound-holes, and all details beautifully done - workmanship betokens the unerring accuracy of eye and hand. But occasionally conceived what is known as his own model, and here he falls a little from the artistic standard of a real genius - there is something about the outline not altogether harmonious, and the peculiar (sometimes sudden) rising of the breast further emphasises this inharmoniousness. When the charge of extravagance is advanced against Craske it refers always to his partially original designs.
Varnish of his imitation instruments is superb, but the brownish-yellow preparation he put on some of his other productions is dull, thick, and lustreless, also applied without ‘effect’ except the effect of calling up the connoisseur’s disapprobation. Wood is always good - often very beautifully figured. Tone generally disappointing particularly in quality and responsiveness, even the passage of time seems to add little maturity.
Complete stock of instruments left at death were purchased and some put in order by Hill & Sons, with label inserted as under:
-----------------------------------------
Made by George Craske
born 1797 died 1888
and sold by
William E. Hill & Sons, London
-----------------------------------------
Today’s prices £50. ’Cellos a little higher.

CREMONATONE
Instruments specially made for Lyon & Healy of Chicago, 1890-1930. Violins catalogued at 100 to 300 dollars. Pre-eminent tonal quality endorsed by thousands of enthusiastic purchasers. Stradivarian modelling, and dark orange varnish.
’Cellos catalogued at 500 dollars. Those dated around the year 1909 were made by Laurent at Brussels.

CREUZBURG, JOHAN
Worked at Arnheim (Holland).
---------------------------
Johan C. Creuzburg
Instrumentenmacher
in Arnheim, 1802
---------------------------

CREVOI. EDWARD
Born at Vitebsk (Russia), 1902. Citizen of U.S.A., 1910. Became a professional violinist. Turned his attention to violin making 1935, and established himself at Cleveland (Ohio).
Stradivarian and Amatese modelling. Achieved a reputation for neatness in every intricacy. Especially prone to have only one-piece backs. Oil varnish of a golden-brown shade. Instruments subjected to expert playing-in by himself before offering for sale.
Also violas and ’cellos.

CRISTOFORI, BARTOLOMMEO
Born at Padua, 1653. Settled at Florenc, 1710. Died there 1731. World-renowned for cembalos, and for inventing the piano-forte. Several years in the service of Prince Ferdinand. Said to have studied violin structure with Nicolò Arnati - a statement openly contradicted by others. One double-bass preserved at the Florence Museum. Design and Workmanship not of special merit.
------------------------------
Bartolommeo Cristofori
Florence 1715
------------------------------
Fiorini of Munich owned a nicely outlined ’cello.
Several violins bear the undermentioned label, but their authenticity is very much doubted.
--------------------------------------
Bartholomaeus de Christofaris
Patavinus
faciebat Florentiae 1718
--------------------------------------

CRISTOFORI, FRANCESCO
Born in Italy. Worked at Chicago, 1879-1882; and later at other American Cities. Subsequently returned to native country.
Cremonese modelling, corners niceW roupded off, generally full and broad scrolls with no flatness anywhere, effective varnish, and a brisk tone.

CRISTOFORI, JOHANNES
Worked at Vienna, 1746.

CRISTONI, EUSEBIO
Worked at Modena (Italy), 1847-1883.
Violins well designated the Cremonese school. Workmanship undoubtedly to be highly esteemed. Vestiges of purity in the tone. Nothing superfluous about the varnishing, and nothing deficient in it.

CRISTY, IRA
Resident at Revere (Missouri), 1925. Student at the Bretch School of Violinmaking, 1916.

CROFT, W. H.
Worked at Birmingham, 1871-1892.
Professor of violin playing. Had a good local reputation in the orchestral and teaching world. Expert connoisseur of old instruments. Built violins, violas, ’cellos, and basses. Violins of Guarnerian modelling undoubtedly his best productions. Design not announced in the most lofty or magnificent style but certainly illustrative of more than ordinary skill. Reddish-brown varnish. Refreshing tonal quality springs up under the impetus of a good bowist.
----------------------------
W. H. Croft
16-1/2 Summer Lane
Birmingham
A.D. 1882
---------------------------

CROFT
Worked at Sydney (Australia).
Some ’cellos. Little known of this maker.

CROMPTON, EDWARD
Circa 1870. Work unknown.

CROSS, NATHANIEL
Worked in London, 1700-1751. In partnership with Barak Norman from 1720. Conjectured that he was a pupil of Stainer - not perhaps assuming too much to suppose he never saw the town of Absam, since the living periods of the master and supposed pupil scarcely tally to admit of such a circumstance.
We may not be completely satisfied with his Stainer modelling, but has done no dishonour to the art. Nevertheless the essential dignity of the Stainer outline is lacking, though the high arching is very well done. Somewhat large and deep-sided pattern. Often short blunted corners and rather inartistic sound-holes. Yet the scroll is singularly outstanding in its admirable poise and excellent carving. Exaggerated fluting round the edge, forming a deep purfling bed. Notwithstanding the above peculiarities, workmanship is always that of a man sure of his ground. Tone of the small order, but clear and nicely mellow. Wood frequently without much figure. Originally varnished yellow or yellowish-brown, but age has turned it to an opaque light-brown, and not thickly applied - rather soft and elastic in texture. Best specimens valued at £50 (1925).
’Cellos invariably under normal length - 27 inches body length, but rather broad across the bouts. Style, workmanship and varnish all of the same character as exhibited on the violins. Though not having a fine eye for really artistic designing, instruments are never unprepossessing.
Branded on the back inside with his initials, surmounted by a thick cross N+C. Sometimes signed his name and date on a similar design - not at all pretty, as it is filled in with some clumsy tracery, the lines being drawn with a pen on the bare wood. Today’s price £85: ’cellos £125.
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Nathaniel Cross, maker
the George Inn, Aldersgate Street
London 1731
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Nathanaeli Crosso
Stainero, fecit
No 2417
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Viol d’amore in the Copenhagen Museum - ‘Nath Cross in pickdily near St. James Church London’.
Best instruments are those dated after 1720, Whereon certain modelling details of his earlier examples are modified considerably for the better.
See under ‘BARAK, Norman’.

CROSTON, J.
At Leigh (Lancs.) Amateur who appears to have achieved little.

CROWTHER, JOHN
Worked in London, 1760 to the year of death, 1810. Small productivity as he largely employed his talents in workshops of dealers, notably that of John Kennedy, therefore name seldom seen.
Three models - small Stradivarius of flat arching, Amati of medium arching, and Stainer of high arching. Average measurements - body length 13-15/16 inches, upper bouts 6-3/8, middle 4-1/8, lower 7-7/8. Ribs generally rather deep for an instrument so slenderly built. Contour not particularly noteworthy - upper bouts seeming too wide to be in proportion with the lower. Volute of scroll not treated with perfect graduation but throat ingeniously shaped. Bottom curve at the back of scroll rather overdone and tends to mar the should-be dignity of that important embellishment. One writer has aptly likened it to ‘a head with hair too long and curling up in consequence’.
The often-times perplexing labyrinth of graduation to and from the centre is most adroitly executed, and thoroughly Italian in style. Though inclined to be somewhat upright they have not been made to assume the usual stiffish appearance of those of many other English violins of same period. Purffiing has a slight originality - a kind of yellow between two brown strips instead of ebony. Belly wood frequently of wide grain; curly maple for back. Red-brown varnish of deep shade and excellent texture. Tonal quality not particularly sweet nor penetrating, sometimes rather uneven, and never strong. £80, 1959.
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John Crowther
Haughton Street
Clare Market 1760
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CROWTHER, JOHN
Son of the preceding. Worked in London, 1805-1820.
Some conveniently small-size violas known.

CRUCIANI, V.
Worked at Monte Vidon Combatte (Italy).
Highly arched, ordinary amateurish workmanship, without purfling, and thin varnish.
--------------------------------------------------------
Vincenzo Cruciani di Monte Vidon Combatte
lavoro questo violino nell’anno 1848
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(written)

CRUZ-ABRANTES, ANTONIO C DA
Established at Villa-Nova-de-Tazem (Portugal), 1925.
Particularly esteemed for guitars. Also made violins and violas.

CRUZ-MURA, ANTONIO JOSEPH DA
Worked at Porto (Portugal), 1867. Exhibited violins and ’cellos at Paris.
All details, principal or subordinate, ingeniously woven into harmonious ensemble. If he is not worthy to occupy the first-class carriage running along the violin-line with French contemporaries, we know not who is, and his more popular contemporaries need not be ashamed of his companionship. Tonal quality full of sunshine and strength. £100, 1959.

C. S. F.
brand of Ch. S. Ficker.

CSISZAR, GYULA
Born at Igrici, 1906. Pupil of Elek. Worked at Miskolcz (Hungary), 1926.
Cremonese modelling - picturesque application of varnish.

CSUTOR, SANDOR
At Budapest about 1880.

CUCHET, GASPARD
Worked at Grenoble (France), 1725-1730.
Workmanship passes along a track rather neatly. but outline and arching not felicitously modulated. Tone rather exasperatingly small.
--------------------------------
Fait par Gaspard Cuchet
à Grenoble
mil sept cent 29
--------------------------------

CUGLIA, FRANK
Worked at Cape Town (South Africa), 1908.
Violins, violas and ’cellos.

CUISSET, ARMAND
Born at Verviers (Belgium), 1892. Studied the violin at the local and Brussels Conservatoires, carried off’ first prizes at both institutions. Became interested in violin making and worked the two professions together. Gained invaluable experience in various Belgian and German workshops. Established own place of business at Verviers, 1919. Worked at Cannes, 1930. Finally at Brussels.
Furnished orchestral players of his country with violins in capital relationship to the models imitated. Workmanship maintains uniform art merit, and the usual commercial considerations of many modern makers are here placed in the background in favour of posterity. Modelling after the best examples of Stradivarius, Guamerius, Pressenda, and Guadagnini. Shades and style of varnishing as represented on those four models. Splendid orchestral instruments with a full and fresh tonal quality.
Though much employed in violin making and repairing, he fulfilled many important engagements in various symphony orchestras. One of the first violins in the celebrated Monte Carlo orchestra, 1926.
--------------------------------
Armand Cuisset
Luthier expert à Verviers
anno 1925
--------------------------------
Name autographed within an oval)
Branded ‘A. Cuisset à Verviers’ under breast.

CUMMING, ANDREW
Amateur violinist. Lived at Kirkcolm (Scotland).
Made 50 violins - somewhat crude designs and workmanship. Reddish oil varnish. No label. Signed (interiorally under bridge) ‘Handmade violin, home grown wood by A. Cumming’ - with number and date.

CUNAULT, GEORGES
Born at Paris, 1856. Worked with Sebastien Vuillaume and Miremont, 1874-1882. Obtained a ‘mention honorable’ at Paris Exhibition 1878. Established own workshop 1880. Retired to Villemomble 1915, but continued his art. Died 1941.
Violins, usually of large modelling, that must be allowed to hold highest rank. To assert they are unrivalled by those of any other modern Frenchman is not to be deemed an exaggeration. Every detail beautifully correct and most neatly finished. Outline and arching suggest Stradivarius, but here and there we notice certain little effective originalities. Scroll and sound-holes very splendid. Always a happy selection in wood. Reddish-yellow oil varnish applied in such a manner as to place his colour shading work on a par with Italians. At the Concours International de Lutherie ancienne et moderne’ at Paris, 1910, these instruments were arraigned against a Stradivarius, Guarnerius, and Guadagnini, and carried off first honours for sonorous tonal quality.
Specialist in regulating the bass-bar, and thereby claims to wonderfully ameliorate tonal penetrativeness. ’Cellos also have the necessary qualities of solo instruments.
-----------------------------------------
Georges Cunault
G.C Luthier
Rue Clauzel 6. Paris. - An 1893
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(autographed after the word ‘luthier’)
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G.C Georges Cunault
Luthier
21 Rue de Navarin. Paris - An 1908
G.C sometimes on the right.
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(£85, 1959)

CUNIN, ALBERT
Born 1865. Pupil of Paul Bailly. Worked for several firms at Mirecourt. Died 1890.

CUNIOT, PIERRE
Bow maker at Mirecourt, 1873-1884.
Achieved considerable popularity. Stamped ‘Cuniot’. Sticks generally of chocolate colour. £35, 1959.

CUNNINGHAM
Resident at Cambusbarron (Scotland), 1895-1924. Unaided by learned tuition, sacrificed much time to the art, and made few real errors. Very earnest modelling liberally treated to nice quality of varnish.

CUNY, FRANÇOIS
Worked at Mirecourt, 1740-1778. Marked his instruments as though emanating from Paris. Workmanship and design wholly commonplace. Thick yellow-brown varnish.
Branded ‘Cuny à Paris’ on the back.

CUNIOT-HURY, EUGÈNE
Born 1861. Son of Pierre. Died 1912. Hury is the name of his wife. Worked in rue Vuillaume, Mirecourt. Made first group of bows in 14th year, and straightway became a fully-fledged professional. Won several gold medals and diplomas of honour. Produced specimens of various grades in value. Copied all the well-known styles with equal success. Highest priced examples richly merit laudatory testimonials. Each bow doubly gifted with elasticity and strength. Even those purchasable at small expenditure will not be received with any semblance of a frown from any fastidious critic.
Business carried on by assistants, 1914-1920. £45, 1959.

CURLETTO, A.
Born at Turin, 1888. Pupil of Marchetti. Rather faithful representations of a Guadagnini, Pressenda, and Rocca. Refined workmanship adorns the various lineaments. Several shades of yellow to red varnish.
£90, 1959.
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Curletto Anselmo No. 165
Allievo di marco Marchetti
Premiato in Esposizioni e Concorsi
fece in Torino anno 1947
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(with C.A.T. - and signature)

CURTIS, WALTER W.
Worked at Stockton (California), 1830. Specialist in ’cello making. Attained splendid proficiency.

CUTHBERT, ROBERT
Worked in London, 1650-1670.
Viols and violins. Entire contour, with its rather flattish arching, has an assemblage of good points. No blemish of any kind in the wood. Prettily thick dark brown or reddish-brown varnish. £20.

CUTLER, W. R.
Amateur. Resident at Dunedin (New Zealand), 1924.

CUTTER, EDWIN
Born 1866. Carpenter. Resident at East Compton (near Bristol), 1925.
Modelling slightly original, ordinary workmanship and tone. Often wood of unusual type used for back and ribs.

CUTUGNO, GIOVANNI
Calabrian. Born 1894. Resident at San Benedetto del Tronto (Ascoli), 1930. Good Strad and Guarnerian modelling - oil varnish, yellow and golden-reddish shades. Exceptionally fine tonal sonority (according to testimonials from concert players) especially on the third and fourth strings. The maker occupied himself for several years with acoustical problems etc., to achieve this often elusive quality.

CUYPERS, JOHANNES THEODORUS (DE OUDE - the elder)
Born at The Hague, 1724. Died 1808. Jan (proper Christian name) has been styled the Stradivarius of Holland.
Modelling generally based on that of a Strad, but occasionally reminding of Gagliano. Outline rather well conceived, and the slight arching shows considerable ingenuity in graduation, broad and well extended rims, yet we miss that rhythmus of grace and proportion so very noticeable when viewing a Strad. Also examples of higher arching and of a contour rather clumsy-looking than otherwise, and seem rather constrained near the edges. Each instrument affords evidence of bold workmanship, but in absolute neatness he lacked the hand of a great master. Strong and heavy looking margins.
Sound-holes vary considerably (with terminal apertures rather small), some artistic, others not so. In later specimens they seem to be very slightly more pointed than in earlier ones. We have never seen an instance of a nervy hand in this important department, though we are not always enamoured with the shape. Scrolls always robust, deeply carved lengthy appearance, and seldom really elegant - in fact, often altogether ‘too heavy and big for its shoulders’. Volute of the later violins droops somewhat more than those of earlier date. A few speciments have lionheads. Always very substantially built of good wood - the backs often cut in slab fashion and generally of pretty figure. No especially outstanding merit in the purfling.
Varnish (never altogether flattering to his reputation) is mostly opaque and ochraceous - a yellow shade not particularly warm looking though apparently of good texture. We prefer the light brown and dark orange shades which are softer and more elastic. One or two known of deep red shade. Tone often rather sharp and powerful, generally dull when high-bridged, clearer and more penetrating when low-bridged, but never approaching the Italian in sweetness. Altogether a tonal quality not particularly commendable.
A few violas and ’cellos known.
Also built small-size cistres with round resonance box.
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Johannes Cuypers
Fecit s’Hage, Ao. 1769
------------------------------
Early dated ones sometimes written. Printed ones have decorative border.
Towards the end of his career he again wrote them, and stated his age thus: - ‘aetatis suae73’. Occasionally the name is Germanized and given as ‘Koeuppers’. Fabricated labels occasionally seen in certain violins -
--------------------------
Johannes Cuypers
Fecit in Haag, 1707
--------------------------
-----------------------
Johannes Cuypers
fecit s’Hage. 1720
-----------------------
The fluctuating standard of Cuypers’ work (some specimens being so much less propitiatory in appearance and tone) offers problems for experts to guarantee authenticity. Price today £100.

CUYPERS, JOHANNES BERNARD
Born 1781. Died 1840. Brother of J.F. Worked at The Hague 1805-1816.
Could not reach the ability of J.T. and has left but a slight distinctive mark on the character of Dutch art of his period. Workmanship and Amatese contour often warmly eulogised. Scroll well drawn back and deeply fluted. Broad peg box. Sound-holes rather roughly finished. Very effective brownish-yellow varnish, though not greatly transparent. Clear tone but not much power or exceptional quality.
--------------------------------
John: Barnardus Cuypers
fecit s’Hage 1810
--------------------------------
Not always labelled - rame sometimes merely inscribed in ink where label usually goes.

CUYPERS, JOHANNES FRANCIS
Born 1776. Died 1828. Second son of J.T. Worked at The Hague and Amsterdam. Entered an attorney’s office to please his parents, rather than follow the profession for which, as a boy, he showed an inalienable predilection. However, he managed to relieve the monotony of copying legal documents by stealthily practising wood-carving and making parts of violins. Soon felt it must be his primary pursuit, and law but a secondary following, so disobeyed parental injunctions and went to Amsterdam (in 17th year) as a violin maker. Returned to The Hague 1823.
Stimulated his ambition to copy the Italian masters and succeeded admirably, except that the edges are over-thick, and the corners slightly long. Workmanship shines out most creditably, particularly in the purfling. Unfortunately the majority of his instruments are built too heavily for absolute freedom of tone. Varnish (of reddish-brown shade) is rather calculated to fascinate one.
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Joannes Franciscus Cuijpers
fecit s’Hage 1783
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Johannes Franciscus Cuypers
fecit Amsterdam. 1811
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CYRANO, MARCEL
Made by Georges Apparut at Mirecourt.
----------------------
Marcel Cyrano
Paris 19. .
Reproduction de
Nicola Amati
Cremona 16. .
----------------------
(Copper-plate lettering, with signature and number).
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Marcel Cyrano
Paris 19. .
Reproduction de
Jose Guarnerius
Cremona 17. .
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CZYZ, JAN
Worked at Krasnobrod (Volhynia, West Russia) 1880-1912.
Name seen in a violin of rather pronounced curves (particularly lower bouts), thin edging, shallow ribs, Guarnerian sound-holes (but slightly less slanting), scroll with non-attractive originalities, and dull yellow varnish.
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Jan Czyz
30 Krasnobrozie 18. .
-----------------------------