DARLITZ, J. GOTTFRIED
Worked at Tapiau (East Prussia), 1850-1899. Eapellmeister and conductor, who, as an amateur, attained remarkable efficiency in violin and viola structures.
Workmanship withstands any fastidious criteria. Long modelling with nice avoidance of the extreme. Sound-holes strongly reveal Stainer influences. Deeply cut scroll, but an exposition without extravagance. Wood sufficiently strong, and prettily marked. Yellow-brown varnish of good quality, but not of mirror-like transparency.
------------------------------------
J. G. Dblitz
Musiker und Geigenmacher
Tapiau 1881
------------------------------------
(Lithographic)
DABOLL, L. NORMAN
Worked at New London (Connecticut), 1894-1925.
DABROWSKI
At Warsaw, Poland, before first world war.
DAENIKER, HEINRICH
Established at Berne (Switzerland), 1925. Presented well-constructed instruments at Geneva Exhibition, 1927.
Stradivarian and Guarnerian modelling - golden red and orange red varnish. Violins not without many advocates in his country.
------------------------------
Heinrich Daeniker
Fecil Bernae 1922
Tonlich Umgebaut von
Heinrich Daeniker
-----------------------------
(Coat of Arms - decorative border).
Translation: tonally reconstructed by H.D.
DAHL, MATTHIAS M.
Born in Norway, 1888. Took an interest in violins from infancy - made his first violin at the precocious age of seven, being unusually talented with tools in the art of woodcraft. Went to the United States and studied the finer points of delicate work under H. P. Blakkestead (Minneapolis). Subsequently worked for the Blakkestead Music Company. Still active 1949. Made a thorough study of regraduating, arching, and particularly varnishing.
Took the usual interest in following out the Stradivarian model as closely as possible, and shows from what simple materials and means beautiful workmanship may be produced when taken in hand by one who knows how to use them to good account. Sound-holes, scroll, and purfiing done splendidly. Whole contour so harmonious that it could not have been thus represented without great knowledge of what art can effect, and without a skilful hand to apply that knowledge. Colour of varnish is Venetian red, shading from light to dark tints, together with an excellent filler which adds considerably to the tonal qualities.
Produced about three violins yearly. Instruments built for the future, and as such, in that rosy time for tone-maturity his productions will have a significance far beyond that of an ordinary orchestral violin.
--------------------------
Matthias M. Dahl
Minneapolis. Minn.
1926
--------------------------
DAHLBERG, ALFRED
Born 1871. Amateur at Klippan (Sweden). Won bronze medal at Stockholm, 1925. Satisfactory modelling, brownish or red varnish. Signed interiorally on the wood.
DAHLN, FRANS W.
Born at Dalsland (Sweden), 1871. Built first instrument 1884, when following the trade of carpenter and cabinet-maker. Seriously studied constructional art 1890, All specimens up to the year 1920 more or less in the nature of experiments of different original designs. Settled at Goteborg 1920.
Finally adopted Stradivarian and Guarnerian modelling for violins and cellos. Produced about ten instruments annually. Golden-red and reddish-brown shades of oil varnish imported from Italy and other countries. Splendid designs with no modification (except a tendency towards medium-arching) from the clearly-traced and tried path of his prototypes. Workmanship dictated by the forces of refinement. Scrolls and sound-holes contribute dignified gracefulness to the whole contour. Corners approached ingeniously. Purfling aptly harmonises with the slightly pronounced edges.
Clear and warm tonal quality almost of Italian persuasiveness. Patronised by cultured amateurs in Prussia and France. Gold medallist at Stockholm Exhibition, 1925. Many quartet players and those of the symphony orchestra use his instruments.
Also built a few replicas of well-known Strads.
--------------------------------
Franz Waldemar Dahln
Violinbyggare
Gtebor Anno 19. .
--------------------------------
----------------------
Frans W. Dahln
Violinbyggaren
Gteborg
Landsvgsgat s.
1926
---------------------
DAHLGVIST, FRITHIOF
Born 1874. Amateur at Soderbykal (Sweden), 1920. Produced about 50 violins. Ordinary modelling, varnish and tone.
DAHLGVIST, J. E.
Born 1902. Son and pupil of F; also of Gartner (Stuttgart) and Lindholm (Stockholm).
Excellent modelling; generally Stradivarian. Spirit and oil varnish - sapient knowledge in the application of it.
DAHLISTROM, NATHANIEL
Born 1870. Amateur at Skvde (Sweden).
Modified Stradivarian modelling. Dark brown varnish.
----------------------
Nath. Dahlstrm
Anno 19. .
----------------------
(dotted border)
DAILING, P. J.
Resident at Longan (Kansas), 1925.
DAILLANT
French. Period assumed to be 1710-1730.
Modelling does not altogether correspond with elegance and exactness. Recalls that of a Claude Pierray, though it has a slight feminine delicacy not always observable in the other. Painted purfling, unworthy of even this somewhat ordinary outline. Yellow-brown yarnish, thick and muddy.
Branded Daillant. No place or date furnished.
DAL CANTO, G.
Born at Gemenos (Mouth of the Rhne), 1902. Went to Italy in early years.
Violins, cellos and guitars - good workmanship without distinctive features - varnish of excellent texture.
---------------------------------------------
Giustino Dal Canto
in Castelfranco di Sotto (Pisa), 1949
---------------------------------------------
DALGARNO, THOMAS
Worked at Aberdeen (Scotland), 1860-1870.
Made about 20 violins, built according to the principles of Otto, and therefore generally too thin in the wood to allow tonal improvement as time progresses. But though we doubt their utility for present-day purposes, we must not do the maker any injustice by asserting that they are devoid of fair elegance in style and workmanship. Tone certainly nice and moderately sweet, but strong playing soon wearies it. Spirit varnish of a yellow tint not indifferently laid on.
-----------------------
Thomas Dalgarno
Aberdeen, 1866
-----------------------
(written)
DALLA COSTA
see COSTA.
DALLAGLIO, GIUSEPPE (1)
Worked at Mantua (Italy), 1723-1775. Probably the father of the one below, unless the instruments (not especially conspicuous for fine workmanship) are spuriously dated, and may be the early productions of the son.
-------------------------
Giuseppe dallAglio
fecit Mantue. 1723
-------------------------
DALLAGLIO, GIUSEPPE (2)
Worked at Mantua, 1795-1840.
General build resembles that of a Camilli or a Peter Guarnerius, but occasionally (usually dated round about 1803 and 1817) there are specimens of flatter arching. Honestly sincere workmanship, but not particularly distinctive. Somewhat straight sound-holes. Scroll frequently rather clumsy and heavy looking. Body length, 35.8 cm. Had a particular fancy for nearly always using wide-grain spruce for breast, and a partiality for one-piece backs usually of broadish figure, but sometimes rather plain. Various shades of varnish - dark red, golden brownish red, light brown, and a bright yellow not too sensationally startling to offend the eye. Evenly strong and penetratingly silky tonal quality which must get richer as the years pass.
Specimens varnished golden brownish red are supposed to be his best. Modelling approaches nearer to the Stradivarian. Table wood also of finer grain.
Cellos somewhat in the style of a Peter Guarnerius. Splendid double basses of grand pattern - thick red varnish.
-----------------------
Joseph DallAglio
fecit in Mantuae
Anno 1814
-----------------------
(decorative border)
----------------------
Joseph Dalaglio
fecit in Mantuae
Anno 1824
----------------------
Some earlier dated labels written. Todays prices 300 to 450.
DALLEMAGNE, PIERRE (Senior)
Worked at Mirecourt. Died 1739.
Fed the hungry multitude with quickly-made violins, which aptly represent mediocre work. Yellow-brown varnish, hard and without gloss.
Branded P. Dallemagne.
DALLEMAGNE, PIERRE (Junior)
Worked at Mirecourt. Died 1748.
Design accomplished with a shade more sobriety than that of father. Tonal quality also a little less paralytic. Similarly branded.
DALLE MOLLE, G.
Born at Vincenza, 1876. Cabinet-maker and sculptor. Amateur. Lived at Genoa and Rome.
Made several splendidly worked violins. Oil varnish with a delicate resinous ground.
-----------------------------
Dalle Molle Gregorio
Costrui 4 Maggio 1938
Genova
-----------------------------
(written)
DALLINGER, SEBASTIAN
Worked at Vienna, 1768-1809.
It is pleasant to record the fact that he was one of those Viennese makers who increased his reputation by a liberality of design, and did his share toward the development of national habits in violin-making. Though many of us have a preference for the Italian school, we cannot escape being rather impressed with these freely designed (though having certain characteristics of Thir and Stainer) instruments. Advanced Guard of the workmanship carries a banner to which any prejudice (which might have been previously entertained) must capitulate.
Model of narrow dimensions with rather high and full arching, but nothing forced or unnatural - no sudden bulging as we sometimes see in specimens of the Stainer school. Sound-holes, typically Stainerish, have a perfect swing, which is extremely pretty. Purfling not always neatly done, particularly in the corners. Scrolls (some having lionheads) always of pear-tree wood - carved with acceptable artfulness. Varnish usually a dark brown without much fire - also used an old-looking one of yellow tint - the latter considered to be his best, instruments having reached prices almost double of the first-named. Sometimes back and ribs varnished slightly darker than the top. Splendid wood accoustically, top usually of strong grain, but not always pretty kmaterial for back. No illiberality of sweetness in the tone, and generally good enough and strong enough to meet the requirements of those soloists not in financial position of being able to purchase a Cremonese specimen. Altogether these instruments can manfully stand up to criticism that some experts indulge in.
Sometimes branded on back.
---------------------------------
Sebastian Dalinger
Lauten und Geigenmacher
in Wien. 1783.
---------------------------------
(thick lettering - German style)
--------------------------
Sebastian Dalinger
Viennae. anno 1806
--------------------------
--------------------------------
Sebaitian Dalinger
fecit Viennae. Anno 1774
--------------------------------
Sometimes name given as Dallinger, Dalmiger and Tallinger.
Also produced many cellos on which he exercised every bit of skill he possessed. Instruments eagerly sought for because of a somewhat remarkable warm sonority of tone.
DALLOGLIO, DOMENICO
Born at Padua, 1701. Youthful years passed in mechanics. Subsequently studied violin playing and violin structure. Went to Russia and became director of the Royal Orchestra at St. Petersburg, 1735-1763. Died at Narwa, 1765.
Amatese style of modelling, but less accurate and graceful. Adopted the Bagatella principles (feverishly caught the idea while living at Padua) of thicknessing etc. Not consistently judicious in the selection of belly wood. Varnish only faintly representative of the Cremonese. Sweet tonal quality, but lacking in celerity of emission.
Also produced lutes of more estimable qualities.
DALLONGARO
see ONGARO.
DALTON, B.
At Leeds, Yorkshire. Little known 19th century maker.
DAMBROSIO
see AMBROSIO.
DAMORE
see AMORE.
DANA, ALFRED
Worked at Worcester, U.S.A., 1870-1893. Established a reputation that stamped him among the foremost of American makers.
Workmanship altogether excellent. Also careful to use good varnish, and knew how to judiciously apply it. Connoisseurs testify to the exceptional tonal value.
DANIEL, CHARLES
Born at Mirecourt. Established workshop at Marseilles, 1762.
Usual flat model of the Mirecourt violin. Bold scroll, well shaped sound-holes, and purfling near edge. Splendidly marked wood, varnished yellow red. Highly finished workmanship of its kind.
Branded where label usually is - with second line on the slant.
-----------------
C. Daniel
A Mirecourt
-----------------
DANIEL, EDMOND
Son and pupil of C. Worked for Gand at Paris, 1815. Later at Marseilles. Violins of fairly smooth workmanship. Some models highly arched. Neat purfling. Splendid warm-looking yellow orange varnish.
---------------------------------------
Edmond Daniel Luthier
5 rue Paradis, Marseille. 1848.
---------------------------------------
DANIELI, JOANNES
Worked at Padua, 1745-1785. Became follower of Bagatella.
Whole contour exhibits a fine sense of accurate modelling. Light orange varnish of sober tint - but neither the power or the mellowness of tone has much influence on a soloists sensitiveness. 40 (1925).
--------------------
Joannes Danieli
fecit Patavii
1745
--------------------
-----------------------------------
Danieli e Bagatella
fecerunt Patavii. Anno 17. .
-----------------------------------
DANIELS, GEORGE WILLIAM
Worked at Boston (U.S.A.), 1880-1889.
DANKWART, BELIZAR (Belisaire)
Worked at Warsaw, 1602-1608. Reputed to be the finest maker of his period in Poland.
Model has strong reminiscences of the Brescian school, and impresses connoisseurs. Workmanship has that delicacy of touch which a maker of critical capacity displays. Happy pose and picturesque vigour characterise the scroll, Similar excellent traits apparent in the sound-holes. Very thin dark red varnish, of a peculiar fascination which engraves itself indelibly on the memory. Wood, unfortunately, too thin, but tone comes up to the standard of ordinary requirement. Several unscrupulous dealers have inserted Italian labels in his instruments. Polish players like sweet and small-tone violins, and to this, more than to anything else, lies their remarkable popularity in that country.
DANOTA (DANATA) BATTISTA GIOVANNI
Worked at Cremona, 1710-1735. Gagliano characteristics.
---------------------------
Gio. Battista Danota
fecit Cremona, 1728
---------------------------
DARBY (DARBEY), GEORGE
Born at Taunton (England), 1849. Worked at Bristol, 1882-1920.
In the making of his violins he did everything entirely with own hands; and to the fact that he was a violinist as well as a maker, must be ascribed much of the splendid tonal results achieved. Aimed at keeping pace with public standard - a standard gradually growing away from the old methods of draughtmanship of several English makers. Out of this, he wrought many masterpieces that rival the work of Frenchmen and brought him on the high road to winning fame on the continent.
Not the slightest lapse from artistry impeded the interpretation of his conception of what he should do in imitating the model of a Strad. Had a preference for this outline and arching, etc., but equally successful with those of Guarnerius, Amati, and Gagliano. His genius magnetised a popular interest to circulate around his productions, because he always bore in mind that the violin-maker is an artist only as far as every line he shapes has the intention of forming beauty and responsiveness of tone.
Used an orange red varnish mostly, almost old Italian in appearance, and applied it with that discrimination aided by experience which must accompany success. Instruments plentifully wooded with finest material. Adopted none of those abominable processes of chemically or heating the wood and thus close up the portals of a future tonal edifice with a bang. Achieved magnificent results in tone - a tone that might make some of us look to the future and not always the past for our solo instruments.
It is not such a daring expectation to look for some advance in things that go beyond this present horizon. Are we to suppose there will be no Stradivari of the future? No similar inspirations of culture and cleverness that produced the Cremonas? Let him say so who has the sublime egotism to believe it. For our part we think that Darby will reach that Parnassus of fame if his work is not obscured by the prejudiced opinions of connoisseurs against English violins.
----------------------------------------
George Darby. Cremona House
Bristol. Anno 1902.
----------------------------------------
(bold lettering)
With G.D. double circled; autographed; and dated Jan. 1902. Darbey on some labels. Also made superb bows - perfectly balanced affairs that make virtuosi revel in their displays of fanciful bowing. Sarasate and Wilhelmj used them.
DARCHE, CHARLES CLAUDE FRANCOIS
Born at Mirecourt, 1820. Studied with and worked for N. F. Vuillaume at Brussels. Established own workshop 1854 in that city, and died there 1874.
Instruments (generally of the Stradivarian modelling) in which we get all the association of the graceful, all the academic correctness, and refinement in workmanship. Material often subjected to a chemical process. Hard varnish of poor quality, thus participating in the common fault of the modern Belgian school. Tone often very dull, and lacking in depth and force.
Exhibited a satisfactory quartet of instruments at Munich Exhibition, 1854. Also a cello which had occupied two years of his time to successfully restore.
This was an Amati dated 1547 which had belonged to Charles II of France, and was handed over to Darche literally in fragments.
Modelled and constructed a Violin mentonnire, 1854. This is curved on each side of the button in such a way as to render it less liable to slip from under the chin of the player.
------------------------------
Fait par C. F. Darche
Luthier Bruxelles. 1854
No. 57.
------------------------------
--------------------------------------------------
No. 66
Carclinus Claudius Darche C/C
fecit Bruxellis anno Domini, 1855 F/D
--------------------------------------------------
DARCHE, HILAIRE
Born at Brussels, 1862. Son of Joseph. Pupil of Gaillard at Mirecourt, and Nicolas (ain). Established in Brussels, 1886. Worked alone until 1894, then started the firm Darche Frres (brother a piano-maker). Received the decoration of Chevalier of the Order of King Lopold. Appointed maker to Brussels Conservatoire. Died 1929.
Reproductions of the Italian models are the salient features of his work, and offer a chance to obtain mementos of celebrated violins which have something besides the mere mechanical exactness to recommend them. Workmanship charged more or less with the personality of the craftsman, according as he may have inclined toward literal fidelity to the originals or a freer and bolder handling. Splendid oil varnish of various tints. Fine orchestral instruments, and those players who wish to own a violin of easy responsiveness will find their desire gratified by one of these, which may be truthfully said to embody the highest progress made by any Belgian and incontestably excel any other of the modern school of that country.
-----------------------------------------------
Hilaire Darche. Luthier
du Conservatoire Royal de Bruxelles.
LAn 19. .
-----------------------------------------------
Also branded. 90, 1959.
DARCHE, JOSEPH
Brother of Charles Franois. Born at Mirecourt, 1825. Worked at Brussels, 1850. Died 1867.
Excellent instruments somewhat of the character and style of aVuillaume.
DARCHE, NICHOLAS
Born at Mirecourt, 1815. Brother of Joseph and Charles Franois. Worked for N. F. Vuillaume at Brussels. Established at Aix-La-Chapelle, 1840. Died 1873. Made more than 1,000 instruments.
Early Specimens justify his artistic ambition - workmanship skilful, Also had that kind of intuitive feeling of arriving at the tone specially suitable to each different model, and in every instance remarkably pure and responsive. Followed the models of Stradivarius, Guarnerius, and Maggini. Used a very thick red oil varnish of fine texture.
Charged (in 1840) about seven guineas for his instruments - a ridiculous price considering their superior order of construction. Exhibited these instruments at Frankfurt in 1842, and claimed to innoculate (in some secret way) the exact old tone of each model replicated.
----------------------
N. Darche lutheir
Aix la Chapelle
1846.
----------------------
Subsequently gave way to disturbing and frequently lengthy periods of alcoholism. During the sixties his work degenerated to the common Mirecourt type with brown varnish. Ultimately purchased violins in the white from French factories and only varnished them. Finally gave up the business altogether, and drifted to a paupers grave.
---------------------------
Copie de
Jiovani Paolo Magini
Brescia 1715.
---------------------------
Some of the Darche family at Brussels have used similar labels. Made in his young days, some splendid bows. Stamped N. Darche x Bruxelles.
DARCHE, PAUL
Born 1846. Son and pupil of C.F. Worked at Brussels. Died 1881. Made many instruments considerably esteemed by Belgian players.
DARIO, VETTORI
Born 1903. Pupil of Contavalli. Resident at Firenzuolo (Province of Florence). First instrument made in 1936. Stradivarian outline and arching, Guarnerian sound-holes.
---------------------------------------------
Darius de Vectoriis
discipulus
Primi Contavallorum
faciebat Florentiolae (Pr Florentiae)
A.D. 1946.
---------------------------------------------
Instruments bear the motto Fac me tecum pie flere donec ego vixero.
DARRACUTT, DR. WILLIAM
Born 1799. Died 1868. Worked at Milford (New Hampshire), U.S.A. Followed profession of dentist, also had a shop where periodical auction sales of pianos took place, in which he had assistance of two sons.
Well-known as a maker of a few interesting three-stringed bass viols. Also made a few sweet-toned violins. Workmanship quite superior for that early American period.
DARRAGH
Catalogued at 16 by George Withers (London, 1890).
Bearing inside on the back:
----------------------------------------------
This violin was made by
Mr. Darragh of Lausanne
Switzerland in the year of our Lord
1743.
----------------------------------------------
DARRINI, ANTONIO
Worked at Cremona, 1746-1757. Modelling of small proportions, outline prefigured by the Amati. Sound-holes and scroll appropriately shaped to suit the general scheme. Reddish-brown varnish of warm looking quality. Tonal quality, though sweet, only slightly reminiscent of the Amatese richness.
---------------------------
Antonio Darrini
fecit Cremona 1750.
---------------------------
DARTE, ANTOINE
A maker not especially appointed to represent the highest art in design or workmanship.
Scarcely possible not to perceive the commercial element surrounding the whole structure. 6.
-----------------------
Ant: Darte
Mirecourt
Anno 1891 No3.
----------------------
DARTE, AUGUSTE
Worked at Mirecourt from 1865. Died 1892. Pupil, son-in-law, and successor of N. Vuillaume. Entitled to a conspicuous place among the many productions from that town. Worked several years with J. B. Vuillaume.
Stradivarian modelling nicely typified in outline and sound-holes. Arching a shade more pronounced. Scroll not purely emblematical of fine workmanship. Other details generally well done though not superfinely. Spirit varnish of a clear and bright yellow shade. Tonal-quality fulfills the ordinary demands of orchestral players.
----------------
Fabrique de
A. Darte
Mirecourt
----------------
Branded Darte on the interior and on button.
Brand-mark acquired by Deblaye and Meunier at Mirecourt, 1925, and many instruments thus branded emanate from their factory.
DASSIGNY, JACQUES
Bow-maker at Mirecourt, 1750-1780. 30.
DASS
Label in common trade fiddles.
-------------------------------------------------
Jogin Chunder Dass
Seller & Violin repairer
11 Lower Chitpore Road. Terite Bazar.
-------------------------------------------------
Also a second label:
-----------------------------
Senty Vanta. Carmma.
-----------------------------
DAUDET, LOUIS
Worked at Versailles (France), 1781. Repaired the instruments belonging to Louis XVI.
-----------------------
Repar par
Louis Daudet
Versailles, 1781.
-----------------------
DAUM, CARL MATHIAS
Born 1825. Son of Mathias. Died 1870. Worked at Wiener-Neustedt (Austria). Gained experience in several workshops in Austria-Hungary. Workmanship maintains a good standard in artistry. Had a perseveringly industrious naturc, and was rather prolific, notwithstanding that his career suddenly terminated in 45th year, thus being deprived of reaching the full maturity of undoubted talent.
DAUM, CARL WILHELM
Born 1860. Son and pupil of the preceding. Worked at Pressburg, 1888-1889; at Wiener-Neustedt, 1902; and at Barmen, 1906. Derived some advantages from the fathers experience, but by no means to the extent that might have been anticipated.
Workmanship shows no superior handling except the rather minute characteristics of the scroll.
----------------------------------------
Carl Daum
Musik-Instrumenten-Erzeuger
Pressburg. Schondorfergasse.6.
----------------------------------------
DAUM, MATHIAS
Born 1789. Died 1855. Worked for Ertl, and for Stadlmann. Established at Wiener-Neustedt. One of the best makers of his time in Austria.
Outline quite pretty - arching in splendid accordance with accurate grading. Purfling not unimpeachable in neatness. Sound-holes magnificently drawn, in fact as perfect as the hand of man can ever hope to achieve. Selected the finest wood procurable - prettily-figured backs covered with a fairly excellent quality of varnish. Tone very equal with considerable force. Altogether very attractive instruments, not only for connoisseurs but also to workers in search of an exemplary model to imitate.
Name sometimes given as Thaum.
DAURIA, A.
Worked at Marseilles, 1908. Violins, violas and cellos.
Workmanship modestly unfolds some of the Lupot traits. Transparent varnish of various tints. In the hereafter justice might be accorded to these refreshingly-toned instruments.
DAVENIA
see AVENIA.
DAVENPORT, F. E.
Worked at New York, 1908-1914. Fortunate, in early years, in being apprenticed to George Gemunder, and ably seconded the labours of his liberal-minded teacher. Not a professional maker, but made some of the most interesting Italian models that have as yet fallen to the connoisseurs pen to describe.
Superb workmanship, to be esteemed almost as much as that of the almost deified progenitors of the Cremonese school. Attained astonishing tonal results - a healthy and strong tone without being absolutely new - that penetrating kind of clarity which will be raved over by its posterity. Rich varnish, amply applied, adding beauty to all parts of the magnificent arching and scroll.
Being a very capable violinist, the maker had the soloists conception of tone, and enthusiastically strived to achieve, that desirable quality.
DAVID
Worked in Paris, 1730-1746. Supplied and repaired instruments for the band of Louis XV.
Writers on violin-makers enjoy a privilege in the freedom of their vocabulary of ideas, though it is sometimes difficult to prevent the intrusion of a personal element. It is not always the beautiful, or the appropriate, with which they have to deal; but it is necessary to comment on the more or less successful attainment of every degree of workmanship, from the utterly indifferent and unworthy, through the tortuous paths of mediocrity on and on to the open verdure of cultivated application. They have occasion to repeatedly refer to names that have brilliantly run along the art-road, and reflected lustre upon the pursuit of that art. They also have to chronicle (with enthusiasm) and congratulate living makers who emulate the fame of their models. But they are also reluctantly compelled from time to to time to call attention to some makers who perpetrate outrages on the artproperties which should regulate all men who practise the profession.
David has the misfortune to come within the limits of this latter sphere - a man who had not the slightest inspiration for the work he undertook - a man who has practically lost his footing in that Marathon race into posterity. Entire appearance of instruments commonplace in the extreme. Workmanship displays his unfitness for such accurate and delicate craftsmanship. Golden yellow varnish of fair quality - the only redeeming feature on ordinarily plain wood which is also not acoustically good. Tone places these violins in the somewhat isolated position so far as the old French school is concerned, of being valued at 10 or less.
DAVID, CLAUDE JOSEPH
Worked at Dijon (France), 1851.
Another maker who permanently damaged his reputation by indifferent workmanship - therefore his few instruments can never rehabilitate any place other than a very lowly one in the regard of present-day purchasers.
DAVIDSON, KAY
Worked at Huntley (Scotland), 1859-1875.
Subordinate member of the violin-making art-world. Unintentionally treated with disrespect all the finer details of workmanship. Loud tone unfortunately tinged with harshness. Did not produce many instruments.
DAVIDSON, PETER
Born at Speyside (Scotland), 1834. Migrated to the United States, 1886. Died there, 1901. Reputed to have dabbled in occult science and to have made magic mirrors. Had a mind steeped in mysticism and Oriental lore.
Made a fair number of instruments on the Stradivarian and Guarnerian models. Characteristics rather faithfully depicted. Workmanship sufficiently good to bring it under the approbation of cultured collectors. Generally reddish tinge oil varnish of own preparation.
Author of The Violin: a concise Exposition of the general Principles of Construction, theoretically and practically treated. (Pitman, 1871).
Passed through four editions. A sententious method of instruction, explained by a reflecting genius exercised in the school of experience, comprising such observations apprehended to be most essential to the violin-makers progress. But the manner is rather assertive (though some parts of uncommon force and authoritative), and he tries to command and compel instead of persuade. Also occasionally stepped into extravagant and erroneous paths in matters relating to acoustics and varnishing. However, there are many allusions, comparisons, and precepts well worth the approbation of serious students, also perhaps worthy of being digested and practised by experienced makers. He has certainly conducted his conclusions by a non-circuitous bton, and this fact has at least a desirable attraction.
Other publications of his include:
Scintillations from the Orient.
Celestial and Terrestrial Fire.
The Philosophy of Man.
Also a composer of Scottish dances, and a violinist of fair attainments.
Advertisement which appeared in the London and Provincial Music Trades Review, 1833: Very important to all musicians. A ten-guinea Violin given away gratis! To every subscriber to the Caledonian Collection of Strathspeys, Reels, Jigs, Slow Airs, Songs, Hornpipes, Waltzes, Polkas, etc. composed and arranged for the pianoforte, or violin and violoncello, by Peter Davidson. Author of The Violin etc., and Honorary member of the Poonah Gayan Samaj Musical Society, etc., etc.
The author will issue a beautiful photograph of Burgie Castle, Morayshire - taken by him expressly for this purpose - upon which a Number will be imprinted, this serving as a Coupon, which will entitle each subscriber to a participation in the Drawing of the above Prize, viz: - an old Tyrolese (oil varnish) violin, a copy of a Joseph Guarnerius, fecit Cremonae, anno 1720 I.H.S., being of magnificent wood, workmanship, tone, and brilliancy, and unanimously valued by judges at ten guineas. The violin will be delivered gratis to the holder of the winning number.
DAVIDSON, WILLIAM
Born at Muckhart (Scotland), 1827. Worked at Edinburgh. Died there, 1902. Made a large number of instruments generally on Stradivarian principles. Workmanship offers little dissatisfaction though attaining no conspicuous heights of artistry. Tone not to be snubbed even by fastidious amateurs. Amber varnish of yellow or dark red shades.
-----------------------
William Davidson
Edinburgh 1892
-----------------------
(written)
DAVIDSON AND LYMINGTON
Patented a process of The Application of Heated Currents to Manufacturing and other Purposes. As applied to drying the wood of violins some curious discoveries were commented upon in a Book of Inventions recently coming under our notice.
One violin subjected to this process lost in eight hours no less than five-sixths (nearly five and two-thirds) per cent of its weight. This, conjecturally, was chiefly owing to the inside blocks and other fittings not being sufficiently seasoned, or divested of moisture.
In another instance, a violin-maker of the highest reputation received a commission to make an instrument, with the proviso that the wood should be seasoned by this new process. Only three days were allowed for the experiment. Then it was found that the two heaviest pieces were reduced two-and-a-half pounds in weight, which is equal to two pints of water. The wood had been in the possession of its owner eight years, having in the first instance been sent from Switzerland as dry wood.
DAVIGNON, JOSEPH HENRI
Born at Marieville (Province of Quebec), 1865. Made interesting scientific researches into the particular individual sounds of various woods. Lived at Holyoke (Massachusetts), 1889-1907, and built first instrument there. Established at Montreal, 1908 - working there 1930, assisted by son Rodolphe.
A man who has daily risen with hopes and lofty aspirations - and so the wheel of his life has been steadily going round until about 800 instruments (including a score of cellos) have been constructed. Splendid specimens which amateurs and professionals are only too pleased to have in possession. With a mind rich in ideas, a taste in accordance with the best examples of Italian art and mature handling of tools, he made a speciality of modelling replicas of famous violins excepting Stainer. Applied a beautiful oil varnish of varying shades.
-------------------------------------
Made by
J. H. Davignon
No. 635 Montreal. Juin.1919
-------------------------------------
DAVILON
Violinist in Parisian theatres, 1817-1830. Neat models of an Amatese-Strad - workmanship flawless - orange red varnish - strongly wooded, thus offering potentialities of futuristic maturity.
--------------------------
Fait par Davilon
rue Saint-Denis 160
Paris, 1822
--------------------------
DAVINI, GIUSTO
Worked at Lucca (Italy), 1870-1896.
Copies of a Strad and Gagliano. Not impressive workmanship, but well varnished, and sound well.
DAVIS, A. W. E.
Born at Hove, 1901. Resident at South Kensington.
First instrument dated 1940. Guarnerian modelling and golden brown varnish.
-------------------------
Arthur W. E. Davis
S. Kensington
London, 1948
------------------------
(written)
DAVIS, FRANK
Born 1902. Studied (in 7th year) the violin. Became an electrical engineer. Resident at Fairmont (Virginia) when violin-making attracted him, 1940. Satisfied his enthusiasm by comfortably perfecting his hand ingenuity under the guidance of G. M. Francois.
Strad and Guarnerian modelling. European woods and oil varnish.
DAVIS, MILTON R.
Born at East Aurora (New York). English parentage. Studied the violin with Harry Braeder, and became a professional violinist. Settled at Grand Rapids, Michigan. Self-taught in violin-making. Made first instrument 1890 at Lincoln (Nebraska). Produced 120 up to the year 1927.
Model usually Stradivarian or the Guarnerian. Regarded locally as the modern Vuillaume on account of his minutely-worked imitations of a violin submitted to him for that purpose. Workmanship of a high grade, arching and sound-holes all conforming to a harmonious whole. Scroll shows his comprehension of the artistic - also varnished to imitate the old masters, and has been particularly successful in this speciality. Tone large and responsive, also having a quality appreciated by good players.
Named his shop The Cremonatonian.
-------------------------
No. 110
Milton R Davis
Strad 1717-1926
-------------------------
(greenish paper, gold lettering)
DAVIS, RICHARD
Born 1775. Worked for Norris and Barnes, London. Died 1836.
Made a few violins of commonplace type, often having a shrill tone. Had a good reputation as a dealer in old instruments.
DAVIS, SAM
Born 1873. Resident at Homestead (Florida), 1936.
Violins dominated by Stradish attributes - violas (own model) of 16-1/2 inches body length; cellos (body length 30). Some of American woods. Varnish of own formula.
DAVIS, WILLIAM
Born 1790. Nephew of R. A London dealer in old instruments. Engaged Maucotel and others to construct violins etc. for him. Died 1849.
DAWES, JESSE
Born 1904. Resident at Longhope (Gloucestershire), 1924.
Stradivarian modelling slightly modified. Breast slightly flatter than the back. Sound-holes incline Strad-fashion, but with lower wings more hollowed out. Corners rounded from the outside to the inner angle. Finely shaped feminine scroll. Oil varnish of red or golden yellow shades. For these he made the modest charge of ten guineas (1925).
One of the best-endowed and conscientious of the younger British school. Visualised and accomplished pure art design. Workmanship never departing from flawless smoothness. Healthily strong tone, affording players the pleasureable anticipation of a rapidly advancing maturity.
------------------------------
Made by
J. Dawes. Violin Maker
Longhope. Glos.
No. A.D. 19. .
------------------------------
Each instrument autographed on the back and below neck block.
DAWSON, WILLIAM
Working at Toronto (Canada), 1912-1916.
Assisted by sons.
DAY, JOHN
Born in London, 1830. Violinist. Pupil of De Briot. Soloist on Julliens provincial tours with his orchestra. Soloist at the London Philharmonic, and provincial Festivals. Also a capable organist. Died 1905.
Made a hobby of violin-making for many years. Modelled a few instruments on the Guarnerius he played on. Claimed to have perfectly reproduced the Cremona tone as well as the form. Ideal workmanship looks us full in the face. Sharply cut sound-holes without the tiniest blemish. Light browp varnish charmingly bringing out the beauty of the wood.
---------------------------------------
John Day. Londoni. Mus. Doc.
Violinist in Her Majestys
Private Band. fecit
Anno 1852.
---------------------------------------
DAY, WILLIAM SAMUEL (Senior)
Born at Liverpool, 1862.
Had a position of great responsibility during forty-odd years in the service of H.M. Customs, and much of his time spent on board ships at London, Plymouth, Swansea, Cardiff, Liverpool, and other towns. Enthusiastic admirer of fiddles since 17th year, but did not take special notice of instrument-differentiation until four years later. Cultivated the art of repairing instruments belonging to sea-faring officers - thus afforded unique opportunities of critically examining fine old specimens. Compared Amati with Stradivari, Guarneri, Ruggeri, and others, and tried to find out the reason of their superior tonal qualities. Researched systematically from this starting point, and sought information from every available source, books as well as instruments. Soon arrived at definite conclusions in a comparison of English, French, and German violins with those of Cremona.
Put to himself the following question:
Why do modern makers (having at their command the three requisites of equal quality of wood, probably better tools, and equal skill) fail to construct instruments equal to the old Italian? And answered that the varnish used is inferior in toneproducing qualities.
Therefore concentrated on a suitable preparation to fulfil, if possible, all the attributes of the old master formulas. Spent forty years on the exciting and elusive problem, had the usual ups and downs in experimenting, sometimes discouraged with totally negative results, but ultimately achieved hls goal. Led astray at first, like many others, on the amber theory, and made violins beautiful in appearance but tonally upset by the varnish, and henceforth discarded it. Found out that the only sure-road in this direction was to work retrogressively to the conditions existing during the old masters period, and while so doing, disabused his mind of the idea that any of them were chemists, or, in fact, anything other than painstaking workmen. And so the never-ending varnish fascination travels along its labyrinthian path of weird versus rational seeds.
Retired from the Civil Service 1924 and joined his son (William Samuel Day, Junior, born 1887) at the latters violin-making establishment at Plymouth. Enjoyed the personal friendship of Sarasate, Carrodus, and other noted violinists. Though advanced in age his heart and soul enthusiasm to create something approaching the old master type no-wise diminished, and fortunately for the continuance of artistic work immediate disposal was immaterial. Violins made by himself or jointly with son realise the non-exorbitant price of thirty-five pounds, and were eagerly purchased by amateurs and professionals.
All instruments of large model and varied outline - either Stradivarian or Guarnerian with slight modifications and constructively substantial throughout. Beauty of form and workmanship never disappointing to the most exacting critic of architectural design. Interior work every whit as carefully completed as the exposed portions. No attempt to skimp the thicknesses in travelling towards a full and clear tonal maturity. Most careful selection of woods for the table and backs - everything perfectly graduated. Especial attention given to the linings of the ribs. Scrolls strong and leonine in character, compelling admiration by the massive outlines. Beautiful curvature of outline, and breadth of bouts, offering absolute harmony with the very dignified heads. Sound-holes sharp yet graceful, straight from the knife, and splendidly balanced. These vary according to the model and the particular wood used, but always consistent with the rest of the scheme.
Both father and son very conscientious in their employment of material. Backs invariably of handsome flame. Belly wood sometimes of a silver grain pine, the markings of which are enhanced by a very rich and transparent varnish - a preparation of their own manufacture - of gorgeous appearance and certainly approaches the Cremonese in its velvety elasticity - the happy result of many weary hours of experimenting and incidental expenses attached to it. Various shades from yellow to dark red, but never brown. Tonal quality of Italian reediness yet brilliant and strong, also particularly responsive.
For repair work both senior and junior triumphed over any wreck.
Bows made by the younger Day include specimens which any soloist should be proud to possess. One cannot imagine anything more superior, ancient or modern. Styles based on those of Tourte, Tubbs, Panormo, Peccatte and others. Each of superfine workmanship - magnificent combination of strength with elasticity, and superbly mounted. Those people not biased by French productions should truthfully acknowledge the superlative of our own countryman.
------------------
W. S. Day
London 1912
------------------
Always written until 1923, also dated from the various places where the elder Day was stationed.
----------------------------
W. S. Day. Plymouth
Faciebat. Anno 1924
----------------------------
(printed)
DEARLOVE, G.
Worked at North Quay, Brisbane (Australia), 1925.
DEARLOVE, JOSEPH ANTONY
Son of Mark William, and succeeded to his business at Leeds, 1876.
Did not have any particular ambition to be a violin-maker, but was occasionally moved towards application by the incitement of father. Consequently his workmanship is quite of the ordinary order. Made few instruments. Generally bold scrolls, though perhaps (to be really artistic) a little too long for the width. Sound-holes also rather long, but rather well shaped. Nice quality of brown varnish. Stamped on the back:
---------------
J. Dearlove
Leeds
---------------
Later in life he merely purchased trade or nondescript fiddles from dealers, and branded them with his name - sometimes used fathers stamp.
----------------------------------------
Joseph Antony Dearlove, Leeds.
Repaired 1890.
----------------------------------------
DEARLOVE, MARK
Worked at Leeds, 1808-1849. Employed (at different periods) Thomas Absam, John Gough, Fryer.
Attained considerable proficiency in workmanship, though it cannot be crowned with laurel. Adopted a flat model, of some originality - at least we cannot definitely state that it exactly resembles any Italian model, but rather a combination of several. Yellowish-brownish shade of varnish, testifying to his good judgment. Belly wood usually medium-grain spruce; backs of curly maple. Tone quite up to the usual standard of English makers. American dealers (1920) priced a few specimens at 300 dollars each.
Sometimes branded on the back Dearlove, Leeds or Dearlove, maker, Leeds. Made several modified Amati-model cellos which have occasionally reached 40 in value. Golden brown varnish generally sometimes a pale orange tint rather thinly applied. Also cellos bearing his name which are of very ordinary (if not mediocre) workmanship. Frequently sold for 5 in his day.
Went into partnership with John Charles Fryer.
--------------------------------------------
Dearlove and Fryer
Musical Instrument Manufacturers
Boar Lane. Leeds. 1828.
-------------------------------------------
DEARLOVE, MARK WILLIAM
Son of the preceding. Worked at Leeds, 1836-1876. Had a shop in Black Swan Yard; later in Merrion Street; and finally in North Street.
Instruments (modelled after various types but usually of Stradivarian principles) rather attractive. But it is not often one gets a sight of them, for being by an Englishman of comparatively small fame, they are frequently overlooked. Average value 25.
Violas worth the complimentary reflections of good orchestral players.
--------------------------------------
Mark William Dearlove
Violin Maker. Leeds.
Exhibitor at the Great London
xhibitions 1851 and 1862.
--------------------------------------
(with date written)
Sometimes used a brand on the back Dearlove, maker, Leeds.
DEAS, JOHN
Worked at Lilburn.
Flat arching with Stradivarian outline. Sound-holes set rather vertical, somewhat after the style of Stainer, but longer. Very neat purfling going to a fine point at the corners. Golden brown varnish, somewhat oxidised with age.
DE BARBIERI, PAOLO
see BARBIERI.
DEBLAYE, ALBERT JOSEPH
Born at Bouzemont near Mirecourt, 1874. Worked at several Parisien ateliers, and at Toulouse with Gautier, 1897-1900. Established at Mirecourt, 1900. Became technical director of the Deblaye and Meunier Amalgamation, 1922. Died 1929. Built violins of various modelling, graduated in excellence and price - 8 to 35 - Amati style (elegantly arched and red orange varnish); Lupot style (reddish-brown oil varnish shaded etc. to look old); Amati style (medium arching, onepiece back, and red orange varnish); Guarnerius style (highly-flamed maple, and beautiful golden yellow varnish); Ceruti style (shaded varnish); Stradivarian style (very elegant outline, and dark red-brown varnish); Deblaye soloist model (varnished full in modern style); Deblaye artist model (gorgeously-fine orange tinted varnish); Italian style (superfine in every department).
Amati to Stradivarian styles mostly the work of assistants, but finally touched up by Deblaye. Others are entirely personal work and executed without the aid of machinery.
Workmanship of irreproachable finish. Designs immaculate in beauty of curvature. Harmonical perfection attained in the attuning of the plates, and by an ingenious arrangement of the bass-bar. Tonal quality of excellent homogenial sonority and brilliancy, well-appreciated by many of the French symphony orchestra players. Woods especially chosen for acoustical properties as well as for prettiness. Produced violas of similar qualifications.
Cellos of own creative modelling. 60. Red-brown oil varnish, plentifully applied Round mandolines named La Vsuvienne, and flat ones styled Ritelli.
-----------------------------
Lutherie Artistique
Albert Deblaye, luthier
No. 452 A. 1924.
-----------------------------
Branded No. 452 A. Deblaye. Each specimen autographed.
Also produced bows for violin and cello. Pernambuco sticks, nicely finished, and of splendid balance. Stamped Deblaye.
Bridges of specially prepared material similarly stamped.
DE BOCK CARL
At Grand Rapid, U.S.A. Contemporary maker.
DE BONIS, NICOLA
Born 1918. Worked at Bisignano (Italy), 1936.
Specialist in making fine Calabrian guitars for which he received several gold medals. Also mandoline-harps of marvellous construction. Some violins dated from 1948 bear his label.
------------------------------------------------------
Nicola de Bonis - (with signature)
Costruttore di Strumenti Musicale a Corde
(Cosenza) Bisignani
A 1948.
------------------------------------------------------
DEBRUYN, J. B.
Worked at Brussels, 1859-1894.
DE BRUYNE, VICTOR
Worked at Ghent, 1840-1870.
DEBUSSY, CHRISTIAN F.
Born 1872. Amateur. Resident at Brooklyn (N.Y.)
Made first instrument 1910-30 up to the year 1940. Fine workmanship - details splendid co-ordinated. Varnish of own formula. Successful achievements in total sonority.
DECHANT, G.
Born at Abingdon (Illinois) 1866. Made first instrument in 1892. Worked at Galesburg (Illinois) for many years. Resident there 1926.
Produced 110 instruments up to the year 1926. Had a preference for the Guarnerian model, but occasionally fancied the Stradivarian, and of later years one of more or less original conception with a little fuller arching. Sound-holes splendidly done, with a delightful sweep of the stem, and fine finished wings. On own modelled instruments the stem has an inward sweep not at all unprepossessing, although rather unusual. Different shades of varnish, but principally yellow.
Most of the violins built on the method laid down by Savart (French experimentalist) - a man who has been ridiculed and maligned by various writers. Dechant believed that Savart performed his experiments solely with the intention of discovering (if possible) the cause of the wonderful tone of certain celebrated instruments, and firmly thinking those experiments to have been successful he naturally followed the theories he had undoubted faith in.
Woods for belly and back selected (for perfect suitability to each other) by a vibrational method and arching according to the particular material. Some woods can be arched higher than others, and the principles which govern this are inherent in each piece of wood, and reveals itself to the thoughtful worker. Arching correctlyis of the greatest importance, and accuracy of graduation equally so. With strict attention to these points, and attuning of the plates as suggested by Savart, a fine violin (according to Dechant) must be produced, and no accident about it either. Its a cinch to use an Americanism.
Asserted that the softest tones of an instrument made on the Savart theories can be heard to the extremes of the largest hall, also, on the other hand it will be adaptable to smaller rooms, without having that newness which is apt to be somewhat annoying when close up to it. Did not advocate freak bass-bars and sound-posts, or patent bridges. Believed in the old-master type of bass bar except that it is a little heavier to meet the extra strain of the higher pitch.
---------------------
G. Dechant
Fecit A.D. 18. .
---------------------
-----------------------
G. Dechant
Maker. A.D. 19. .
-----------------------
---------------
G. Dechan
Fecit
1928.
---------------
---------------------------
Golden Prince Violin
G. Dechant. Maker
A.D. 19. .
---------------------------
(with number of instrument in left corner)
DECHEZ, ADOLPHE
At Mirecourt. Failing eyesight caused him to give up the making of violins several years before his death in 1925.
DECKERT, BEATUS F. C.
1817-1882. Son and pupil of George Nicolas.
DECKERT, GEORGE NICOLAS
1772-1844. German maker much esteemed for violins of good tone and small price.
DE COMBLE, AMBROISE
Worked at Tournay (Belgium), 1730-1787. Reputed to have been (in youth) a pupil of Stradivari.
Model has the individuality of character, the symmetry and proportions, and much of the mechanical art of the broad Strad. Arching invariably slightly flatter, though we have seen a few specimens of higher gradient. Workmanship generally very good, but here again he had bad days when he seems to have been less precise. There is a certain originality, but without exaggeration, in the rather thick edges and corners, and in the extremely narrow and fine threads of the purfling, but neither prevents the contour of instrument from being absolutely harmonious. Frequently careless in choice of wood and regarded prettily marked material as of a secondary nature. Most of the violins and violas have a wide grain top, and a rather plain maple back. Occasionally, of course, he managed to get finer grain material, also some of an attractive flame.
Three varnishes - a rich orange yellow, a red brown of good quality, and a red, rather dry, not altogether removed from the censure of the eye. On some instruments the top has orange varnish, whilst the ribs and back have red. All instruments are plentifully wooded - a matter to receive our eulogium. Tone full and beautifully even on the four strings but perhaps a little disappointing in brilliancy.
Cellos generally follow the smaller pattern with more arching than that of the violins. Sound-holes always fastidiously accurate in shape and distance from each other. Todays price 85.
-----------------------------------
fait a Tournay par
Ambroise de Comble. 1756
-----------------------------------
(written)
----------------------------
Ambroise De Comble
Tournay. 1741
----------------------------
(printed)
DECONET, GIOVANNI BATTISTA
Worked at Venice, 1720-1762.
Remarkably pretty outline somewhat Nicola-Amati-like, but the arching is a little higher. We admire the precision of cutting in the sound-holes and the particular place they are put, which is a trifle different from the usual practice. His quick appreciation and grasp of artistic detail intimately personifies the scroll. Purfling no less carefully done and has that marvellous touch of cleverness, instead of being just something or anything drawn round the outline. Moreover, in varnishing he certainly was not prone to do anything absolutely conventional, and the effect is delightful. Tone rich and very matured as well as satisfying the soloists idea of a penetrating clarity. Todays prices 350 to 450.
------------------------
Gio. Bapt Deconet
fecit Venezia 17. .
------------------------
---------------------------
Giov. Batt. Deconetti
fecit Venetiis. 1739.
---------------------------
DECONET, MICHELE (1)
Worked at Venice, 1722-1785. Very changeable man, if we are to judge by the variety of labels.
Outline belongs to the Cremona school, wavering between Guarnerius and Stradivarian. Body length just under 14 inches. Model sometimes of broad dimensions - other examples slightly drawn in, and having higher arching, some having quite a sharp gradient. Generally, in the contour, there is a want of dignity, a want of harmony which just misses the perfection and grace of his prototypes. Scroll has not that incomparable superiority of the Cremona masters, though often bold. Sound-holes conceived by a mind and cultivated to be a little different from predecessors.
The wood varies. Sometimes spruce of uneven medium grain on one side, and wide on the other. Ribs and backs generally of prettily marked, strongly curled, and small-figured maple. Varnish also varies in tint though the quality is always of the same elasticity - a rather lustrous yellow, a red brown of the Montagnana kind, a deeper brown, and occasionally a red. Tone of excellent carrying power, combined with sweetness and richness, placing the instruments in that useful category of being suitable for virtuosi or chamber music.
This changeableness of form and labels, and the long working period, has given grounds for some experts to assume there were two of the same name working at different periods. Todays prices up to 600.
-------------------------
Micael Deconet
fecit Venetiis, 1752.
-------------------------
(rather pronounced lettering)
--------------------------------
Michele deconet
fecit Venetiis. anno 1754.
--------------------------------
(some written, also deconet is without capital D)
---------------------------------
Michael Deconet
Fecit Venetiis, Anno 1759
---------------------------------
(small lettering)
DECONET, MICHAEL (2)
Worked at Padua, 1754-1792.
Instruments quite similar to some of J.B.
----------------------------
Michiel Deconet
Padoua. Lanno 1790
----------------------------
(small lettering)
----------------------
Michael Deconer
fecit Venetiae
An. Dom. 17. .
----------------------
------------------------------
Michiel Deconet
fecit Venerij anno 1786.
------------------------------
In 1929, Lyon and Healy of Chicago catalogued a very fine viola at 1,500 dollars. Orange red varnish on beautiful material. Formerly in the famous collection of Partello. 300, 1959.
DE COSTER
Worked at Ghent, 1836-1855. Cellos.
Guarnerian modelling. Yellow reddish varnish. Average workmanship.
DEFAT, GEORGES
Born at Brussels, 1900. Apprenticed to Emile Laurent (pre) in same city.
Worked for Mangenot at Mirecourt, and for Silvestre and Maucotel at Paris. Established own premises 1926.
Produced first instrument 1920. Stradivarian and Guarnerian modelling, also one of own creation of slightly larger proportions than either of the Cremonese. Reddish brown oil varnish of fine transparency applied in the Vuillaume style. Relationship of the left and right of the outline, scroll, and sound holes, perfectly maintained. Workmanship as refined as the design is artistic. Varnishing, too, in delightful accordance.
------------------------------------
Georges Defat
Luthier
Paris. No. 10. Anne 1922
------------------------------------
(decorative border, and signed G. Defat)
Also branded G. Defat Paris.
DEFOOZ (DELOOZ), M.
Established at Brussels, 1908. Violins, violas, cellos.
Strongly reminiscent of the French school. Varnish rather soberly applied, and such moderation enhances the pretty wood flames. Tonal quality very reedy.
DEFORGES, CHARLES
Worked at Le Havre (France), 1801-1809.
Design and workmanship quietly compelling the propitiatory glances of connoisseurs. Tonal quality not large, but of agreeable sonority, and responsive.
DEFRESNE, PIERRE
Born at Paris; and studied there. Appointed Luthier to the Duke of Luxembourg. Worked at Rouen, 1731-1750.
His few instruments met with considerable commendatory notice from connoisseurs of his day. Outline and arching very pleasing and spontaneous, entire structure being of conveniently small dimensions. Sound-holes and scroll quite interesting in design. Successful in varnishing - generally a dark yellow tint.
----------------------------------------
Fait par moi
Pierre Defresne,
maitre luthier de Paris
demeurant rue Neuve-Saint-Lo
Rouen. 1739.
---------------------------------------
(sometimes two-lined)
DEGANI, ANTONIO.
Worked at Milan, 1880-1900.
Stradivarian outline of graceful attributes. Arching of a beautifully graduated and gentle rise. Proportions slightly under normal size. Small scroll in nice relationship with general contour - accurately cut in the neighbourhood of boss. Sound-holes sometimes slightly over-slant and are not Stradivarian replications. Splendid purfling with neat terminations at corners. Inside work scientifically regulated. Fine belly wood - often gorgeous backs. Red varnish appellatory to anyone having a true sense of colour. Tonal quality particularly bright - posterity will spring at its maturity with delight. 40 (1900). Todays price 80.
--------------------------
Antonio Degani fecit
Milano Anno 1890.
--------------------------
DEGANI, DOMENICO
Born 1820. Died 1887. Worked at Montagnana (Province of Padua).
Modelling not always subscribing to a high degree of gracefulness - sometimes even rather primitive as well as singular. Workmanship often has the appearance of being hastily finished, nevertheless may be relied upon to behave itself in good company - not an uncommon occurrence with apparently carelessly dressed offsprings. Purfling frequently very imperfect, and sometimes so faint as to be almost lost at certain parts. Good acoustical belly wood - likewise excellent material for the backs though often comparatively destitute of flame. Reddish brown varnish not particularly rich or transparent. 20 (1910). Todays price 65.
---------------------------
Degani Domenico
fecit in Maggio 18. .
Montagnana
--------------------------
(sometimes written)
DEGANI, EUGENIO
Born 1840. Son of Domenico. Worked at Montagnana until 1883; at Trieste 1885-1888; subsequently at Venice. Known as Degani and figlio from 1898. Died 1915.
Created own modelling, and skilfully avoided anything strained or far-fetched. Body length l4-1/4 inches. Every curve of the outline splendidly sweeped. Clean and precise approach to corners. Corners and edges very distinctively portrayed, but without any touch of thickness, undue prominence, or heaviness. Ribs generally less deep than the usual. Five-ply purfling, three black and two white stripes, which deserves the appellation of superb neatness if somewhat singular. Ingeniously-carved scroll, volute perfectly graduated, and edges treated with a sort of flange. Sound-holes unite in preserving the originality of whole contour.
Exercised activity in finding acoustical and pretty woods, also equal judgment in the use of them. Varnish prepared from a secret formula of his own - yellow and reddish brown shades, of rather dull surface though of good quality. Tonal quality very clear, responsive, and Italianesque - one that will have great futuristic significance.
Also produced instruments modelled on Cremonese principles (with ordinary purfling) and about 20 specimens (at Montagnana) of Albani modelling and dark reddish brown varnish - now eagerly sought by collectors. Todays price 100.
---------------------------
Eugenio Degani
Piu volte premiato
Medaglio dore 18. .
Venezia.
--------------------------
--------------------------------------
Degani Eugenio
quattordioi medaglio di merito
fece
Venezia - anno 189. .
--------------------------------------
DEGANI, GIULIO ETTORE
Born at Montagnana, 1875. Son and pupil of Eugenio at Venice. Worked at Cincinnati, 1935.
Made several divergencies from fathers model, but retained the somewhat shallow ribs. Body length 14 inches. Sometimes medium arching of considerable originality, forming a graceful moat round the outline. Golden and reddish brown shades of oil varnish very soberly toned down. Backs often of pretty figuration. Tonal quality crystally clear and firm. Todays price 60 to 85.
----------------------------------
Giulio Degani
Liutaio
S. Fosca 2418, + Venezia.
----------------------------------
----------------------------------
Degani Giulio di Eugenio
Fece in Venezia anno 1893.
----------------------------------
-------------------------------------------------------
Degani Giulio di Eugenio
premiate con gran diploma donore in Milano
e medaglia doro in Torino
anno 19. .
fece in Venezia
-------------------------------------------------------
DE GIORGIO
see GIORGIO.
DE GREGORI
see GREGORI.
DE GROOT, ROMAIN
Resident at Quaregnon (Belgium), 1898. Patented a new system of violin structure. Produced violins and cellos made entirely of Italian or American walnut-tree wood. Tested by various experts and pronounced by them scarcely inferior in tone to some of the Cremonese. But the time was not far distant when this met with solid refutation from unbiassed individuals. A few years controversy, then complete extinction, seems to have been the fate of this so-called wondrous innovation.
DE GROOT, WILLIAM A.
Born in Holland. Resident at Richmond Hills (New York), 1916-1926.
Violins of perfect correctness beyond all realm of cavil.
DE HAVEN, FRANKLIN
Born at Bluffton (Indiana), 1856. Artist, and member of the National Academy of Design, New York, 1926, which fact is shown on label.
Lover of the violin in boyhood, and learned to play the simpler compositions. Became devoted to the chamber music of the classical masters, and particularly enjoyed playing the viola in such combinations.
Gradually ambitious intentions to build his own instrument were engendered, so he perused all the literature he could procure, spurred on by the love of personally accomplishing something in the way of design (a feeling naturally inherent) and fascinatingly set about his self-appointed task. First instrument (viola) produced in 1911. Modelling of exceedingly large proportions.
Turned his attention to violin-structure, and produced eight specimens (of very elegant outline and arching) during the next five years. Everything designed to ensemble all niceties of curvature, and its originality (distinctively flat arching) perhaps a further recommendation. Every part practically thought out for himself - very little borrowed from others. Body length 14-1/8 inches. Scroll shaped in accordance with the deliberate judgment of a masculine and independent mind. Edges and corners receive their fullest scope, but entirely without exaggeration or heaviness. Long sound-holes, and so drawn as to take their place gracefully when set 1 13/16 to 1 14/16 inches apart at the upper apertures.
Prepared own varnish (without using stains or colouring matter, such as gamboge, dragons blood, annato, etc.) and is not surpassed by any other in elasticity and transparency. Shades - golden to orange, and deep brown red inclining to red - masterfully applied. Strong and noble tone of adequate carrying power.
Stood the test in 1924 against the Earl Strad, both instruments played behind a screen, same solo and same soloist, and won by 53 votes to 38.
All instruments made because he wanted to create, and with no desire to dispose of them, no matter what sums were offered by collectors and players.
-------------------------------
Franklin DeHaven. N.A.
New York. 1911
-------------------------------
A man of matured knowledge, particularly conceptive in structural design, sterling honesty of purpose, a firm grasp of manipulative skill, unfeigned submission to the gifts of inspiration, temperamental, and eager diligence.
DE HEER, ANTHONIE
Born 1882. Initiated himself from violin-making books. Produced first instrument in 1930. Resident at Schiedam (Holland).
Early violins of Strad and Guarnerian modelling. Adapted (1943) the model of Paul Kaul (Paris). Artistic spirit hovers everywhere, including the application of a splendid-textured oil varnish.
Also made several viol-damours. Good bows stamped with his name.
-----------------------
Anthonie de Heer
fecit Schiedam
B.K. Laan 209B
Anno 19
-----------------------
DEHMAL, ANTON
Worked at Vienna, 1882-1925.
Manufactured cheap violins with remarkable facility. Many bows of the commercial class bear his name.
DEHOMMAIS
see EMILE GERMAIN.
DEHU, PAUL
Born at Vimy, 1861. Medical doctor at Paris. Died 1943.
Made researches in varnish - applied it to violins, violas, and cellos made by Emile LHumbert at Paris, and achieved considerable success.
Also known in France as a keen connoisseur of old instruments.
------------
Paris 19
No. P.D
------------
DEICHSEL, ADOLF
Factory at Berlin, 1908-1926. Violins, cellos, and basses - also bows.
DEIGHTON, J. R.
At Neweastle-on-Tyne.
DEIMER, KARL
Bow-maker at Schnbach, 1925.
DEIMER, MARTIN
Established at Schnbach, 1925.
DEININGER, CHARLES
Born in Alsace-Lorraine. Settled at Paris, 1850-1856.
Borrowed his modelling from the Tyrolean style. Not particularly politic in his choice of woods. Employment of a dark and muddy varnish signifies a reverse of good sense. Workmanship wanders very openly into the kingdom of mediocrity. Same phraseology applied to the tone. 5 (1900).
--------------------------------
Charles Deininger
Facteur.
Specialit de Rparations
Paris 1852.
--------------------------------
(with oval stamp, and name written in blue ink).
DEISTLER, JOSEPH
Worked at Schnbach (Bohemia), 1826-1830.
However insignificant these violins may now appear to us, they were not accounted of lower than the secondary standard at the time he flourished, and were received with considerable favour. Unfortunately he chemicalised the wood and adopted other destroying means, hence their partial worthlessness. Brownish shade of varnish.
-----------------------
Joseph Deistler
Violinmacher.
Schnbach 1826
-----------------------
DEKKER, PH.
Worked at Rotterdam, 1927.
DEKORT, A.
Worked at sHertogenbosch (Dukes Forest, Holland), 1840-1850.
----------------------
A. DeKort
tes Bosch 1848.
----------------------
DELABORDE
Ordinary work.
----------------------------
Fait par R. Delaborde
Paris 1839.
----------------------------
DELAHAYE AND CO
Dealers and expert repairers. Established at London Bridge, 1923.
DELAINE, JEAN
Bow-maker at Mirecourt, 1789. 30, 1959.
DELALAUZIRE
Worked at Paris, 1822. Instruments seldom seen.
DELAMOTTE, JACQUES
Worked at Paris, 1610-1640.
Violins and lutes. Of slight consequence.
DELANNOIX
mis-spelling of DELANNOY.
DELANNOY, F. J.
Name also given as Delanoix le fils. Son of Henri Joseph.
Worked at Brussels, 1750-1785. Luthier to the Belgian Court.
Exercised his genius to the fullest extent, and accomplished much to elevate the character of the Belgian school. Graceful yet dignified violins - something that any player ought to be proud to own.
Also lutes and viols of skilled workmanship in ornamentation. 85, 1959.
---------------------------
F. J. Delannoy le fils
Bruxelles. 1777
--------------------------
DELANNOY, H. J.
Worked at Lille, 1740-1775.
Modelled instruments on Stradivarius lines with zeal of an enthusiast. Design and workmanship thoroughly interesting. Yellow or reddish yellow varnish. 40.
------------------------------------------------
H. J. de Lannoy
sur la petite place, au-dessus des Halles
Lille. 1749.
------------------------------------------------
-------------------------------------
H. J. de Lannoy
Dessus les ponts de Comines
Lille. 1772.
------------------------------------
Some labels two-lined. 80, 1959.
DELANNOY, J.
Worked at Brussels, 1740-1748.
Delightfully pretty violins, advantageously and influentially representing the highest art. Viol-da-gambas and cellos especially fine, and not exelled in workmanship or tonal quality by any maker of native origin.
DELANNOY, L.
Worked at Lille, 1774-1835.
------------------------------
Rpar par L. Delannoy
Lille en 1835
------------------------------
DELANNOY, HENRI JOSEPH
Worked at Brussels, 1778-1791.
Violins and violas of splendid design - altogether elevated in conception.
-------------------------------------
Henrieus Josephus de Lannoy
Bruxellensis anno 1778
-------------------------------------
DELANOE, PIERRE JEAN
Worked in Paris, 1740-1755.
Only made a few violins, but they ought to be of considerable value. Yet they may be secured for the comparatively small cost of 12, when, in our judgment, they ought to realise twice or thrice as much. Instruments that give honour to the maker, and gratification to the player. Outline splendidly and boldly drawn, having that roundness of curve which is a delight to see. Colour and quality of varnish equally refreshing to view. Graceful arching and sound-holes environed by neat purfling. Also an attractive warmth of tone with considerable force.
DELANOY, ALEXANDRE
Born at Mirecourt, 1850. Pupil of Buthod. Worked several years with J. B. Vuillaume at Paris. Established at Bordeaux, 1880-1922. Won gold medal and diploma at Bordeaux Exhibition, 1907.
Stradivarian modelling based on the style of Vuillaume. Every detail, even the varnish, pays appreciative reverence to the traditions of his famous contemporary. Oil varnish of red orange or deep red shades.
--------------------------
A. Delanoy
Bordeaux
mdailles dor. 1889
--------------------------
-------------------------------
A. Delanoy
Elve de J. B. Vuillaume
medailles dor
Bordeaux. 1891.
-------------------------------
---------------------------------------
dre
Alex Delanoy Bordeaux A D.
elve de J. B. Vuillaume. 19. .
---------------------------------------
With name written across.
Louis Poiret (collaborator, 1890-1922), and the above third label frequently bears his signature. Lapouge (successor to Delanoy) also inscribed his name across.
DELANY, JOHN
Worked at Dublin, 1795-1812. Cabinet-maker by trade. Said to have occasionally made instruments for Perry.
His violins have had obloquy thrown against them by unfair (in this instance) experts. Certainly he seems to have been somewhat erratic in his work, and indubitably a few of his worst productions deserve all they have received from the above hostile agencies, but these same critics and connoisseurs ought to acknowledge his more careful and conscientious work.
These are of small proportions, with Amati outline. Arching slightly original, and has exaggerated grooving. Wide sound-holes of singularly firm execution. Scroll qualified by properties attainable only by the skill and experience of a master - and Delany had this when he chose to exercise it. Corners a trifle blunt and of questionable taste. Acoustically good wood but usually of plain figure. Small, silvery, and sweet tone.
-----------------------------
Made by John Delany
No 17 Britain Street
Dublin 1808.
-----------------------------
(small)
--------------------------------------------------
Made by John Delany.
in order to perpetuate his memory
in future ages.
Dublin 1808.
Liberty to all the world, black and white
---------------------------------------------------
(large; showing his strong republican spirit).
There were several Delanys in Dublin who tried their inexperienced hand at violin-making, but we have not been successful in ascertaining their Christian names.
DEL CORADEL
Worked at Pesaro, 1860-1870.
Modelling details quite away from the category of ordinary; attractive brown varnish.
-----------------
Del Coradel
fecit Pesaro.
----------------
DELEPIERRE, JULES
Worked at Paris, 1895-1898.
Workmanship shows that he educated himself to a due sense of the artistic. Wandered over the scroll with considerable originality, but never without regulated restraint. Yellow varnish very discriminately applied. Those players who offer adverse criticism of the tonal quality of comparatively new instruments, will here find something that should cause them to modify their opinions.
DELELLIS, SILVIO
Born at Rome, 1923. Studied the violin with father (Armando). Went to the Academy of Fine Arts, and was councilled by Paralupi in violin-making, 1941. Won prizes at Cremona, 1949.
Excellent model and workmanship. Golden yellow oil varnish. Some instruments varnished by Aldo Achilli of Rome.
--------------------------
Silvius de Lellis fecit
Romae Anno 1949
-------------------------
(with signature)
DELEPLANQUE, GRARD J.
Worked at Lille (France), 1754-1790.
This accomplished man rather faithfully repeated the principal characteristics of the large Stradivarius model. Very charming violins, without a point that does not offer some interest. Sound-holes indicative of thoroughly good art, and seem to stand there intelligently. Scroll carved with great freedom, yet with infinite care. Purfling also emblematical of thoughtful labour. Reddish yellow varnish, occasionally red-brown, both of rich texture. Always magnificently-figured wood. The French are frequently accused of only getting a kind of monotonous reedy tone, and that, with all their incomparable technical facility of workmanship they seldom reach to real sympathetic quality. But here, at any rate, is one exception, for the tone is not only round and penetrating but of a deep mellowness as well. Did not produce many violins. Best period, 1785.
Five-stringed viol dated 1766, with yellow varnish tinged with red, created a mild sensation when exhibited at Paris, 1878.
Beautiful guitar, dated 1768, is in the Paris Conservatoire Collection. Another magnificent guitar, dated 1775, made of tortoise-shell, and inlaid with ivory and mother-o-pearl.
Eleven-stringed guitar, dated 1772, had a lute or mandoline shaped back, with a rosace of sculptured wood and gold - in the Snoeck Collection at Gand. The same Collection had another guitar with a cygnus-shaped neck, ten horizontal pegs, a rosace formed of ornamentations delicately disposed in cone-shapes.
---------------------------------
Grard J. Deleplanque
Luthier, rue de la grande
chausse, coin de celle des
Dominicains Lille. 1788.
---------------------------------
--------------------------------------
Au Violon de Crmone,
Grard J. Deleplanque
Luthier, Place de Ribour, prs
lHtel-de-Ville, Lille, 1790
-------------------------------------
(decorative border)
------------------------------------
Grard Deleplanque, Luthier
Lille.
------------------------------------
(written)
DELETTE, CHARLES
Bow-maker. Worked at Mirecourt, 1775. 35, 1959.
DEL FIUME, FAUSTO
Worked at Rome, 1920.
DE LIGNE
see LIGNE.
DELIGNON, LOUIS
Born at Baudricourt (France), 1909. Worked for Collin-Mezin and Apparut at Paris. Established at birthplace, 1938.
Various grades of violins and cellos - Cremonese and personal models.
Excellent oil varnish of own formula - orange red to chestnut brown. lnstruments in the category of commercial have a spirit varnish.
DELIVET, AUGUSTE
Born at Mirecourt, 1861. Served apprenticeship in that town. Pupil of Victor Rombaux and Chardin. Worked five years in the Atelier of Silvestre, Paris. Opened own workshop in the rue de Paradis, Paris, 1892; later removed to the rue Richer. Awarded gold medals at Nantes, 1904; Lige, 1905 and 1906; and at other Exhibitions. Maker and repairer to the Paris Conservatoire. Working for Williams & Co., at Toronto, 1920. Died 1928. Inventor of an Ideal Peg, with two conic ends.
Built several original forms of instruments, especially some designed for the acrobatic performances of musical clowns.
Many violins, violas, and cellos; attractive as any of the modern French school; often sought for by connoisseurs in search of instruments of the highest possible skilled workmanship. Very rich oil varnish of various shades. Tone quality remarkably mellow and very very clear.
-------------------------------------------------------------------------
Exposition Universelle. Lige. Grand Prix (Collective)
A. Delivet
Luthier
No. . . Anne 19. Ex-Ouvrier de H. C. Silvestre
Paris.
Made in the workshops of
The R. S. Williams & Sons Co. Limited. Toronto, Canada.
-------------------------------------------------------------------------
(yellow paper)
Bearing a fancifully-designed violin and bow - fac-similes of medals and other scrolled work.
Also instruments produced for the Canadian Firm divided into three classes:
(1) Branded A. Delivet on the inside and under the saddle above endpin on the outside - 250 dollars.
(2) 200 dollars.
(3) Marked Sous la Direction - 150 dollars - these not solely made by him but by assistant workmen.
------------------------------------
A. Delivet; Luthier
ex-ouvrier de H. C. Silvestre
Paris anne 1896 No
-----------------------------------
(Parisian label)
DELKITCH, CAZIM
Born 1917. Pupil of Stevan Seitch. Worked at Sarajevo (Serbia), 1940.
DELLA CORTE
see CORTE.
DELLAL, NAIM
Worked at Alep (Syria), 1915.
Renowned for splendid workmanship of indigenous lutes.
DELLEN, THEO
Born at Zwolle (Holland), 1922. Worked at The Hague, 1945.
Strad and Gagliano modelling; very attractive reddish brown varnish.
DELLER, JACOB
Worked at Schnbach, 1826.
Abundant effusion of miraculous gifts not represented by these violins. But though of ordinary outline and arching, they have often, an uncommonly good tone of the twelve-guinea order. Workmanship generally continents in advance of the primitive. Sound-holes and scroll less proper than outline. Dullish brown varnish, but of excellent wearing quality.
DELOIR
Worked at Bayeux (France), 1880-1895.
Instruments deserving the accumulative laudatory epithets usually lavished on good designs and workmanship. Among the several excellencies is the distinctively reedy tone.
DELPHIN
Worked at Mirecourt, 1850-1880.
Marked his work as though emanating from Paris.
--------------------
Delphin
Brevet Paris
--------------------
(name in large letters)
DELPHIN, CHR
Born at Gjovik (Norway), 1872. Wcrked at Lillehammer, 1929.
Produced 200 violins, violas, and cellos up to year 1949. Early instruments of modified Strad. modelling; later, more Guarnerian.
-----------------
Chr. Delphin
Lillehammer
No- anno-
-----------------
(with designs of medals)
DELPIERRE, JULES
Worked at Paris, 1880-1893.
Instruments praised by Poidras.
DELOGER, MARCEL
Worked at Versailles, 1945.
Lupot modelling; refined workmanship.
DELPRATO, FRANOIS J.
Worked in Paris, London, Chicago and New York. Established at Mirecourt, 1922. Removed to Toulouse, 1926; later at Houcourt (Vosges). Died 1947. Violins, violas, and cellos. Generally replicas of old instruments. Graceful outline and arching with minute workmanship. Beautiful edging and corners. Scrolls unimpeachably accurate. Sound-holes precisely positioned. Varnish carefully and sensibly applied, and predicts an excellent tone.
Branded F. Delprato.
DEL PRATO, RAYMOND
Born at Paris, 1905. Son and pupil of F. J. Worked at Evanston 1928; later at Chicago for Lewis & Son.
French and Italian models, sometimes replicas; designs and workmanship adhering to the canons of good taste. Oil varnish of various shades, especially a reddish orange.
-------------------------------------
Ego adsum qui faci
Raimon Del Prato
Figlio et allievo di Francesco
Guiseppe. Anno dom
------------------------------------
DELPY, FRITHJOF
Born 1915. Painter and amateur violinist at Bale.
Won diploma at The Hague, 1949, for a Guarnerian model violin superbly varnished.
DEL SENNA, A.
Born 1845. Resident at Pisa. Editor of a journal titled II Violino.
Died in 85th year.
Made many admirable copies of old Italian violins.
DELUC, DR.
Enthusiastic amateur. Resident at Boston (U.S.A.), 1914.
Designs and workmanship adhering to the canons of artistry
DE LUCCA, ANTONIO
Worked at Rotello (Italy), 1920-1937.
Exhibited 10 violins, 3 violas, and a cello at Cremona, 1937.
DE LUCCIA, GENNARO
Born 1901. Worked at Mercato Cilento (Italy), 1925.
Produced 200 violins up to year 1949, most of them exported to America. Nothing inconsistent with artistry. Modelling with slight originalities. Oil varnish - attractive orange or golden red shades.
-------------------------------
Gennaro de Luccia
figlio di Michele
fece in Mercato Cilento
Anno 1932
-------------------------------
--------------------------------
Gennaro de Luccia
fece in Casigliano Cilento
Italia an. 1945 (Salerno).
--------------------------------
De Luccia branded on upper corner blocks.
DE LUCCIA, VIRENZO
Born at Casigliano 1882. Worked at Philadelphia, 1901-1950.
Violins and bows popular in U.S.A.
Assisted by brother (Giovanni, died 1943).
DELUNET, AUGUSTE LEON
Born at Mirecourt, 1867. Worked 33 years for Hill and Sons. Employed by Williams & Co. at Toronto, 1921; later for Wurlitzer at New York.
Returned to England. Died 1939. Very expert repairer and connoisseur. Made few new instruments. Reddish-brown varnish. 85, 1959.
DEL LUNGO, ALFREDO
Born 1909. Son and pupil of G. Worked at Florence. Repairer to the Cherubini Conservatorio in that city; also to the Academy at Sienna.
Splendid modelling; various old Italian types; warm-looking spirit varnish of orange shade.
----------------------------------------
Alfredo Del Lungo di Guiseppe
Fece in Firanze nel 1949
----------------------------------------
DEL LUNGO, G.
Born 1883. Pupil of De Zorzi. Worked at Florence. Repairer to the Conservatorio. Died 1926.
Violins, cellos, and especially superb viols. Attractive modelling, oil varnish, and a refreshingly clear tone.
---------------------------------
Giuseppe Del Lungo
fece in Firenze anno 1924
---------------------------------
DE MARCH, CARLO
Born 1904. Pupil of Vestoli at Lugo. Worked at Treviso. Settled at Venice, 1940. Unblemished workmanship of modelling inspired by that of a Degani.
---------------------
Carlo de March
Venezia a. 19. .
---------------------
(written)
DEMARNE
Worked at Rennes (France) for E. Bonnel, 1830; and for N. Bonnel at Rouen, 1840.
Another of the many subscribers to the Stradivarian ideal. Productivity rather small, but all offsprings of clever workmanship. Unquestionably good goldenbrown varnish. Handsomely figured wood. Healthy tonal fullness with a modicum of sweetness.
-----------------------
Fait par Demarne
Rennes 1839
-----------------------
DEMEY, MARCEL
Born 1896. Pupil and assistant of Pierre Hel for many years at Lille. Won gold medal for estimable work. Set up his own establishment, 1948.
Splendid copies of the Cremonese - equal tonal sonority on the four strings; transparent reddish orange varnish (acclaimed by the maker as holding comparison with the Cremonese).
------------------------------
Marcel Demey
Luthier Lille
126, rue de la Louvire
No 13 anne 1948
------------------------------
(written)
Signed on belly and back, also branded.
DEMORTE
Resident at Laon (France), 1870.
Ordinary instruments of Mirecourtian character. Branded Demorte Laon interiorally, and Demorte below button.
DEMOUCHE, P.
Worked at Lyons, 1612-1640.
Seven-stringed viols, crescent-shaped sound-holes, very dark brown varnish, and fanciful heads.
Also viol-da-gambas of fairly rich but small tone.
-------------------
P. Demouchi
Lyon, 1618.
-------------------
DE MOYER, VICTOR
Worked at Ghent, 1900-1925.
Violins and cellos, more or less commonplace.
DEMSR, BLAS
Born 1903. Pupil of Ivanichevich. Worked at Lioubliana (Serbia), 1936.
Amatese and Strad modelling. Red varnish on brownish ground.
-----------------------
Blaz Demsr
izdelal
Ljubljana - 1942
-----------------------
DENATI, ENRICO
Italian. Period, 1705-1715.
Reddish brown varnish. Whole contour forms an assemblage of graceful curvatures and graduations. Mellow tonal quality arrived at its best sonority.
DE NEEF, E.
Worked at Antwerp, 1900 - . Dealer and repairer. Unquestionably mediocre. Only a few.
DENGEL, JOHN FRIEDRICH
Worked in Saxony, 1780-1784.
Conjectured as being identical with Johann F. Tngel. See under that name.
-------------------------------
Johann Friedrich Dengel
erfunden von Jakebus
Stainer 1784.
-------------------------------
DENIS, JEAN BAPTISTE
Worked at Lunville, 1714-1740.
DENIS, H.
Instruments made at the Laberte-Humbert factory, Mirecourt, 1930.
Very good modelling and wood, transparent orange red spirit varnish. Tonal quality quite excellent.
---------------------------------------------
H. Denis
fait violins et archato instruments
8 Faubg Mattaincourt Mirecourt.
---------------------------------------------
(with signature)
DENIZOT
name in many trade violins made at Mirecourt.
DENIZOT
Worked at Tours (France), 1825-1830.
Born at Mirecourt, and traded in stringed instruments from that town.
--------------------------
Rpar par Denizot
luthier Tours 1828
--------------------------
(oval shaped, red paper)
DENNIS, JESSE
Born in London, 1795. Died 1860.
Apprenticed to John Crowther, 1805; also worked for Matthew Furbear.
Established at Walworth, 1855.
Modelling and workmanship not open to much admiration. Tone fairly agreeable.
--------------------------------
Jesse Dennis
Walworth. London. E.C.
1860.
--------------------------------
DENTON, A.
Resident at Chicago, 1925.
Advocate of the varnish prepared by G. J. Thomas of Oakland (California). Made several violins showing excellent workmanship.
DEPELCHIN
Violin in the Brussels Museum.
-----------------------------
Fait par J.J. Depelchin
Tournay. 1755.
-----------------------------
DE PECCATI, UMBERTO
Born at Soncino, 1878. Died 1944.
Individualistic modelling, careful workmanship, golden yellow (with a touch of red) spirit varnish.
Made 30 violins and 80 double-basses, also many guitars and mandolines.
-------------------------------------
De Peccati Umberto
Faceva in Soncino (Cremona)
Anno Domini 19. .
-------------------------------------
DEPINE, G.
Worked at Modena (Italy), 1770-1780.
Several violins of this name circulating through England. Probably a fabricated appellation suggested by the wood pine, or intended as a make-believe of Despine.
DERAZEY, HONOR
Full name: Jean Joseph Honor. Born at Mirecourt, 1794. Died there 1883. Spent several years in various workshops at Paris. Ultimately established at Mirecourt. Gained Exhibition medals at Paris 1839, 1844 and 1855; also at London, 1862.
Early instruments especially attractive in being substantially built - all departments of modelling inspired by that of Stradivarius and others of the Italian school. Workmanship ҈ la finesse in all verity. Scrolls always conducive to the dignity he continually visualised. Sound-holes not surpassed by any maker of any period or school for perfect grace of curve. Edges never very pronounced, and here again we see the essence of delicacy. Same deftness accentuates the squarishly designed corners.
Enthusiasm of an ardent young man strivina towards individuality plainly discernible on every instrument of this early period.
Varnish (generally of an orange yellow shade) unfortunately the antithesis of elasticity and warmth. Some specimens have table wood of Carpathian pine - a material rather too brittle and strong in fibre to be ideal for tonal quality; grain (a perfectly straight one) often wider towards the sides. Generally of yery long Stradivarius pattern, very flat arching, and Maggini-like shoulders. Of remarkably powerful tone, though perhaps rather blatant, but certainly not hard - and its sonority is becoming mellower. Nevertheless, we do not think it can ever reach the peculiar sensitiveness necessary to the enjoyment of soloists and their listeners. Seldom labelled. H D branded inside on the back and within a circle.
Later set out to traverse the busy road of commercialism, and from the year 1844 his indefatigable activity resulted in the enormous production of about 600 violins yearly, for which he asked 5 to 150 francs according to the different grades.
Modelling altogether similar to that of the many Strad-Vuillaumes. Influence of Vuillaume also easily traced in the colour and style of applying the varnish - colour generally reddish with a slight purplish tendency and rather hard-looking, applied and rubbed off here and there to give instruments an appearance of wear. Became enormously popular, particularly in England, and the name Derazey was on everybodys lips. No finer wrought commercial violins have ever come from Mirecourt; undoubtedly their finished workmanship influenced the many other makers in that town to emulate his achievements.
The particular point of interest in these violins is artistic combination of the sound-holes with the waist curves; beautiful originality quite distinct from others of the Mirecourt school.
Years after death, violins bearing his labels were poured into the trade, but these have been the productions successively of his son, then Mangenot, and finally Laberte-Magni.
------------------------------------
H. Derazey
Mirecourt
Mdaille de 1re classe
Exposition Universelle 1855
------------------------------------
(designs of medals on left and right)
Occasionally branded H. Derezey pre. Some of the modern productions give his name as H. Derasey. Todays prices 80 to 90.
DERAZEY, JUSTIN
Son of the preceding. Worked at Mirecourt, 1850 to the year of death, 1890. Succeeded to the business of Nicolas fils, 1864; and his fathers, 1879. Retained the well-known sign associated with the Nicolas family A la Ville de Crmone. Ateliers de lutherie fonds en 1780.
Prolific productivity of violins priced from 7 to 16.
Slightly less meritorious workmanship than that of parent. Rather splendid modelling after the Italian masters. Backs made from the choicest old seasoned Transylvanian maple - finest Swiss pine for tables, guaranteed to be of the most particularly resonant kind. Oil varnish of various shades, specially prepared from own formula. The usual decently responsive but new quality of tone of all mass-production instruments. Altogether handsome affairs, without individuality certainly, but standing out rather conspicuously among the miscellaneous assortment of marketable commercial violins. 40 to 50, 1959.
--------------------------------
Justin Derazey, Luthier
leve de Honor Derazey
fait Mirecourt, 1862.
--------------------------------
-------------------------
J. Derazey. Luthier
Mirecourt. 1865.
-------------------------
(copper-plate lettering)
--------------------------------
Justs Derazey, Luthier
Mirecourt. Vosges. 18-
--------------------------------
--------------------------------------------
Jt. Derazey
Hors concours - Luthier Mirecourt.
--------------------------------------------
Design of medals above Hors concours. A violin-shaped brand and initials J.D. often found inside.
Instruments bearing his label now manufactured by Laberte-Magni.
DEROUX, GEORGES
Born at MireCourt, 1822. Worked there all his life. Pupil of Honor Derazey. Known as Deroux pre. Died 1889.
Much of his work (made largely for the trade) is distinctly of the usual goodclass Mirecourt type. Retained a fancy for the Stradivarian model. Workmanship well carried out in every detail. Scroll shows the hand of ability but not the mind to create individuality. Sound-holes naturally imitated. Wood always chosen with judgment - never otherwise than prettily-figured. Light red or yellow brown varnish not always of an elastic quality. Made several violas having a full, equal, and resonant tone.
Branded and often signed inside with pencil or ink:
--------------------------------
Fait par Deroux
Luthier Mirecourt 1855
--------------------------------
DEROUX, LEON
Worked at Mirecourt, 1896. Specialised violas.
Outline not gracefully curved, particularly the top bouts. Arching has an unhappy sudden rise disturbing to the eye. Sound-holes somewhat Stradish. Purfling very unequally laid. Scroll nicely rounded (probably machine made) but has no character. Dull and thick brown yellow varnish. Ordinary second-class Mirecourt work; thousands similar. Indifferent wood for the table; fairly nice figure for the back. Tone of the usual orchestral kind - loud but unsympathetic.
-----------------------------------
Fait par
Lon Deroux
2. Mirecourt. Vosges. 1896.
-----------------------------------
DEROUX, SEBASTIEN AUGUSTE
Born at Mirecourt, 1848. Son and pupil of Georges. Worked in the Atelier of Silvestre at Lyons, 1866-1869. Served four years of military service. Worked with Mirecourt at Paris, 1873-1884. Established own workshop, 1878. Died 1919. Made more than 250 instruments, each challenging comparison with any of the modern French school, whether in the beauties of learned design or boldness yet exquisite delicacy of workmanship. Modelling follows the Stradivarian or Guarnerian. Excellent quality of oil varnish; dark red-brown; occasionally red. Tone generally of hard quality though strong.
--------------------------------
Auguste Deroux Paris
An 1885.
S. A. Deroux
16, rue Geoffroy-Marie.
No. 117. Paris. 1899
--------------------------------
(Monogram placed above date)
DE RUBEIS
see RUBEIS.
DE SANTIS, GIOVANNI
At Rome, 1884-1916. A celebrated maker of mandolins who made some good violins, cellos and violas. The latter are now much sought after. 100.
DE SEVIN
Worked at Agen (France), 1870-1885.
Well-made, pretty backs, rich Lupot-red varnish, distinctive sound-holes (owing to a few originalities).
DESFORGES
Worked at Vernon (France), 1850-1872. Instruments carrying manufactury at Mirecourt. Brown reddish or yellow brown varnish.
----------------------
C. Desforges
Ft. dinstruments
Vernon. Eure.
----------------------
DESGARNETS (DESGORNETS)
Several of this name worked at Mirecourt from 1710.
DESIATO, GIUSEPPE
Worked in the Via Speransella, at Naples, 1890-1900.
Gagliano characteristics in modelling, but all details slightly less robust. Excellent wood treated to good varnish. Tonal quality of easily produced brightness, the two lower strings being as clear as the higher.
DESIATO, LUIGI
Worked in the Calata San Severo at Naples, 1885. 85.
DESIATO, VINCENZO
Worked at Naples, 1880-1902. 80.
DESIDERI, ANTONIO
Worked at Ascoli (Italy).
Name seen in an undated violin. Outline of moderate gracefulness. Workmanship and varnish not particularly meritorious. 100.
DESIDERI, PIETRO PAOLO
Worked at Ripatransone (Central Italy), 1790-1839.
Many and strange have been the fancies indulged respecting the class of instrument called by the formidable name of Cremonese. Doubtful whether these violins give any foundation for such an appellation, though they are fairly invested with the attributes of the Guadagnini and Andreas Guarnerius schools but otherwise awaken no extraordinary approbation.
Early period specimens belong to the first-named modelling - later period examples to the second. Did not persistently place himself under the necessary obligation of doing absolutely precise workmanship - occasionally quite comminatory. Often exercised his best discretion in his perfol mance of the scroll. One or two transgressions from real artistry noticeable in the tracing and positioning of sound-holes. Purfling generally forfeits the proud right of being accurate and neat. Also frequently relaxed his judgment in the selection of woods.
Some instruments have one-piece tops; often unflamed backs; and we have no particular readiness to pardon his sometimes stinted use of the material - in fact the majority lack structural substantiality. But he scattered a few rays of sun-beams, with nicely thick golden or golden brown varnish, which has a uniformity of smoothness to be rather admired. Tonal quality of that dullish sweetness almost non-penetrative; no foundation of hope need be built with regard to its having any noble or forcible sonority, or brilliance.
------------------------
P. Paulus Desideri
fecit Ripae 1794.
------------------------
---------------------------
Pietro Paolo Desideri
fecit Ripae 1837.
---------------------------
Defidetj and Desideti sometimes seen in catalogues - obviously a mis-reading. of the peculiar lettering. 300, 1959.
DESIDERI, RAFFAELE
Worked at Ascoli, 1831. Died 1871.
Violins, cellos, and guitars. Emphatically spoken of by experts as being most excellent demonstrations of all the graceful attributes connected with violin structure; and we are assured that the tonal value may be measured up to at least 60 (1935). Today 200.
------------------------
Raffaele Desideri
fece a Ripae 1827.
------------------------
-----------------------------
Raffaele Desideri
fece in Ascoli nel 1855.
-----------------------------
DESLANDES
Worked at Paris, 1765-1796.
Reddish varnish.
------------------------
Jacques Deslandes
Paris.
------------------------
DE SOOMER
Born 1886. Worked at Antwerp, 1910.
Amatese modelling, capital workmanship, excellent wood and varnish.
-----------------------------
Anno 1925
L. de Soomer me fecit
Antverpiensis no. 1
-----------------------------
(written)
DE SOUZA, COSMO C.
Worked with the Chanot family at Manchester, London and Paris.
Established premises at Leeds and Bradford, 1899; Birmingham, 1903; and at Lacey Green (Cheshire), 1906.
Instruments built under the influence of ancient models, but reasonably Frenchified in style. Workmanship never involved by hand perplexities. Varnish rather felicitously applied.
DE SOUZA, JOAO JOZE
Worked at Lisbon, 1750-1780. Trained at Mirecourt, and worked at Paris.
Delineations assembling the finer points of workmanship. Violas, guitars, and various forms of viols. Fascinating designs fully according with the highest art. Superb exposition of varnishing. Had the reputation of being the most skilful Portugese maker of his time.
--------------------------------------------------
Joo Joz de Souza
artista da
Violas francesas e liras, Rebecas
Rabecoes; vende cordas para osmesmos
instrumentos en Lisbon na Calcada dos.
Caldas No. 86.
--------------------------------------------------
DESPINE, ALESSANDRO
Born 1775. Probably studied in very early years with G. B. Ceruti at Cremona, also with Jerome Guarnerius. Settled at Turin 1812, and became associated with Pressenda 1821-1845. Died 1846. Husband of Madame DEspine (star in the vocalising firmament).
Many instruments tally almost exactly with the outline and arching of a Joseph Guamerius. Sound-holes frequently excellent replicas. Scrolls less infallible representations of that dignified style - some black edged. Backs of pretty curly maple. Rich quality of golden orange varnish - sometimes a hard-looking red without shading. Certain specimens copiously Pressenda-Stradivarian, but not always very carefully finished in workmanship.
Others belong to the Ceruti-Amatese school, which are not of paramount importance in design or tone. Old-looking brownish yellow varnish.
Tonal quality (of the Guaernerian models) full, clear, and of very satisfactory carrying power, but never of rich Italian quality. One example, dated 1823, realised 1,500 dollars in the United States, 1920.
Instruments frequently bear labels of Pressenda and Ceruti. Piatti (renowned quarter player, associated many years with Joachim at the Monday Popular Concerts in London), played for some time on a DEspine cello presented to him by the maker at Pavia, 1842.
Pre-eminently interesting are the very few Guarnerian violins. Finely toned, and valued at 100 (1925). Todays price up to 250.
-----------------------------------
Alessandrus dEspine fecit +
Taurini anno Domini 1828 +
-----------------------------------
-----------------------------------------------------
Despine Hieronymi Guarnerii, Josephi Nep
Cremonen, Discipulus. Taurini /ecit
A.1819 +
I.H.S.
-----------------------------------------------------
Name sometimes written with pencil or ink on the inside of back. Other variants of the name: Dspin and Despines.
DESPLAT, JEAN
1870-1925. A French Army Officer who made a few violins with loving care. Unfortunately the tone does not approach the standard of workmanship which was good.
DESPONT, ANTOINE
Worked in Paris, 1634-1669. Was Matre dinstruments de musique.
Worked at the sign of The Royal Lute.
Followed the Italian modelling rather superficially. Workmanship altogether slip-shod. Always indifferent quality of wood - sometimes that for table has a coarsely-twisted grain. Yellow or reddish brown varnish utterly unworthy of a well-made violin, but in this instance it fits in with the wretched material it covers. Weak tone, uneven, unresponsive, and absolutely without mellow quality.
Name sometimes falsely given as Despons or dHespont.
------------------------------------
Antoine Despont demeurant
A Paris
Sur le Pont Nre. Dame
Au luth Royale
1634
------------------------------------
(written)
------------------------------
Antoine Despont. Paris.
------------------------------
DESROUSSEAUX, NICOLAS
Worked at Nancy, 1740, and at the Sign a la Luth,Verdun (France), 1750-1760. Did not possess much desirability for neat workmanship. Attained little grace in the Klotz-contour model. Neither did he develop the best taste with the yellow varnish which is devoid of transparency. He may have legitimately tried to associate himself with good tone-producers, but he failed.
---------------------------
A Verdun par Nicolas
des rousseaux. 1755.
---------------------------
Desroussaux Verdun branded on the back. Name sometimes given as Desrousseau.
DE ESPOSITO, LORENZO
Worked at Rome, 1920.
DESSOULAVY, MAURICE
Born at Neuchtel, 1887. Studied the violin at Brussels Conservatoire. Had to give up playing owing to finger paralysis. Worked at violin-making with Laurent. Subsequently returned to native town.
Generally Guarnerian modelling. Especially fine tone. Also several finely-designed six-stringed viol-damours with sound-holes like flames.
---------------------------
Fait par
No. 63 Dessoulavy
Luthier, A Neuchtel.
---------------------------
(attractive border - name printed in red)
-------------------------------------
Fait par
Dessoulavy
Luthier, Neuchtel No. 114.
-------------------------------------
(Coat-of-Arms on left)
DEULIN, JOSEPH D.
Born at Madison (Virginia). Worked at Detroit, 1920.
Cremonese models. Brown or golden yellow varnish.
---------------------------
Joseph Deulin
Violin Maker
Detroit (Mich). 1928
---------------------------
(with initials double-circled)
DEVEAU, JOHN G.
Established at New Rochelle, 1920, and at Mamaroneck (New York), 1927. Violins by no means to be disregarded, as they present several genuine attributes, each replete with good intention. Associated with Calvin L. Harrison who prepared a fine-quality amber oil varnish.
DEVEREUX, JOHN
Worked in London with B. Simon Fendt, 1850. Went to Fitzroy, Melbourne (Australia) about 1864, and worked there until death, 1920.
Violins, which for many years enjoyed all possible popularity from professional players on account of the strong and full tone, but during his reclining years they unaccountably lost favour and were seldom sought for. A decline probably occasioned by the apparently fatal mistake of persistently adhering to rather excessive proportions. General measurements: body-length, 14-9/16 inches; upper bouts, 7; middle, 4-3/4; lower, 8-5/8, ribs, 1-1/8.
Too broad across the shoulders to permit of the necessary facility of ascending to the higher positions. Structurally magnificent though unwise in size. Chose belly wood that was obligatory to fine tonal results. Workmanship comparatively flawless. Scroll given a mutual robustness without heaviness. Sound-holes in perfect concert with the splendidly flat modelling. Transparent and rich-looking oil varnish of own preparation.
Produced cellos and double-basses greatly patronised by Australians.
--------------------------------------
J. Devereux
Violin and Double Bass Maker
Marion St. Fitzroy. 1867.
--------------------------------------
Also a professional contrabassist - frequently played at Government House.
DE VIER, J. W.
Resident at North Platte (Nebraska), 1925.
Ably conceived designs on which the maker has not promulgated any erroneous structural tenets.
DE VILONNI
see VILONNI.
DEVIS, WILLIAM
Watch-maker. Worked in Fleet Street, London, 1750-1765.
Tyrolese modelling of considerable felicity, with a few originalities far removed from the amateurish. Brownish varnish of warm appearance. Several bought up by dealers at his death, and re-labelled as made by Klotz.
----------------------
Made in London
1758 by
William Devis.
---------------------
DE VITOR
see VITOR.
DEVONEY, FRANK
Born at Perth (Scotland), 1854. Constructed a fiddle to amuse himself soon after 10th year. Subsequently studied with several Scottish makers, produced many specimens before arriving at 20th year, but was dissatisfied with the uncertainty of insuring proper tone quality. Stumbled on the Ghladni system of acoustics 1883, achieved more results, and ultimately made the decision of becoming a professional maker. Worked at Blackpool for many years. Migrated to America (owing to a breakdown in health), 1910. Resided at Pittsburg, San Francisco, Fresno, and finally (in 1920) at Cupertino (California).
Author of The Acoustics of Violin-making (Edinburgh, 1893).
In these experimental ideas be examined they will not appear extravagant or deficient; being in general founded upon the critical comparison of the old master instruments, but discussed with uncommon freedom. Affirmed the improbability of simply one plate-note as tested by Savarts method of bowing on the edge of the plates, and definitely claims to obtain nine notes (more or less detetminate) from each plate, also an additional one from the scroll of the whole violin. Used (for testing these notes) a short and heavy bow roughly made of strong black horsehair. Some tones naturally came with ease, others with difficulty, resulting in a medley of over-tones rather than true notes.
Whether his notions are infallible or otherwise must be left to all those researchers who pass (and probably waste) years in delving through a labyrinth to which there is no conclusive outlet.
Produced many instruments at Blackpool, some purporting to be replicas of Stradivarius or Guarnerius, but others mostly designed on entirely original principles. Several of these, though interesting, are somewhat diametrically opposed to familiar traditional traits.
Designs not altogether apt or elegant and beautiful in themselves, though he perspicuously arranged each part to be perfectly apposite to the other. But there is no superfine workmanship, nor any particular animation and splendour of tone. Weight generally 18 to 20 ounces - five in excess of the average Cremona. Bellythicknessing reaching a 1/4 inch at the centre and occasionally 5/16 - possibly principles fundamentally against absolute free emission of tone, though of fine strength. E string brilliant up to the fifth position, but higher register requires very forcible bowing; A string very good and nicely-penetrating; D string dull and somewhat muffled on the upper notes, and the G string thick and quite unpurified. Later violins made in California are built more in accordance with Italian prototypes. Eliminated much of his former complex plate system (which was perhaps a delusion engendered through an enthusiastic but possibly blind groping), and, advancing years having brought about the inevitable self-condemnation which all of us experience with regard to initiatory efforts of ambition, etc., produced instruments of more prudent dimensions and greatly-improved workmanship.
So now we get a particularly even total quality, one without that sometimes heinous raw newness, and of a clarity and suavity well calculated to fire the imagination of any soloist. Annexed to all these excellencies is the golden reddish oil varnish of own preparation, comparable to a vineyard planted with the choicest vines, cultivated with the greatest care, and producing the finest fruit.
--------------------------------
Joseph Guarnerius
Copy
by Frank de Voney 1893.
--------------------------------
I.H.S. with a cross within a circle.
Advertised that he could produce replicas of any standard models, and also give the particular tonal-timbre of each.
DEVRAINNE, EMILE
Worked at Amiens (France), 1913; and at Lyons, 1919-1925.
Stradivarian modelling of respectable attainment. Equally proportionate degree of skill in workmanship. Scroll of medium size with boss slightly too pronounced. Sound-holes effectively slanted and positioned. Yellowish red varnish not particularly supple.
-----------------------
Revu et Rgl par
Emile Devrainne
2 rue Marotte.
Amiens 1917.
----------------------
(artistic decorative border)
DE VRIES, A. J.
Born 1908. Studied with different Dutch makers. Worked at Wormer 1942. Cremonese models; oil and spirit varnish of own formula.
---------------------------------
Andries Johannes de Vries
Vioolbouwer te Wormer
Anno 1949. Holland.
--------------------------------
(written)
DEVYLDER
see SLOSSE.
DEVYRI, ANTON
Worked at Alpenrose (Tyrol), 1740.
Stainer modelling without relationship of fine curvatures. Arching clumsily bulgy. Poor quality varnish of brownish hue, applied in the elementary amateur style. Tonal quality utterly feeble.
---------------------------------
Anton Devyri
Alpenrose bey Carrer See
nechst Botzen.
---------------------------------
(badly caligraphed)
DEWARS, WILLIAM
Born at Brechin (Scotland), 1878. Worked at Minneapolis, 1914.
Strad and Guarnerian modelling; good workmanship though not of stellar order. Whitelaws varnish. Really splendid tone, awaiting necessary years for complete fruition.
------------------------------
Wm. Dewars
Maker
Brechin. Jan. 12, 1902.
------------------------------
DE ZORZI
see ZORZI.
DHAUSSY
Theatre violinist at Paris, 1815-1830. Trained at Mirecourt in violin-making.
Talent for the art fully displayed in carefully worked designs - not quite so robust as other French violins of same period. Bright red varnish - very attractive.
-----------------
Dhaussy
Fait en 1826
Paris.
----------------
DHERIN, CHARLES
Worked at Tourcoing (France), 1897-1913.
DHESPONT
see DESPONT.
DIAMOND, C. ALONZO
Worked at Buffalo City, 1908. Died 1919.
DICK, ALBAN
Born 1876. Worked for A. Vogt at Frankfort-on-Maine and succeeded to his business, 1905. Commendable workmanship attractive designs.
DICK, HEINRICH HERMANN
Established at Markneukirchen (Saxony), 1908-1925. Specialist in bows for all the violin family. Produced many grades of commercial bows, priced from five shillings to as many pounds.
Stamped variously with the names of Tourte, Dodd, Bausch and others. All sorts of mountings to suit every class. Finest bows stamped H. H. Dick on righthand side of stick over the saddle instead of the ustial left. Others stamped H.H.D and Ges. Gesch: Nol22 (abbreviation of Gesetzlich Geschtzten, meaning legally protected).
Enjoyed a particularly prosperous export trade with his Vulcan bows. Spirallapped with vulcanite to obviate the drawbacks of leather (which is unsightly), or cork (altogether abominable), or rubber (often becoming sticky with perspiration). Stamped D.R.G.M. 371020 (meaning design registered in Germany).
DICKENSON, EDWARD
Worked in London, 1750-1790.
Stainer models of no cultivated taste or nice accuracy. Tone only a step removed from very poor.
--------------------------------------------------------
Edward Dickenson
Maker, at the Harp and Crown in the Strand
near Exeter Change.
London 1750.
-------------------------------------------------------
DICKENSON, HENRY
Boat builder at Burton-on-Trent, 1900.
Made several double-basses.
DICKESON, JOHN
Born at Stirling (Scotland), 1725. Worked in London and Cambridge, 1750-1780. Amati-pattern instruments exhibiting sobriety of correctness, and a kind of vigour, which should elevate them in the ranks of English violins. Workmanship has all the artistic qualities of the Italian style. Nicely-figured wood for backs. Light brown varnish. Rather small tone, but of silvery character.
-------------------------------
John Dickeson
fecit in Cambridge, 1776
-------------------------------
Name sometimes given as Dickson.
DICKIE, WILLIAM
Resident at Wentworth (near Rotherham), 1876-1899.
Smooth workmanship, Cremonese models, good reddish yellow varnish, fair tone.
DICKSON, GEORGE
Resident at Edinburgh, 1910. Doctor of medicine.
Splendid technical assurance added up to unified entity. Searched for Cremona varnish from 1860. One of the first to use amber fossil for preparation of varnish.
DIDELIN, JOSEPH
Born at Mirecourt. Worked at Nancy, 1760-1780. Shop sign A la Guitare des Dames de France.
Modified Amatese modelling with slightly flatter arching - dull brown varnish. Branded Didelin Nancy.
Guitars labelled:
-----------------------------
Fait Nancy par
Joseph Didelin Luthier
sous lEnseigne de
la Guitare des Dames
de France en 1767
-----------------------------
(written)
DIDELIN, NICOLAS HENRI
Worked at Mirecourt, 1772-1789.
Strong bows, generally well-balanced, but occasionally a trifle too short. Chocolate-colour sticks - unpolished. Stamped Didelin.
DIDELOT, AUGUSTE
Born at Mirecourt, 1845. Worked for Salzard at Moscow, 1873-1879.
Opened own establishment, 1880. Working there, 1900.
DIDELOT, DOMINIQUE
Worked at Mirecourt, 1816-1830.
Not bad workmanship, but not easy to divest the mind of ideas that we are looking at results of mass factory production. General style of sound-holes, and similarity of the scrolls help to confirm the illusion. Arching rightfully proper, and considerable harmony preserved throughout the entire contour. Sometimes double purfling. Spirit varnish, pretty tint, either light or dark brown. Useful instruments for theatre work. 40.
----------------------------
Dominicus Didelot
A la ville de Cremone
----------------------------
Also used the brandmark:
-------------------------
A Cremone
Dominique Didelot
-------------------------
DIDELOT, J.
Instruments made at Mirecourt, 1925. 15.
Third-rate workmanship.
-----------------------
J. Didelot
Lutherie Lorraine
-----------------------
(name printed as written)
DIDIER, MARIUS
Worked with Thibouville-Lamy, 1898; at Mirecourt, and at Mattaincourt (Vosges), 1925.
Reproductions of old Italians, especially the Messie Strad. Superior workmanship. Brownish red or orange red varnish. 20.
-----------------------------------------
Marius Didier. Luthier
1926. Mattaincourt No. 30.
Exposition des Meilleurs Artisans
de France
Grand Prix
-----------------------------------------
DIDIER, PAUL
Born 1908. Son and pupil of M. Worked in Metz, 1936. Won several gold medals at Paris and Toulouse. Reproductions of old Italian types. Splendid workmanship. Orange, or shaded reddish brown varnish, masterly applied. 50.
-----------------------------------
Paul Didier
Luthier
Mdailles dOr-Grand Prix.
rue du Faisan
No. . . Metz, lan. . . .
----------------------------------
DIDION
Worked in La Roche-sur-Yon (France), 1900-1914. Small productivity.
DIDION, GABRIEL
Worked in Mirecourt. Died 1881. Established a trading business with Soriot, and later with Laberte. Stepbrother of Blanchard at Lyons. Ordinary Mirecourtian violins and cellos, but this appellation does not imply the least imperfection in design and workmanship, except an absence of individuality or personal touch. Bold Stradivarian modelling of noticeably flat arching. Scroll regarded as slightly under-sized. Sound-holes certainly well slanted and positioned. Excellent bellywood of nice open fibre. Reddish or brownish varnish liberally applied. Workmanship is not calculated to excite the highest admiration, but cannot be criticised as unfinished or slovenly. 80.
-----------------------
Gabriel Didion
Lutherie Lorraine
1875
-----------------------
(bearing the Lorraine Coat-of-Arms, and Didion autographed)
Scores of Didion instruments, labelled as above, and with facsimile of autograph, emanate from Mirecourt factories, dated up to 1920, and possibly later.
DIDION, LABERTE
Violins of this name usually catalogued at 7. Of sound construction and agreeably varnished. Manufactured at Mirecourt.
DIECKOV, OTTO
Born 1877. Pupil of Pfretzschner at Stettin. Worked in Paris, Lyons, and Turin. Settled at Gross-Apenburg (near Salzwedel), 1947. Violins on par with the best modern productions.
DIEHL, AUGUST
Born in Darmstadt (Germany), 1852. Son and pupil of Friedrich. Established at Hamburg, 1875. Died there 1922. Won gold medal at St. Louis Exhibition. Pleasing representations of old master violins through the medium of neatly finished workmanship. Also a model for which he claimed originality. Excellent wood enhanced by equally excellent varnish. Quality of tone that appeals to the large community of amateurs. Many productions have finely carved heads and other decorative embellishments which arrest attention. Inventor of a new bow, 1902, having a stick less curvy and more lenticular than usual, also some alteration to the head which entirely rejuvenates its elasticity.
------------------
Im Jahre 1892
August Diehl
Hamburg
------------------
--------------------------
August Diehl
me fecit
Hamburg Anno 1911
--------------------------
(device of Lion & Lute in centre, also a crown with wings)
Later labels frequently written. 70.
DIEHL, FELIX
Son and pupil of Johann. Worked in Mayence, 1850-1875.
--------------------
Felix Diehl
in Mainz, 1863
--------------------
DIEHL (DIEL) FRIEDRICH
Son of Nicolaus. Born in Darmstadt, 1814. Died there 1888.
Klotz outline and appropriate arching to that model. Dignified scroll. Workmanship worthy of considerable respect. Dull, dark varnish of very poor texture. Produced several double-basses much liked by orchestral players. Gained a bronze medal at Paris Exhibition, 1867.
--------------------------------------------------------
Friedrich Diehl
Hof-Instrumentenmacher in Darmstadt, 1880
---------------------------------------------------------
Earlier dated labels sometimes written - same words, four lines.
DIEHL, FRITZ
Born in Hamburg, 1893. Son of Jacob, Junr. Trained at Markneukirchen.
Worked with Schrage (Berlin). Succeeded to father, 1923. Generally Stradivarian model. Nice soft oil-with-ether brown varnish.
----------------------------------
Fritz Diehl
Geigenmacher in Hamburg
1927
----------------------------------
(with lion and lute design)
DIEHL, HEINRICH
Worked in Frankfurt and Mayence, 1840-1866. Ordinary workmanship and varnish (darkish yellow).
DIEHL, JACOB
Worked in Mayence, Brme, and Hamburg, 1826-1892.
DIEHL, JACOB AUGUST
Worked in Darmstadt. Principal repairer to the Court. Workmanship very favourable. Style rather similar to that of Schonger or J. Steininger. Especially fortunate in choice of wood. Lavished untiring efforts in varnishing, thus helping to give a mellow quality of tone for which his instruments are now deservedly valued. 90, 1959.
-------------------------------------
Jac. Aug. Diehl
Hof-lauten & Geigen macher
in Darmstadt. 17. .
-------------------------------------
DIEHL, JOHANN
Brother of Nicolaus. Worked in Mayence, 1808-1843. Instruments deserving a special mark of interest. Modelling generally on Stradivarian lines. Workmanship comparatively flawless. Sound-holes drawn by an artist who fully comprehended the picturesque. Scroll well cut and neatly trimmed, also of quiet dignity.
Golden-yellow varnish. Tonal quality of considerable warmth. Industry rewarded to the extent of 66 florins for each specimen - an unusually high price for German violins of his day, and giving substantial testimony of their superlative qualities. Catalogued today at prices within the reach of hundreds whose means will not permit of purchasing the high-priced Italians. 100, 1959.
-------------------------------------------
Johann Diehl, Lauten und Geigen-
macher in Mainz. 1832.
-------------------------------------------
-----------------------
Johann Diehl
instrumentmacher
in Mainz 1826
-----------------------
(square lettering, each line of smaller type than the preceding, with written date).
DIEHL (DIHL) MARTIN
Worked in Mayence, 1770-1795. Pupil of Nicolaus Dpfer (father-in-law); worked with Helmer in Prague. Maker and repairer to the Court. Travelled extensively in the Tyrol and Austria to gain experience and purchase old instruments. One glance at these violins immediately gives rise to condemnatory notions. Modelling and workmanship opposed to graceful contour or neatness. Sometimes pretty curly maple for backs. Yellow shade of varnish rather upsetting ones appetite for more. Tone altogether displeasing.
Double-basses more worthy of consideration.
------------------------------------------
Martin Dihl, Chur: Maynzischer
Lauten und Giegenmachier. 1782.
------------------------------------------
Martin Dihl in Mainz. 1786.
DIEHL, NICOLAUS
Son of Martin. Born at Mayence, 1779. Died 1851. Worked with Jacob Steininger (uncle) at Frankfort. Established at Darmstadt, 1811. Repairer to the Grand Duke of Hesse. The most important member of the Diehl family.
Well-practised hand in delineating a slightly modified Stradivarius model. Workmanship always skilfully manipulated. Grace and freedom of lines everywhere about the scroll. Well-cut sound-holes entirely without stiffness. Backs and ribs of handsomely flamed maple; table wood sometimes of wide grain, sometimes of close, but always even. Golden red or golden yellow varnish of splendid texture - the former of considerable fire. Resonant tone of fairly rich quality. 35 (l920). 125, 1959.
Nicolaus Diel
in Mainz 1809. No 95.
------------------------------------------------------------
Nicolaus Diehl, Grossherzogl: Hessischer
Hof-Lauten u Geigenmacher in Darmstadt, 1844.
------------------------------------------------------------
(Bearing device of crowned lion holding a lute; the wording egg-shaped ringed).
DIEHL, NICOLAUS LOUIS
Son of Jacob. Worked several years with J. B. Vuillaume at Paris. Joined fathers establishment at Hamburg, 1860. Died 1876.
Author of The Violin-maker of the Old Italian School (Hamburg, 1866). Made several scientific experiments more or less successful. Unsurpassed manipulative skill as a restorer of old instruments, the leading soloists of the day entrusting their instruments to his care.
DIENER, ANTON
Worked at Graslitz, 1720-1750.
Average workmanship - slight hardness of tone.
DIENER, FERDINALD
Worked at Graslitz (Bohemia), 1800-1817.
Instruments not without a nucleus of fair workmanship, but not to be considered beyond the usual order of the cheaper kind of trade-violins emanating from that town.
DIENER, FRANZ
Worked at Graslitz and Carlsbad. Born 1790. Died 1866. Son and pupil of Joseph (1). Principally made cheap instruments for the trade.
Modelling slightly under normal full-size; medium arched; usual average workmanship with no individuality whatsoever. Deep golden brown varnish. Quite a decent tone now that age has had its little say in the matter. 15 (1920).
---------------------------------
Franz Diener Jecit Graslitz
1852.
---------------------------------
Made several violas which perhaps take a little higher rank than the violins Ordinary modelling, not much arched. Straight sound-holes without a sense of artistry. Brown-orange varnish which makes a fair impression.
--------------------------------
Franz Diener
fecit Graslitz Anno 1849.
--------------------------------
DIENER, FRIEDRICH
Born at Graslitz, 1791. Worked there. Probably the cleverest and most conscientious of the family.
Tried and succeeded in getting away to some extent from the rough-and-ready manipulation of his predecessors. Pleasing flat model doing credit to his taste. Light brown varnish or brown shading to yellow, of nice quality. Wood also of nice figure and acoustically excellent. Tone at least acceptably mellow and fairly strong.
One of the first who ventured to demand a higher price than the twenty-shilling outfit of contemporaries. The few specimens that have drifted over to U.S.A. were catalogued at 150 dollars (1920).
Branded Fried.Diener.
DIENER, GOTTFRIED
Worked at Graslitz, 1780-1784.
Made violins, violas, and cellos. Workmanship not free from blemishes which bring his instruments near the borderland of mediocrity. Had somewhat distorted ideas of wood. Sometimes chose beech for backs. Brown varnish, dull and dirty-looking. Name inscribed on upper part inside.
DIENER, IGNAZ (1)
Born at Graslitz, 1820. Son and pupil of Franz. After serving apprenticeship he travelled several times throughout Europe taking orders for father. Finally settled in native place, and worked for dealers. Died 1891.
DIENER, IGNAZ (2)
Born at Graslitz, 1833.
Made good-class instruments at a cheap price for dealers, but unaccountably never succeeded in doing much business. Passed the evening of his life in an almshouse at Schnau, and so his work finally became enwrapped in oblivion.
DIENER, JOSEPH (1)
Born at Graslitz, 1760. Died 1840.
All the Vogtlandish characteristics prevail in these instruments. Workmanship not very neat, but better than many of a similar class of cheap production. Best period belongs to 1809 to 1815. Brown varnish of passable texture.
----------------------------
Joseph Diener fecit
Graslitz. Bhmen.18. .
----------------------------
DIENER, JOSEPH (2)
Born 1831. Died 1887. Son of Friedrich. Worked at Graslitz.
Workmanship sometimes a little inexact particularly a few inside details. Succeeded admirably in giving an attractive pose to the scroll. Instruments having a nice appearance considering their lowly category.
------------------------------------------------
Joseph Diener, Geigen
und Guitarrenmacher in Graslitz, 1869.
------------------------------------------------
DIER, GEORG
Worked at Vienna, 1770-1790.
Especially good violas; flat model; yellow or light-brown varnish; strong tone.
DIER (DRR), JOHANN
Worked at Vienna, 1809-1815.
Instruments somewhat similar in appearance to those of Dollinger.
DIETL, JOHANN
Bow-maker at Schnbach, 1925.
DIETRICH, WILHELM
Established at Leipzig, 1884.
Maker of commercial stringed instruments of every conceivable variety at a low cost.
DIETTRICH, J. G.
Born 1851. Worked at Saupsdorf and Sebnitz (both in Saxony), 1878-1908. Built violins on somewhat original modelling. Diverged from normal proportions by giving the lower half a greater resonance-area. But though this experiment was eagerly awaited by several violinists of his day, they suspended their immediate approval on account of the unusual and perhaps inharmonious shape. Later they gave full recognition of the tonal amplification, but also found that the purity was not by any means heightened. And the innovator was forced to realise the comparative failure of what he considered would cause a furore.
Subsequently constructed violins with certain other interferences with pre-established principles, but accomplished little or nothing likely to to appeal to future ages. The instruments, though having detrimental touches of vagaries, are nevertheless of uncommon neatness in workmanship details. Purfling conducted with the nicest accuracy. Scroll, though not greatly elegant, is at least free from stiffness. Varnish compels a contemplated view.
-------------------------------
Johann Gottlieb Diettrich
Instrummentenmacher
Sebnitz.
-------------------------------
DIETZ, CHRISTIAN
Born 1804. Worked at Emmerich-on-Rhine. Died 1888.
Good design enjoined to equally excellent workmanship. Better known for innovations connected with harps.
DIETZEL, HERMANN THEO
At Markneukirchen, 1897. A typically good German workman.
DIEUDONNE FILS, AMDE DOMINIQUE
Born 1890. Pupil of Bazin. Worked for Darche at Brussels. Established at Mirecourt, 1924.
Splendid hand-made replicas of ancient violins, faithfully depicting all familiar elements; rich and sheeny reddish yellow or bright red varnish.
Also violas and cellos.
---------------------------------
Amde Dieudonne
No Mirecourt. Anno 1926
---------------------------------
(with signature)
DIGIUNI, LUIGI
Born at Casalbuttana, 1878. Worked at Cremona, 1920. Died 1937.
Violins and violas of personalized modelling, good varnish and tone. Inventor (1922) of a Violetto - compass between viola and cello - played like a viola. Body length 40 cm; upper bouts 20.7; lower 27.2.
----------------------
Digiuni Luigi
fece in Cremona
Anno N.
----------------------
DI LELIO, A.
Born 1925. Pupil of Paralupi. Worked at Rome, 1945.
Modelling (with a few originalities) showing splendid workmanship, and foreshadowing greater achievements as he gains experience. Paralupis varnish.
--------------------------------
Armando Di Lelio
fece in Roma Anno 1949
--------------------------------
(with signature)
DIEULAFAIT
Worked at Paris, 1715-1725. Lutes and viols. Name seen in a seven-stringed bass-viol at Paris Conservatoire Museum; with embossed work on the front and sides.
DI LEO, DOMENICO
Pupil of Sgarbi. Worked at Palermo, 1925.
Violins, violas, and cellos. Old Italian models. Several medals. 80.
DILLENZ, FRIDOLIN
Born 1853. Established at Ulm-on-Donau (Germany). 1878-1925.
Magnificent modelling largely derived from the Stradivarian, but accommodated with interesting touches of individuality. No infirmities of pose about the scroll. Elegant sound-holes of extreme neatness in workmanship. Fiery reddish golden varnish triumphantly clothing beautiful wood. Tonal quality strong and pure, equally adapted for brilliant soloists as for quartet players.
---------------------------------------
Fridolin Dillenz, Geigenmacher
in Ulm. anno 18. .
---------------------------------------
---------------------------------------
Fridolin Dillenz
Geigenmacher in Ulm a.d. 19. .
---------------------------------------
Recipient of many medals. 80.
DIMITRIJEVITCH, DRAGOSLAV
Born 1883. Worked at Dresden and Stuttgart. Settled at Kragujevaz (Serbia), 1905. Died 1912.
Known as the best repairer in Serbia. Made few instruments. Old Italian models. Superb workmanship covered by a beautifully transparent varnish.
DIMITRIJEVITCH, KOSTA
Born 1880. Worked at Kragujevaz. Died 1940.
Made several well-worked instruments. Constructed others with certain innovations which he patented. Some have bass-bar extensible at the will of the performer aided by a kind of bridge on the rib.
DINELLI, CARLO
Worked at Fanano (Italy), 1887.
Workmanship rather roughly presented. Outline and arching very ordinary indeed. Indifferent wood not enhanced by any especial lustre of varnish.
DINI, GIOVANNI BATTISTA
Worked at Lugano, 1690-1710.
Beautifully made viol-damores. Double-bass (in the Kraus Collection) in the form of a violin, arched back, walnut-tree wood, gilded head representing a bird in flight.
-------------------------------
Gio.Ba. Dini Fece 1707
in Lucignano
-------------------------------
(with portrait)
DINIS, FELIS ANTONIO
Worked at Lisbon 1794-1810. Worked with Galreo, and for the widow of same maker.
Violins and cellos. Representations of very slight value. Tonal quality entirely enervated. Indeterminate style modelling, and totally without artistry. Workmanship and varnish naturally travel same class with the above mediocrities.
-------------------------
Felis Antonio Dinis
Lisboa, 1807
-------------------------
-----------------------------------------
Felis Antonio Dinis
o fez en caza da Vivia de Galrao
Anno de 1797.
-----------------------------------------
DIONELLI, GAETANO
Worked at Mantua (Italy). 1855-1869.
Outline quite graceful in curvature. Arching appropriately slight. Scroll agreeably positioned. Straightish sound-holes seeming to be strange company among the general assemblage. Belly wood of fine fibre. and backs of the usual prettily-marked material. Dark shade of reddish-brown varnish.
Cellos (though having style relationship of the violins) altogether of finer construction.
----------------------
Gaetano Dionelli
Fecit in
Mantua. 1858.
----------------------
(prettily scrolled)
DIONIGI, ALESSANDRO
Worked at Siracusa (Italy), 1760-1780.
Violins verging on the commonplace.
DIOT, HENRY
At Mirecourt. Modern maker who is well inspired by the Del Gesu model, also by fellow Frenchman, Chappuy.
DIOTALLEVI, MICHELANGELO
Worked at Rimini, 1810-1845.
DIRCANA. FERDINAND
Possibly a Tyrolean who worked in the vicinity of Vicenza (Capital of Italian province where most of the inhabitants speak a German dialect).
Graceful outline with rather elongated corners, suggestive of Italian influence. Brown shade of varnish typically Tyrolean. Belly wood of very fine fibre.
---------------------------------------
Viciaena Ferdinandus Dircana
Violin & Lautenmacher in Italia
P.A.N. anno 1722.
---------------------------------------
Rather a conundrum, and we are not sufficiently cognitive to properly decipher it.
DIRK, M.
Klotz modelling, good workmanship, and excellent brownish yellow varnish.
------------------------
Mathus Dirk
Vils in Tyrol 1777
------------------------
DISMUKES, CORBIN
Born at Magnolia (Arkansas), 1906. Resident at Shreveport, 1930.
Stradivarian modelling imbued with neat workmanship. Light reddish oil varnish on yellow ground.
DISSMORE, GEORGE A.
Worked at Des Moines, 1890-1898.
Outline and arching influenced by the Stradivarian, and without any deviation from that sure path. Fine exposition of beautifully transparent red-orange varnish.
-----------------------------------------
Basis of
Construction
International
C.517-3
Vibrations
Made by
Geo. A. Dissmore
Des Moines. Iowa. U.S.A. 18. .
Signed. . . . . . . . . . . . . .
Le Massie
1716
Antonius
Stradivarius
-
Cremona
A S
-----------------------------------------
Author of The Violin Gallery (Reeves, London, 1895) consisting of views in half-tone, printed in photo-brown, and the lost art discussed with original ideas of construction.
DITER, JUSTIN VICTOR
Born at Mirecourt, 1866. Apprenticed to Paul Bailly; worked for Blanchard at Lyons, 1890; established at Marseilles, 1897-1926. Associated with Lorange. Died 1941.
Graceful and beautiful, significant and dignified in form; violins, violas and cellos. Modelling inspired by examples of Vuillaume and Silvestre, outlined after Stradivarius, Amati, and Guarnerius. Oil varnish of orange red tint (prepared after formula of Vuillaume). harmonises with the sumptuousness of the wood. Tonal quality of considerable strength and resonance. Some violins built in the style of Rocca - much appreciated.
---------------------------------
Diter & Lorange, Luthiers.
Marseille. lan 18. .
---------------------------------
---------------------
Justin Diter
matre luthier
Marseille. 1928
---------------------
-----------------------------
J and P Diter, Luthiers
Marseille lan 19. .
-----------------------------
---------------
Justin Diter
Luthier
Marseille.
Anne No.
---------------
(initials J D in design on left, and Arms-of-Marseilles on right)
DITER, PAUL FRANOIS
Brother of the preceding. Born at Mirecourt, 1879. Specially studied with Charles Bazin for bow-making. Worked with his brother at Marseilles, 1925. Died 1942. First-period bows follow lines set up by Tourte and other famous French makers, but later gradually evolved own principles and these are particularly applicable to the taste and requirements of modern brilliant players.
DITTEL, FRIEDRICH AUGUST
Worked at Hof (Bavaria), 1808-1832.
Ordinary workmanship; model with near kinship to the Klotz.
------------------------------------------------
Friedr. Aug. Dittel
Instr. und Lautenmacher in Hof, 1813.
------------------------------------------------
DITTON
Worked in London, 1700.
One in the collection of Thomas Britton.
----------------------------------
A fiddle by Ditton
Possessed by Tom Britton
Is something to spend a
Muses small wit on.
----------------------------------
DIVERNY, JEAN
Worked at Mirecourt, 1741.
Violins and bows.
DIXON, ALFRED THOMAS
Born at Dover. Studied violin and organ in twelfth year. Also made primitive attempts in constructing old viols and lutes.
Ultimately became a first-class violinist, musical director at Folkestone 1912, organist at the Church, conductor of orchestral societies, considerable repute as violin teacher, altogether a very versatile and thoroughly artistic musician - enjoying an enviable position in this respect throughout the counties of Kent and Sussex 1935.
Went deeply into the construction of stringed instruments from 1895. Visited Italy in pursuit of further studies, 1912.
DOBRESOVITCH, MARKO
Born at Dulcinio (Montenegro), 1891. Lived at Cairo, 1914. Went to Bologna to study with Pollastri, 1920. Won diploma of merit, 1925. Returned to Egypt and set up at Alexandria. Moved to Cairo, 1941. Modelling more or less Stradivarian, absolutely free of any new-fangled ideas interiorally, winsome arching, fine curvaturing of the scroll, graceful sound-holes, and good textured varnish.
Instruments highly praised by Kubelik, Huberman, and Heifeta. Presented King Farouk with a quartet.
-----------------------------------------
Marco Dobretsovitch
Liutaio
fece in Cairo dEgitte Anno 1943
-----------------------------------------
(with signature)
-------------------------------------------------
Marco Dobretsovitch
Liutaio
Fece in Alessandria dEgitto Anno 1934.
--------------------------------------------------
(with signature)
Instruments dated 1926 to about 1930 have similar words but no signature.
DOBRIANSKI, L.
Born at Odessa, 1865. Repairer of the Czars collection at St. Petersburg, and (after the 1914 Revolution) at the State Museum, Moscow. Also restored many instruments belonging to Ludwig Ferdinand, Prince of Bavaria.
Made replicas of celebrated Strad violins - said to be so wonderfully perfect that several were disposed of as genuine Strads in Russia. Other violins are without upper corners. Kubelik played on one for a number of years.
DBRITZ, CARL
Worked at Steinau-on-Oder, 1810-1840.
Large non-attractive model, ordinary workmanship, unduly arched, thick cracklish varnish, inartistic almost perpendicular sound-holes, unpleasantly shrill tone.
DOBRUCKI, MATTIA
Worked at Cracow. Died 1602.
Made violins, violas, guitars, etc. Left a large number incompleted at death. Probably the earliest maker in Poland.
DODD, JAMES
Worked in London. Died 1857.
Produced many carefully made bows of really nice balance. 30.
DODD, JOHN
Born at Stirling (Scotland), 1752. Eldest son of Edward (bow maker, born 1705, died 1810, age 105; worked in Scotland and London). First a gun-lock fitter, then a money-scale maker, and finally found his true vocation in the making of bows. Came to live in London, and assiduously devoted his hours to perfecting of bows. Lived many years at a house opposite Kew Gardens, Surrey. Died of bronchitis in Richmond Infirmary, 1839, and buried at Kew.
Exquisitely made bows having all the ideal qualities that bring them into direct harmony with the eye. No ugly curve in the head, or abruptness in the arching that could jar on the most sensitive to absolute nicety. Secured such a perfect balance together with artistic workmanship and beautiful wood that he rightly was termed the English Tourte. Notwithstanding the slenderness of the sticks they have wonderful power, capable of all the surprising variety and complexity of strokes, elasticity, attacking or powerfully sustaining a note, and all the most delightful gradations of tone that an artist wishes to employ in his performances. They do not admit of wide spread of hair, but in our opinion this is an advantage rather than a defect, for too much spreading of hair is not conducive to the production of an ideal tone.
Unfortunately they have one defect, and that is in being the minutest bit too short for the bravura player. But for this rather important drawback they would rank with those of Tourte, for his hand and judgment were quite as infallible as the great Frenchman.
Stamped his name in large plain letters on the side of the nut and on the stick; but so many have been remounted that now the name may only be seen on the stick. Made all classes of bows of various values, and thus his reputation is considerably minimized, as his finest bows are fewer than the others.
Moreover, there are hundreds of guinea bows stamped Dodd, or J. Dodd that are the productions of various bow-making firms. These and other cheaper mongrel dodges of some dealers have been the means of arousing approbrium from some players concerning the name of Dodd, who have not initiated themselves into the art of detecting genuine specimens or knowing the marked difference between those and the forgeries. A large number of his bows have been unnecessarily thinned down, consequently reducing them to being practically worthless. Used both round and octagon sticks - genuine specimens invariably dark in colour. He could never be pers0uaded to take pupils, and had no desire for anybody to know of and perpetuate his methods. In fact he so assiduously strove to maintain his secret of cutting the wood that he refused to reveal it for a bribe of 1,000 pounds, although frequently destitute of the wherewithal to get a satisfying meal. His method of cutting has been accounted rather primitive, and was not usually adopted by other bow-makers. He cut the sticks to the required sweep out of a block, and thus got that delightful Cambre or spring by altogether dispensing with the prevalent plan of cutting straight and then bending by heating the fibres.
Some bows mounted in jewels - made for members of the Royal family residing at what is now known as Kew Gardens. Arthur Dykes of London is the proud owner of the obsolete or Corelli bow made by Dodd, and he considers it to be by far the most fully developed and perfectly preserved ancient bow in the universe. It is made of the finest obtainable pernambuco and is wonderfully cambered.
Dodd, though a genius of eccentric proclivity, was very illiterate, and according to Dr. Sell (a wealthy patron of his, who lived at Richmond, and who largely assisted him when in need of the ordinary necessities of living) he was unable to write anything correctly except his own name. Of small stature - rather waddled than walked. Negligent in dress, wearing a worn out coat of the most dilapidated description, short corduroy trousers, and broad brimmed hat. Quaint personality - a regular frequenter of the public-house for his favourite tipple Pearl. Walked home many times with his pockets full of oyster-shells begged from various stalls, and from these he cut out the pearl for the slides and ornamentations of his bows, which accounts for the characteristic plainness of this particular department of his work. Often at a loss for silver for the mountings, and his old house-keeper frequently berated him for using up several of her metal spoons. Dr. Sell has stated that he saw Dodd cut out the identical shape of a bow from a rough plank with only the aid of a curiously constructed saw. He must have had remarkable aptitude to accomplish so much with so little.
Last years saddened by great poverty; mainly got his daily food and drink through the charitable intentions of a few friends. 40.
DODD, THOMAS
Third son of Edward. Apprenticed to a firm of brewers; ultimately owned his own business; started bow-making in Blue Bell Alley, Mint Street, Southwark, 1786-1789. Dealer in and maker of violins in New Street, Covent Garden, London, 1798. Moved to St. Martins Lane, Charing Cross, 1809. Finally became a harp and piano maker in Berners Street.
Instruments labelled with his name, but were almost entirely made by two clever assistants in his workshop (Fendt and Lott) who were in his employment for many years.
Had a cultivated knowledge of Italian instruments, and specialised in varnishing, claimed to be possessor of a wonderful secret (studiously kept to himself), and varnished, unaided, the work of his assistants. Very fine varnish, particularly rich and transparent, in shades from golden amber to deep golden red. Though in his day the composition of this preparation was a secret, it has since been scientifically proved to have been of the usual gums and resins, but mixed more methodically than his contemporaries attempted.
Violins and cellos modelled after Stainer, Amati, Stradivarius, Bergonzi, and Guarnerius - altogether show that the hands of his assistant workmen were wielded with great mechanical dexterity in the essential beauty and correctness of design. Tone not purely ideal, but has much facility of production.
Cellos frequently catalogued at 50 (1920).
------------------------
T. Dodd
Violin, Violoncello
and Bow Maker
New Street
Covent Garden
------------------------
-------------------------------------
Dodd, Maker
92 St. Martins Lane.
Perfect copies of Stradivarius,
Amati, Stainer, &c.
-------------------------------------
Note. - The only possessor of the recipe for preparing the original Cremona oil varnish. Instruments improved and repaired.
Business token in the form of a coin. Front: Instruments tund and lent to hire. (Also bearing the head of Handel the composer). Back: Dodds cheap Shop for Musical Instruments, New Street, Covent Garden (with a radiated Lyre).
DODDS, EDWARD
Born in Northumberland, 1817. Self-taught, and in 12th year amused himself with construction of fiddles. Went to Edinburgh, 1863. Died there, 1896. Attained considerable notoriety through advertising that he was the only fiddle-maker who had discovered the real Cremona varnish.
Produced about 300 instruments. Generally rather heavily built. Outline and arching completely in accordance with orthodox principles. Workmanship surprisingly splendid, though the scroll perhaps has a little less artistic triumph. Tone, though strong, does not meet with much patronage on account of its lack of mellow sonority. Dark brown varnish, thickly applied, not complimentary to his self-lauded powers in this particular matter. Instruments seldom realise more than 10.
-----------------------
Edward Dodds
Maker
1 Charlotte Place
Edinburgh, 1891.
-----------------------
Unscrupulous vendors have occasionally obliterated the letter S in Dodds, and altered the date in order to foist them on the public as the work of a Dodd.
DODI, GIOVANNI
Worked at Modena, 1860-1890. Violas, of guitar form, and double-basses.
DOELLING
see DLLING.
DOERFFEL
see DORFFEL.
DOERING
see DRING.
DOETSCH
see DTSCH.
DFFLER, GEOR
Worked at Altenberg (Germany), 1709-1750. Known for good tenor viols.
-------------------
Georg Dffler
in Altenberg
-------------------
DOHERTY, J. J.
Worked at Calgary (Alta). Violins appreciated for careful workmanship. Good orange tinted varnish. Produced 21 instruments up to the year 1926.
---------------------------------------
Jas. J. Doherty
Expert Violin Maker
Calgary. Alta. Fecit Anno 1926
---------------------------------------
DOLCINI, RENATO DI QUINTO
Born at Forli, 1903. Worked at Marina di Ravenna, 1923. Models of considerable originality. Golden red spirit varnish.
-------------------------
Dolcini Rto.
Marina di Ravenna
9-6-1932
-------------------------
(Not a label, but inlaid on the wood. 9 indicates the number, 6 the month)
DOLLARD
Worked at Dublin, 1800. Contemporary and follower of Thomas Perry. Workmanship very rough and utterly puerile. Varnish dull and blotchy. Outline and arching perfectly exemplify incompetency of designer. Wretchedly poor and weak tone. Cellos belong to same order.
-----------
Dollard
Dublin
-----------
(written or branded)
Some instruments known of better modelling and workmanship, but generally assumed to have been made, or at least finished by MNeill.
DOLLENZ, GIOVANNI
Worked at Trieste, 1802-1856. Gained experience in Storionis workshop at Cremona. Instruments emblematic of a persevering and patient hand, but they only show tame subservience to the Storioni model. Purfling gives no indication of a masters power, but has just that ordinary merit of being done by a man not especially trying his best. No delicacy about the complexities of the scroll - nothing but a sort of unfinished vigour. Fairly correct Guarnerius outline and the flat arching (though not a rigid imitation of that model), well thought out. Stradivarius-like sound-holes prove the makers concentrative application. Wood for top usually of strong, perfectly regular, and rather wide fibres. That for back, seldom other than fairly plain sycamore. Yellowish red varnish, possibly spirit, no alluring lustre. Tone certainly rather powerful, but for an Italian type of violin there is only a scanty pittance of real sweetness.
A -
-----------------------------------
Giovanni Dollenz
Fecit in Trieste, Anno 1835
-----------------------------------
----------------------------------------
Original arbeit von
Giovanni Dollenz, Trieste, 1830
garantiert von Hamona & Co.
Stuttgart. Handlung alter
meisterinstrumente, 1947
----------------------------------------
Used three kinds of label, same wording as example A, each with decorative border, but with lettering different according to period. First period 1802 in italicised type; second 1827 in ordinary lettering; third 1832 has the makers name in square type, and the remaining words italicised. 125, 1959.
Bows bearing his name show that he had regulated knowledge of elasticity combined with strength.
DOLLENZ, GIUSEPPE
Son and pupil of the preceding. Worked at Trieste from 1850. Died 1889. Produced about 130 violins, violas and cellos.
Rather flat modelled instruments, not altogether satisfying our sense of the artistic. No two parts seem really wedded together, therefore the contour is far removed from ideality. Modellers art also somewhat scantily exhibited in the cutting of the scroll - usually large. Sound-holes generally rather wide, sometimes set too far apart. Purfling close to edge, often uneven. Table wood not always well chosen, and frequently of wide grain. Oil-spirit varnish of reddish brown shade not applied with all the resources that an artist can command. Tone rather full but lacking in sonority and sweetness. Only occasionally did he step out of his accustomed ordinary style, and then violas and cellos seem to have had greater attention. Also red varnish.
-----------------------------------
Giuseppe Dollenz No. 102
Fecit in Trieste. Anno 1887
-----------------------------------
DOLLENZ, W.
Bow maker at Leipzig, 1930. 10.
DLLING, AUGUST
Born at Markneukirchen, 1859. Apprenticed to E. Hums, 1873-1877; worked four years with Glaesel, and with Noebe at Hamburg. Dated his violins from Markneukirchen, 1885-1908. Established at Erfurt (Saxony), 1910-1926. Principal features of the old Italian masters well pronounced in the modelling. Arching and every other detail completely harmonious. Workmanship quite satisfactory. Oil varnish applied with the most painstaking care. Excellent examples of the well-made order usually associated with the exportations of Saxonian manufacture, perhaps not specially individualistic, but certainly of splendid appearance, finished and fitted up with the best machine-made accessories.
------------------------------------
August Dlling, Geigenbauer
Erfurt. 19. .
------------------------------------
DLLING, GEORG, LOUIS
Worked at Markneukirchen, 1884-1917. Stradivarian and Amatese modelling.
DLLING, GUSTAV HERMANN
Born 1847. Worked at Markneukirchen. Died 1913. Good bows of moderate price. Stamped G. H. Dlling.
DLLING, GUSTAV OTTO
Bow maker. Worked at Markneukirchen, 1925.
DLLING, HEINZ
Bow maker. Born 1913. Son of Otto. Worked at Wernitzgrn (Saxony), 1938. Estimable bows, refined workmanship. Stamped Heinz Dolling.
DLLING, HERMANN JR.
Born at Markneukirchen, 1862. Died 1923. Son and pupil of Hermann Moritz. Worked with Ludwig Glaesel, then with Lieblich at Breslau; finally with August Riechers at Berlin. Having passed through these experience-gaining preliminaries, returned to paternal roof, and remained there until 1885.
Established the Vogtlndische Musikinstrumenten-Fabrik, 1886. Won medals at the Zwickau Exhibition, 1906, and at Berlin, 1907. First productions entirely handmade and minutely modelled after Stradivarius, Ruggerius, and Gaudagnini. Made a speciality of cellos and double-basses. Some Viol dAmours especially beautiful and accepted by connoisseurs as wonderful reproductions of old masters. Later, engaged the most competent men of his district and entered the commercial road of mass production. Usual imitations of standard models. All instruments (of wide European and American popularity), reach the summit of excellence in their own particular sphere. Varnishing in particular splendidly done in various shades. Gratifying to record progress, and doubly so to recognise the continued perseverance in the well-doing of a firm (now carried on by other members of the family, and assistants) which, from its start, entered the field with the intention of improving the manufacture of trade instruments - an ambition far more effectively accomplished than other firms whose existence can be dated from many years previously.
Facsimile of signature branded. 80.
-------------------------
Hermann Dlling Jr.
-------------------------
Especially excellent Stainer models. Single line purfiing, and reddish brown varnish.
DLLING, HERMANN MORITZ
Known as Dlling, Senr. Born at Markneukirchen, 1839. Died 1904. Member of the Violin Makers Guild from 1862. Customary workmanship of Saxonian type.
DLLING, LOUIS JUNR
Firm established by Georg Louis Dlling. Born 1860. Died 1917. Pupil of Otto. Worked at Leipzig and Breslau, 1877-1883. Returned to Markneukirchen 1884 and materially helped the productivity of his father. Modelling skilfully executed on the Cremona lines. Commercial instruments elevated to the highest standard of their class. Spirit varnish. Traditional style maintained.
----------------------------------------
Louis Dolling Jun.
Markneukirchen i S.Anno 1898
----------------------------------------
----------------------------
Louis Dolling Jr.
Markneukirchen 19. .
Germany
----------------------------
(with initials L.W. in circle) D
-----------------------------------
Louis Dolling Jr
Markneukirchen Anno 1912
-----------------------------------
DLLING, MARTIN
Born 1883. Pupil of Mnnig. Worked at Zurich and Cologne. Settled at Bonn, 1925.
DLLING, MAX
Proprietor of a stringed instrument factory at Markneukirchen 1888-1929. Died 1932. Violins, cellos and double-basses of all kinds and prices. Specialised in Bumbasses of four varieties with capriciously carved heads, fashioned Chinesewise, Clown-like, Pagoda, or representing a Chimpanzee.
DLLING, O. RUDOLF
Worked at Markneukirchen, 1925. Violins and bows - various grades.
DLLING, OTTO
Bow maker at Markneukirchen, 1920.
DOLPHIN, W. EDWARD
Pupil of A. E. Smith at Sydney, Australia. Worked at Melbourne, 1930. First instrument produced in fifteenth year. Strad and Guarnerian models, also one combining both. Oil varnish (with vegetable colouring matter) of own formula - old gold to dark red.
-------------------------
William E. Dolphin
Sydney. 1928
-------------------------
(slight decorative border)
DOLPHYN, LUCIEN
Born 1902. Studied the violin at Ghent Conservatoire. Attracted by paintings of violins and other instruments, had dreams of being a violin maker, ultimately realising them. Worked at Brussels, 1930. Good designs and careful workmanship. Orange red oil varnish.
-------------------------------------
Instruments de Solistes
Lucien Dolphyn
Luthier-violiniste A Bruxelles
annee No.
------------------------------------
(circled design on left)
DOM, FRIEDRICH WILHELM
Worked at Neukirchen, 1807-1820.
DOMANSKI, ALBERTO
Born in Poland, 1780. Consul in Spain, Austria and France. Studied in youthful years the art of violin structure at Vienna and Paris. Retired from Consulate and devoted himself entirely to production of instruments, 1830. Resided at Warsaw and other towns in Poland until 1949, then spent the last years of his life with son (who had a Government position) in Spain. Died after 855. Admirable delineations of Cremonese models. All details expressed most learnedly and elegantly. Fine quality of varnish ingeniously applied. Tonal quality without debility, torpor, or anything feeble.
-------------------------
A. Domanski
zrobil w Warszawa
1845
-------------------------
(other labels in Latin)
DOMBRODSKY
Polish maker. Handsome wood used, and nicely responsive tone.
DOMBROWSKI AUGUST
Born 1845. Worked at Riga (Latvia). Initiated himself in violin structure solely as a hobby, 1878. Subsequently established at Warsaw. Had a predilection for experimenting. Tried simple and irregular means of variegating the arching and the thicknesses of wood - used chemicals, etc. Met the great virtuoso Wilhelmj in 1886, from whom he obtained many invaluable ideas in relation to full body of tone. Built more rational designs under this influence for a year or so, then returned to his mania of experimenting, much of which obviously ended in failure. Made instruments with backs of ebony, juniper, rosewood, and others more or less unknown to most of us. Produced over 1,000 such abortive instruments most of them communicating an unwelcome tone as well as having an unnatural (if not disagreeable) appearance. Undisguised contradictions of anything approaching violin art. Also formulated a special varnish concoction.
----------------------------
Aug. Dombrowsky
Varsaviae. Anno 18. .
----------------------------
DOMENICUS, JOANNES
Worked at Rome, 1610. Probably a priest. Domenicus is not a surname. Violins of rather small proportions. Arching and sound-holes reminiscent of Andrea Amati. Backs with decorative purfling. Excellent wood, and golden brown varnish of deep hue.
------------------------------
Johannes Domenicus
Ord.frum
Romae Minorum 1610
------------------------------
DOMINICELLI, IMBERO
Worked at Ferrara, Italy, 1695-1725. Studied with, and worked for G. B. Rogeri at Brescia. Followed the Amati principles rather well, but with talent considerably inferior to that maker. Whole design rather graceful though the arching is not beautifully graduated. Very attractive golden yellow varnish. Produced more cellos and basses than violins.
-------------------------
Imbero Dominicelli
in Ferrara
-------------------------
DOMINICHINI, ANTONIO, EDUARDO
Worked at Bologna, 1708-1766.
DOMINICHINO, GIUSEPPE
Worked at Verona, 1700-1709. Outline and arching suggest he was a pupil of Amati. 400, 1959.
--------------------------------------
Giuseppe Dominichino
Veronensis Faciebat anno 17. .
--------------------------------------
DONATTI, F.
Worked at Parma, 1765-1775. 300, 1959.
---------------------------
Federico Donatti
fece in Parmae, 1772
---------------------------
DONELLI, ALDO
Worked at Campogina (Emilia). Died 1942. Gagliano models, ordinary workmanship. Yellowish varnish. Excellent tone.
DONI DOM ROCCO
Priest. Resident at Florence, 1640-1685. Lutes sumptuously decorated. Also a few fairly elegant violins.
DONOZETTO, PIETRO
Worked at Naples, 1760-1790. Good impressions (almost replicas) of the Gagliano style.
DOORNIK, GEVAN
Born at Enthuisen, 1892. Studied the violin at Amsterdam. Became interested in construction, and solicited the advice of several makers in that city. Early instruments of Amatese and French models - later a more personal one of smallish pattern, oil varnish varying from yellow to deep orange. Many with fanciful heads. Achieved considerable success in imparting a brilliant tonal quality.
--------------------
Gvan Doornik
Amsterdam
19 No.
--------------------
DPFER, NICOLAUS
Worked at Mayence (Germany), 1715-1770. Instrument maker to the Court. Stainer outline, large pattern. Arching often conspicuous for its almost nongraduation towards the edge and the abrupt rise from the edge causes the arching to look higher than it actually is - also reminding of Stainer. Especially pretty curving of the scroll for which he frequently used peartree wood. Sound-holes usually rather short and narrow but fairly elegant. Here again we are reminded of Stainer. Purfling not particularly fine. Generally chose excellent wood even when he used ash instead of maple, because his aim then was that the root knots gave it a coloury aspect. Brown and golden brown shades of varnish, the first rather dull, the second with a modicum of transparency. Tone often thin and hollow, and never really sweet. Violas more highly prized. Workmanship of violins always well done, but it will take more than ordinary philosophy and eloquence from dealers to win the love of the public to instruments which cannot very well be looked upon in any other light than as somewhat old-fashioned curiosities or at least, as totally unfit for present-day practical purposes.
---------------------------------------
Nicolaus Dopfer
Kurfsl-Maynzischer Hoflauten
und Geigen-macher 1755
---------------------------------------
(flowery German lettering, also the Mayence Coat-of-Arms)
DOPSY
Bow maker. Worked at Paris. Similar style to that of Vigneron. Beautifully finished and splendidly . balanced. Generally just over two ounces in weight. Often round sticks; frogs have rounded backs in the style of the cello bow frog.
DORANT, WILLIAM
Worked at Spitalfields (London), 1800-1826. Modelling and all details quite ordinary.
DORELLI, GIOVANNI
Worked at Brescia, 1782. Interesting modelling of medium proportions. Sloping shoulders rather effective. Sound-holes somewhat straight and wide, reminding of a Gasparo da Salo. Gracefully curved scroll, with slight fluting on both front and sides of the peg-box. Brown shade of smooth varnish, brilliant in texture. Powerful tonal quality, but not sharply clear or penetrating. Label bears the month when the instrument was completed.
DRFFEL
Extensive family of violin makers from Saxony. Name variously given as Drffel, Dorfel, Drfel, and Drffler.
DRFFEL, ADOLF LOUIS
Born at Markneukirchen, 1852. Died 1916. Made many instruments and was a prosperous dealer.
DORFFEL (DORFFLER), CHRISTIAN FRIEDRICH
Worked at Klingenthal, 1717-1749. Master in the Violin making Guild, Markneukirchen, 1704. Model not conceived in the most devotional spirit to art. Workmanship quite ordinary, and often faulty. Varnish does not pay homage to any particular beauty. Ordinary style of old German violin, good of its kind, but its kind is commonplace.
------------------------------------
Christian Friedrich Doerffler
in Klingenthal. Ao. 1749.
------------------------------------
DRFFEL (DRFLER), JOHANN ANDREAS (HANSS)
Worked at Klingenthal, 1718-1769. Best Saxonian maker of his period. Generally large and rather broad modelling. Arching of medium flatness, backs sometimes less arched than the fronts. Frequently one-piece backs of well figured material. Adopted none of the absurd chemical or heating processes by which many of his ill-advised predecessors and contemporaries endeavoured to establish as structured truths. Nearly always properly cut scrolls, and seldom any fancy heads. Light shade of golden brown varnish. Tonal quality easily produced, full, sonorous capacity, not greatly brilliant, nor yet of deep persuasive purity. Violas of fine form esteemed for tonal warmth. Especially excelled in 12-stringed Viol dAmours. Pattern not excessively large, flat back, and rosette in front. Heads of variegated designs resplendent in neatness.
-----------------------------------
Hannss Andreas Dorfler
violin macher in Klingenthal
Anno 17. .
-----------------------------------
-------------------------------
Johann Andreas Doerffel
Violin und Lautenmacher
in Klingenthal. 1755
-------------------------------
DRFFEL, JOHANN GOTTERIED
Worked at Klingenthal, 1754-1765. Instruments having all proportions fitly disposed together, and constituting real excellence. Implanted and grafted something from which may be derived a fairly full tonal quality.
------------------------
Joh: Gottf: Drffel
------------------------
DRFEL, PAUL
Born 1878. Son and pupil of Adolf L. Lived at Warsaw and Orenburg (Russia) for brief periods. Returned to Markneukirchen in 1920. Made many trade instruments in artistic style. Scroll often replaced by fanciful heads of allegorical figures. Written label.
DRING, CHRISTOPH
Worked at Cassel, 1650-1680. Especially noted for fine Viol da Gambas.
----------------------------------
Christoph Doring
Lauthen und Violinmacher
in Cassel
Anno 1676
----------------------------------
(slightly sloping lettering)
DRING, WILHELM
Worked at Cassel, 1760-1778. Violins, cellos and viols.
--------------------------------
Wilhelm Doring ine
fecit Casellis. Anno 1765
--------------------------------
DORNER, IGNATZ MARTIN
Worked at Vienna, 1750-1780. Did not very gracefully employ the talents vouchsafed to him. Modelling, workmanship and varnish make certain departures from the artistic which are wholly inexcusable. Tonal quality not sufficiently strong and sonorous to maintain any ascendancy in this vigorous age.
-------------------------------------
Ignatii Martynij Dorner
Violin und Lautenmacher me
fecit Wien 1777
-------------------------------------
DORNER, MARTIN
Viennese maker. Record of a violin sold by auction in London, 1912.
-------------------
Martin Dorner
Wien. 1716
-------------------
DORNIEDTEN (TOR NIEDTEN)
Worked in Holland, 1750-1760. Branded, undated, rather mediocre.
DORSCH WILLY CHRISTOPH
Born 1909. Worked at Eger (Bohemia), 1948.
DOSER, JOSEPH
Worked at Freising (Bavaria). Born 1770. Died 1836. Mittenwald style. Brownish varnish typically Tyrolean. Well conceived designs, nice workmanship. Warm tonal quality but not sufficiently clear and strong for present-day needs.
-----------------------------
Doser in Freising, 1790
-----------------------------
(written)
DOSI, PIETRO
Born at Livorno. Worked there and at Bologna, 1880-1885. Amateur, who presented unforced and natural modelling, though without special distinction. No serious blemishes of workmanship shown. Tonal quality, though somewhat new, has acceptable sweetness.
-----------------------------
Pietro Dosi di Livorno
fece per diletto
-----------------------------
Translation of second line - made for delight.
DOSSEUR, CLAUDE
Probably worked at Mirecourt. Period 1770-1778. Maggini outline and arching slightly exaggerated. Not double-purfled; sometimes only marked by a very thin line. Snub nosed corners but not clumsy. Reasonably good workmanship and varnish.
----------------------
Claudius Dosseur
Fecit anno 1775
----------------------
(not indicating place of abode)
DTSCH, MICHAEL
Born at Neuenbrand, near Asch (Bohemia), 1874.
Apprenticed to Kohlbacher at Schnbach. Worked for the principal makers in several European cities, 1894-1908; for Lachman at Berlin, 1909-1914; and established own premises at Berlin, Wilmersdorf, 1914. Indefatigable in collecting and ascertaining the individual principles of several Italian pioneers. Patiently sought to adhere precisely to the ideas so finely embraced by those artists. All proportions arranged from the minutest measurements of celebrated old master instruments. Superfine workmanship compelling the acquiescence of the most fastidious connoisseurs. Had a predilection for the models of Stradivari, Guadagnini, and Nicolas Gagliano. Every little bit of work absolutely done by hand. Prepared own varnish and succeeded in arriving near to the Italian velvety suppleness and transparency. No violation of the wood by chemical process to get the so-called mature tone, but consciously made a compact with the future, and those distant years will have something remarkable in luminous brilliancy and warmth of tonal quality. Recipient of gold medals at Berlin Exhibition, 1922. Also produced several excellent replicas of the Vuillaume and Lupot styles. Greatly appreciated cellos make frequent appearances from his workshop.
--------------------
Michael Dotsch
Berlin.W. 1920
--------------------
(with monogram. The whole framed with leaves and pine-like branches)
DOTY, MARTIN R.
Worked at Stamford (Conn), 1925.
DOTZAUER. JOSEF
Worked at Schnbach (Bohemia), 1930. Commercial violins of various grades.
DOVIDIO, ANTONIO
Born 1910. Worked at Trivento (Italy), 1931. Made up to year 1951, 50 violins, 15 cellos, 7 double-basses, and 10 concert guitars. Cremonese models generally. Spirit varnish of sombre shade.
------------------------------
Antonio DOvidio
Liutaio Diplomato
Trivento (Campobasso)
------------------------------
(with signature)
DOW, WILLIAM HENRY
Born at Tayport, Scotland, 1835. Emigrated to Melbourne, Australia, 1854. Considered to be the best and most prolific maker in that town. Died in his 92nd year, 1927. Produced about 250 violins, violas and cellos. Had a partiality in later years for modelling after a Guarnerius. Measurements: body length 14-1/4 inches, upper bouts 6-3/4, lower 8.5/16, ribs 1.3/16.
Entire appearance rather attractive, giving pleasureable ideas of strength and robustness. Workmanship extremely neat; scroll outstandingly noble; purfling quite splendid. Resonant tone which will be of fine quality when age has furnished its quota. The least satisfactory part is the manner of varnishing, an application of three thick coats instead of a larger number of thinner ones. Early instruments more after Strad in general contour, and have a wide distribution in Australia.
-----------------------------------------
Prize winner
Inter: Col:
Exhibition
1875
Imperial Joseph Model
W. H. Dow
Faciebat Anno 1917. No. 217
Melbourne
Exhibitions International
1881-1889
------------------------------------------
DOWLER, JOSEPH D.
Resident at Toronto (Canada), 1926. Student at the Bretch School of Violin Making, 1922.
DRACONTIUS
Name of cheap violins for elementary pupils, made at the factory of Thibouville-Lamy, Mirecourt, 1920.
Well-figured wood, bright varnish.
DREIER, FRIEDRICH
Born 1848. Amateur at Grabow (Pommerania), 1885.
Amatese outline, not artistic arching, narrow scroll, very slightly slanting sound-holes, fair quality of yellow brown varnish, not refine1i workmanship, good, moderately strong tone.
------------------------------------
Gebaut von
F. Dreier. Weichens teller in
Grabow i-M.
Weichens teller - Pointsman.
------------------------------------
DREIER, CARL
Born at Markneukirchen, 1857. Worked at Leipzig, 1887. Violins and cellos of Stradivarian modelling, workmanship without blemish, attractive yellow red varnish, excellent sonority of tone.
------------------------
Carl Dreier Leipzig
------------------------
--------------------------------------------------
Carl Dreier in Leipzig
Streichinstrumentenmacher u.Reparateur
--------------------------------------------------
DREIER, OLE
Worked at Copenhagen, 1790-1810. Of outstanding reputation in Denmark. Name branded on outer side of back of instrument.
DRESLER, ERNST WILHELM
Worked at Landeshut (Bavaria), 1833.
--------------------------
Ernst Dresler
Instrumenten-Bauer
in Landeshut 18. .
-------------------------
DRIESSEN, H.
Worked in Holland, 1804.
DRIGGS, W. H.
Diamond jeweller. Amateur. Pupil of Lananni at San Jose (California). Excellent modelling, Strad and Guarnerian. Free tone. Also violas.
-----------------------------------
William H. Driggs
Sherman Oaks Calif. U.S.A.
-----------------------------------
(written)
DRGEMEYER, HERMANN AUGUST
Worked at Bremen (Germany), 1883-1903. First instruments modelled on original ideas. Subsequently retraced his steps and always had the Stradivarian model in view. Graceful lines and curves geometrically harmonised, combined into a splendid contour, but here his ascendancy towards perfection ceased, for the quality of tone he was striving for seems to have become lost. Made extensive tours through Belgium, France, England and Italy, collecting much information concerning various makers. Material incorporated in a book of his entitled The Violin (Bremen, 1891), an attempt to clear up several of the mysteries associated with the instrument. Divided into four parts: 1, Historical; 2, Theory and practice of Violin building; 3, Sordid competition; 4, Notes of old and new time Violin making. Scholarly, liberal in view, thorough in opinion, an authoritive 300 pages.
-------------------------------
Herm. Aug. Drgemeyer
Bremen. Anno 1899
-------------------------------
(copper-plate lettering with monogram)
DROOGMANS, MARCELLE
Born in Brussels, 1898. Made her first violin in ninth year. Studied with Emile Laurent. Made several excellent models of the old Italian types. Spirit varnish of reddish shade, prepared by her father.
DROUIN, CHARLES
Worked in Mirecourt, 1872. Died 1931. Established a factory for violin making, and had several clever assistants.
Bought the Chipot-Vuillaume trade name after the premature death of that maker, and continued to export instruments labelled with that name. Usual transcripts of various standard models, and the familiar Mirecourt style. Neat Panormo copies, slightly under full size; the Maggini copies have the double-purfling. Pretty wood and nicely shaded reddish yellow spirit varnish.
------------------------------
Lutherie Artistique
Charles Drouin, Luthier
Mirecourt, 1891
No. 6
------------------------------
(initials C.D. in double circle)
Branded DROUIN under label.
------------------------------
Charles Drouin
Luthier
Mirecourt. anno 1898.
------------------------------
Excellent cellos in similar styles.
DROUIN, ETIENNE.
Worked in Mirecourt, 1850-1884. Another of the industrious and ingenious Frenchmen engaged in the above violin-making town. Superior copying, dexterity, anci excellent workmanship. Good selection of wood. Yellow varnish of ordinary transparency.
--------------------
Etienne Drouin
Mirecourt
1878
--------------------
(written)
DROUIN, LOUIS
Born in Mirecourt. Worked with Delunet at New York, 1918. Died 1938. Good Cremonese copies, neat workmanship.
DROUOT, KOEL
Worked at Mirecourt and Valence 1815-1830. Violins seem to be mathematically correct except sound-holes, which are placed slightly too high. Large, broad, flat model, fine and close purfling, non-transparent yellow varnish. All specimens lack really satisfactory response in tonal quality.
-------------------------------
Fait par Drouot-Kol
A Valence
department de la Drome
-------------------------------
------------------
Drouot
Kol
A Mirecourt
------------------
(triangular brand)
----------------------
Drouot Kol
Valence Drome
----------------------
(diamond shaped band)
DROZEN, FRANTISEK X.
Born 1898. Studied at Prague with Vavra and Lantner. Established at Turnov, 1925. Strad and Guarnerian modelling of almost perfect workmanship; complete artistry surrounds the scroll and sound-holes. Golden orange or golden red varnish showing the splendour of the wood.
-----------------------
F. X. Drozen
Wtvorill. P. 1949
V Turnove
-----------------------
(witll signature)
DUCHNE, COLIN
Worked in Mirecourt, 1830. Carefully traced outline of the Stradivarius model with its corresponding arching. Very skilful workmanship. Warm orange tinted varnish. Usually noticeable for wide grain spruce, and pretty small-figured maple. Resonant tone but not much sweetness.
DUCHNE, JEAN BAPTISTE COLIN
Born in Nancy (France), 1815. Died there, 1889. An experienced maker with considerable knowledge of all the rules, not implying however that his instruments have great affinity with beautiful conformation. Ordinary modelling, workmanship and varnish of a conscientious imitator of the Mirecourt school. Produced many instruments which are widely distributed.
-----------------------------
Colin Duchne Luthier
Nancy. juillet 1880
-----------------------------
(written)
Branded round the button on the back Colin Nancy in block lettering, and sometimes branded Co/in Duchne a Nancy with date, or Colin Duchene.
DUCHNE (DUCHESNE), NICOLAS (1)
Worked in Mirecourt, 1745-1780, though branding his instruments as emanating from Paris. Shop sign A la Ville de Padoue.
Model generally very long and somewhat narrow with slight arching. Deep ribs, seemingly out of real proportion when viewed with entire structure. Large scroll which has frequently given rise to criticism from fastidious amateurs. Longdrawn sound-holes having a slight tumbling-over appearance. Incision in the centre of stem rather distorted. Symmetrical beauty entirely eliminated. Strong belly wood often with grain getting wider towards the edges, and maple of moderately handsome figure. Purfling finely thin with broad edging. Darkish yellow-brown varnish not always applied with uniform care. Tone never very strong or sweet, but passably agreeable. Instruments that have failed to make an indelible niche on the ladder of fame. Branded in block lettering.
------------------------
Nicolaus Duchesne
A Paris
------------------------
Name used today by Thibouville-Lamy for red brown violins.
---------------------------------
Nicholas Duchene Virtuoso
---------------------------------
DUCHNE, NICOLAS (2)
Bow maker. Worked in Mirecourt, 1783-1790. Stamped Nicolas Duchne.
DUCHRON, MATHURIN
Worked in Paris, 1700-1730. Reasonably good attempts to recall the pretty modelling of Amati. Correctness of graduation and a nice eye for proportion. Workmanship not exactly neat, but certainly never rough. Dark red varnish. Tone generally unsatisfactory.
---------------------------------
Mathieu Duchron Paris
1711
---------------------------------
(printed and written)
----------------------------------
Mathurin Duchron 1714
Paris
----------------------------------
DUCKWORTH, FRANK STANLEY
Born at Blackburn, 1895. Modified Stradivarian modelling, neat purfling, scroll well posed, very transparent varnish of golden brown and ruby brown shades.
----------------------------------
No-
Rita
Made by F. S. Duckworth
1928
Blackburn (Lancs).
----------------------------------
DUCLOS, NICOLAS
Frenchman who claimed to have visited Cremona and studied with Stradivari. Worked in Barcelona and Madrid, 1740-1780. Modelling quite typical of the French-Italian style, a style having the characteristic outline and curves of scroll and sound-holes of the latter, but with the less delicate appearance of thc former. Splendid orange tinted varnish, transparent and of soft elastic texture. Very nice tone. Produced instruments with ingeniously carved heads of Lions, Angels, etc.
--------------------------------------------------
Nicolaus Duclos fecit en la RealCiutadel
de Barcellonna, anno 1762
--------------------------------------------------
------------------------------------
Matriti per Niccolaus Duclos
Disciplus de Stradivarius
Anno 1776
-----------------------------------
DUCOQ
Indifferent workmanship and tone. Instruments which are not sought after.
----------------
Ducoq fecit
Herae, 1838
----------------
(enigmatical)
DUEREN
see DREN.
DUERER, WILHELM
Worked in Eisleben (Saxony), 1900-1930. Ordinary commercial products.
DUFF, WILLIAM
Born 1810. Died 1892. Gardener on the Athole Estate, Dunkeld (Scotland). Imposing personality, over 6ft. in height, large and luxuriant beard almost covering his massive shoulders. Known as Bearded Willie.
Rather feeble representations of the Stainer modelling. Proportions not smoothly correct. Several specimens should have been destroyed. Sound-holes wide and gaping - a wilful disobedience to all natural rules. Scroll completely crude. Purfling startlingly inaccurate when closely viewed - sometimes of commonplace decoration, and occasionally merely ink lines. Yellow shade of spirit varnish, applied without skill or judgement. Workmanship altogether coarsely handled. Yet, these apparently mediocre creations give forth a particularly good metallic-like tonal quality splendidly suitable for the wild Highland dances. Also made bows fitted with hair cut from the tails of ponies in the Dunkeld stables.
--------------------------
Made by Wm. Duff
Pulney Cottage
Dunkeld 1860
--------------------------
DUFOUR
Several makers of this name are said to have worked at Mirecourt between 1748 and 1789. Their work is unknown to me.
DUGAD, ANDR
Born in Besancon, 1900. Worked for Caressa and Francais at Paris. Established in rue Moscow, 1932. Won gold medals. Repairer to the Conservatoire. Officier dAcademy, etc. Really superb replicas of a Guadagnini, Guarnerius, and Gagliano. Made special study of Cremonese and Venetian varnishes, and arrived at a most beautifully transparent one of his own concoction.
-----------------
Andre Dugad
Luthier dArt
an 19. . No.
-----------------
(with AD circledParis)
Also branded Andr Dugad Paris.
DUGARDE. AUBREY
Superior class of commercial violins and violas. Handsome wood, and well finished workmanship. Various shades of varnish glossy dark red slightly shaded, bright orange, etc.
---------------------------------------
Aubry Dugarde
12 Faubourg Meunier Ia. Paris
Fecit Anno 1921
---------------------------------------
(decoratire border)
DUGLHEY, JOHN
Worked in Leicester, 1750-1770. Unattractive violins, several details lack steadiness of hand. Varnish shows he had no exemplary insight of applying it.
DUIFFOPRUGCAR, GASPARD
Born at Weiler Tieffenbrugg, near Fuessen (Bavaria), 1514. One German historian gives Fuessen as his birthplace.
Principal member of a large family of makers known by the names of Tieffenbrucker and Dieffopruchar. First obtained livelihood as an Inlayer and Mosaic worker in the cabinet making trade. Proceeded to Bologna and established himself as a maker of lutes, basses. viols. Some achieved wide-spread recognition. Attracted the attention of the King, Franais I. (during the conquest of Milan by the French), and was persuaded to accompany that Royal personage to Paris. Jealousy of French artisans apparently made his bed full of thorns instead of roses and practically caused him to remove to Lyons. Therein lies one version of his early career.
One interested French historian who took the trouble to visit Bologna, searched through the archives of that city and failed to find the slightest evidence of Duiffoprugcar having lived there and so came to the conclusion that the labels bearing the word Bononiensis were not authentic. Others have assumed that he learned his art in the Tyrol, and went direct from there to Lyons attracted by its business activity in those days by the fairs held there, bringing hundreds of visitors to its streets. However, there is definite knowledge that he was working at Lyons in 1553 through the finding of a receipt for wine - Gaspard Duiffobrocard, allemand, paye 9 livres pour lentre de six bottes de vin. At this time he was working near the Englise des Cordeliers in the rue Grenette.
In 1556 his cards were printed Caspard Duyfautbocard, marchand allemand, faiseur de luz (lutes) - his place being then in the Saint-Sebastien quarter. In 1558, Lettres de naturalite pour Gaspard Dieffenbruger, a Fressin., ville imperialle en Allemaigne were granted to him by Henry II. Had a house situated near the famous Citadel, was apparently quite well-to-do as he had an extensive Garden Court attached. When the Citadel was enlarged in 1556 all the land around it was required, so his home was demolished along with many others. Died in the Poor-House, 1570, leaving his widow and four children in debt and great poverty. They were awarded a pension by Charles IX in 1571. Duiffoprugcar assumes importance in the chronicles of the art, as the first individual to give to the violin its present shape and size. This wide currency of opinion had been entertained for over a hundred years owing to the fact that about a dozen violins had been seen bearing the following label:
-------------------------------
Gaspard Duiffopruggard
bonomiensis Anno 1510
-------------------------------
therefore connoisseurs deduced from this early date that he was the first maker. But Vidal (the author of an extensive work on violin makers, who came into possession of all J. B. Vuillaumes papers, secrets and tools, in 1875, caused considerable upheaval of opinion by being able to prove with certitude that the soidisant Duiffoprugcar violins were none other than the products of the ingenious Vuillaume, who, in 1827, had perfectly copied the pattern of the Bavarians viola-da-gambas with their beautifully-carved heads and magnificent ornamental inlaid work. These instruments being of fine tone were very much sought for, and connoisseurs were absolutely gulled, which also brought in its train the reviewing of the chronology of the violin from its infancy and to delve further into the past for the real originator. The best proof that Duiffoprugcar could not claim this honour, is furnished by the fine portrait of him, engraved by Pierre Woeiriot in 1562, in which the artist has exercised all his ingenuity to represent underneath the portrait itself all the stringed instruments he could possibly introduce, which were then in vogue, and none of them are less in size or different in shape from the Viol-dAmour.
Instruments very rare, and greater value is attached to their ornamentation rather than to any especial tonal quality.
List of examples supposed to be genuine: -
1. Viol-da-gamba, owned by Roquefort, subsequently by Vuillaume, now peacefully resting in the Museum at Brussels Conservatoire. Front painted in dark shades, butterflies, rows of roses, birds on tree branches, and a structure in the form of a Chinese Pagoda. Back nicely worked with variegated colours of woods, upper part representing St. Lukas, and the lower part the Plan of Paris. Underneath is the inscription Paris. Neck terminates in a beautifully carved horses head. Bears his brand, and the Latin inscription now known as the Brescian Legend. (See under that name).
2. Viol-da-gamba. Owned by Chardon of Paris. Practically a replica of 1.
3. Tenor Gamba. Owned by M. de Varniers. Also similarly decorated.
4. Viol-da-gamba, having the picture known as the Viellard dans la chaise denfant wonderfully inlaid. This also has a peg-box shaped like the head of a horse.
5. Small Viol-da-gamba, with the Brescian Legend ornamented on the back. Peg-box like the others.
6. Viol-da-gamba, with Michael Angelos Moses represented on the back.
7. Viol, in the Conservatoire Museum Paris. Labelled:
--------------------------------
Gaspard Duiffoprugcar
la coste Saint Sbastien
Lyon
--------------------------------
The following are violins attributed to Vuillaume and others, body length generally 14.3/16 inches:
1. Owned by Prince Youssoupov (distinguished Russian amateur violinist, and pupil of De Briot). In lieu of a scroll is the sculptured head of Duiffoprugcar when he was about 50 years of age, with thick moustache and beard, deep-set eyes, slightly aquiline nose, wrinkled forehead, and frill or collar worn at that period. Double-purfling inlaid with triangular ornaments at the corners. Upper part of back represents a beautiful painting of Sappho holding a lute. Lower part of the back, of two pieces of gorgeous wood, curiously inlaid with a view of part of Bologna and representing the house in which the maker lived, the windmill in the neighbourhood, and the bridge over the River Savena. Ribs ornamented with the Brescian Legend. Modelling not so elevated as that of a Stainer, but more like the early Amatis. Long sound-holes, rather straight but quite elegant. Tone large and resonant with much warmth.
Labelled
------------------------------
Gaspard Duiffoprugcar
Bononiensis 1515
------------------------------
2. Solo instrument of Meerts (celebrated Professor at Brussels Conservatoire). Scroll replaced by a carved head of the chief Jester at the Court of Franois I of France. Dated 1535.
3. Dated 1514. Owned by Professor Francalucci of Bologna. Also decorated rather profusely.
4.Dated 1511. The celebrated artist Leonardo da Vinci is supposed to have painted the back.
5. Dated 1510. Bearing the Royal crown and monogram of Franois I. (The man who inserted the label, and the writers who have since lavished all their vocabulary on its genuineness, were evidently not cognisant of the fact that Franois I did not ascend the throne until 1514).
6. Dated 1517. On the back is a representation of Duiffoprugcar as depicted on the Woeiriot engraving.
7. Dated 1529. Once owned by Wilhelmjs father. Found in the attic of the ancient mansion at Geisenheim-on-Rhine, formerly belonging to the Prince Elector of Mayence. Its condition when found was regrettably dilapidated, but after the necessary repairs and the accumulated dust and dirt removed, there appeared a lovely dark shade of varnish. Outline distinctly more like a violin than a viol. Tonal quality of sweetness and penetration.
8. Dated 1516. Recently discovered at Cleveland, U.S.A. Strongly made instrument, best grained spruce and pretty maple. Deep amber varnish of grand transparency. Body at least half-an-inch longer than normal, other parts proportionately larger. Lower bouts peculiarly original. Long and straight sound-holes. Large sonorous tone but rather thick and violish. Elaborately decorated. On the upper part of the back is a birds-eye view of the Religious section of the city of Lyons, with the Saint Sebastian Church and accompanying monastic buildings, all done in the finest inlaid wood-work. Lower part of back has a Viol and bow peculiar to that ancient period. Decoration on the belly consists of four little sprays of leaves in bas relief at the points, around which the purfling is double and V-shaped. Wording of label inscribed in German handwriting.
9. Viol-da-gamba - now in America. Coat-of-Arms of a Pope inlaid on back.
10. Lyra da braccio, dated 1515. Formerly owned by A. Hajdecki of Mostar. Structure attributed to some Italian maker of the 16th century.
11. Lute - in the Wildhagan Collection. Of very ancient form, with old style rosettes. Labelled:
------------------------------------
Caspar Duiffopruccar A Lion
------------------------------------
Said to be the work of a 17th century maker.
12. Tenor Viol. Labelled:
---------------------------
Caspar Dieffenbruger
---------------------------
The early date given to the above instruments obviously exposes the fraudulent intent of certain makers who played about with the name of the Lyonese master. It would indeed be more than a phenomenon if a man could make violins four years before his birth! Numerous Duiffoprugcar violins, violas and cellos produced in factories in Mirecourt and Saxony. Invariably of common character and cheap value. Carved heads, and painted daubs.
-------------------------------------------
Fait par Duiffopruggar
a Ia Coste Saint-Sebastien a Lyon
-------------------------------------------
Generally dark brown varnish. Sometimes without label but with name scrolled on the back of the fancy head.
DUIFFOPRUGCAR (DIEFFOPRUCHAR), MAGNO
Born in Bavaria. One of the numerous family of lute makers of which Gaspard Duiffoprugcar was the head. Worked at Venice, 1580-1620. Italianised his name from Tieffenbrucker, the original German. Made lutes with backs beautifully inlaid with ivory and various coloured woods. Viols ornamented on corners with fleur-de-lys, and beautifully carved clown heads. One of his arch-lutes has a body length of 40 inches, very long neck, and two large pegs each carrying twelve pins for the strings. Guitars, cheorbos, chitarrones, and mandolines, all composed of the loveliest woods, proportions geometrically perfect, rosettes relatively small for the period, and ingeniously decorated. Specimens preserved in museums and private collections at Copenhagen, Brussels, Cologne, London, Breslau, Berlin, Venice and Bologna.
-----------------------------
Magnus Tieffenbruker
Venezia 1580
-----------------------------
---------------------------
Magno Tieffopruchar
a Venetia 1610
---------------------------
---------------------------------------
Magno Dieffopruchar Venetia
1610
---------------------------------------
----------------------------
Magnus Dieffenbruger
1621
----------------------------
---------------------------
Mang Dieffenprugger
Venedig 1581
---------------------------
DUIFFOPRUGCAR, VENDELINO VENERE
Son of Leonardo. Worked at Padua, 1572-1611. Known better as Tieffenbrucker. Magnificent lutes. Had great judgement in decorative art, never attempted too much display. Superb arabesques delightfully interwoven by other inlays and decorations. Finest specimens preserved at the museums of Brunswick, Darmstadt, Berlin, Vienna, Cologne and Dresden. Produced unique lyra-da-gambas, mounted with sixteen ordinary strings and fifteen sympathetic ones.
---------------------
Vendelio Venere
Padova 1572
---------------------
--------------------------------------
In Padova
Vvendelino Venere de
Leonardo Tiefenbrucker 1582
--------------------------------------
---------------------------------
In Padua
Vendelinus Tieffenbrucker
---------------------------------
----------------------------
In Padova
Vendelio Venere 1611
----------------------------
---------------------------------
Vendelinus Tieffenbrucker
f. in Padoua.
---------------------------------
DUKE, RICHARD (1)
Worked in London, 1750-1780. Fairly prolific maker of instruments, many of them being really fine-toned. A great number bearing his name are falsely attributed to him, and these (generally of a cheap and meretricious order) have lowered his reputation. If his well-known authenticated instruments were the only ones in use, he would be regarded as one of the best, if not the finest, of our old native makers. Perhaps more than any other the name of Duke has been subjected to wholesale forgery. At one time nearly every wretchedly made nondescript fiddle was a counterfeit Duke. German factory fiddles, in thousands, have the name branded or placed in a kind of sealing wax impression. There are plentiful genuine Dukes and the fortunate possessors of well preserved specimens rightly prize them, particularly American connoisseurs and violinists. He exercised a powerful influence, not only on contemporaries, but on those who immediately followed. His work, though not of the genius order, shows he possessed no small amount of imagination. Had great fame in and about 1752 because he made the best imitations of the Stainer model, and that model was then the ruling idol. Later he largely restricted himself to a modified Amati model, but very occasionally ventured on the long Strad. Experts have always had considerable diversity of opinion relative to which model should be placed on the higher plane. Some claim superiority for the Stainer, others for the Amati, and one or two give preference for the few and scarce Stradivarius modelling.
Stainer models have an Italian type of scroll, turn of the volute being somewhat similar to the procedure of the early Amatese. Except for this, his instruments are generally excellent replicas of the smaller Stainer characteristics, though some connoisseurs frequently pronounce the arching to be overdone. Amati imitations are certainly tinged with Tyrolese character, the sound-holes in particular differing but slightly from those he gives to the Stainer modelling. General contour of the two models is prominent arching with emphasised longitudinal proportions rather than of width. Scrolls always well worked, grooves at the back being gracefully and harmoniously cut out, and not too deeply. Edges superbly curved, this is more particularly observed at the back than at the front as the latter, being of softer wood also meets with more severe contact and usage. Ribs never deep. Margins small all round the outline. Sound-holes perhaps rather small, but never deviate from acceptable prettiness, circles of upper turns smaller than the lower ones - edges of the wings cut square. The wood always acoustically excellent, material for the backs frequently without flame, but sometimes the ribs are of rather pretty material, though this is often hidden by the varnish. This varnish is mostly of a fairly soft red brown shade, not splendidly transparent and having but a modicum of fire in its depths. Sometimes used a dull brown preparation of poor surface, which obscures the fibres of the wood. Also a few specimens varnished in a kind of dark yellow. There are two outstanding examples of his belonging to the long Stradivarius model. One dated 1770 from Gloucester Place, Holborn (written label), had the high figure of 50 attached to it, and was reputed to be quite unique in structure. The other, dated 1768, was reported on by Towry Piper in the Strad Magazine and gave the following measurements: body length, 14-1/4 inches; upper bouts, 6.3/16 full; lower, 7-7/8; ribs, 1.3/16 inches bare to full. Violas not always of the full size invariably required by professional players. The few that have these required proportions are very rich in tone. Medium arching of fine graduation. Frequently one-piece backs. He did however make many violas of shorter length and greater width, which are neither attractive-looking or of much consequence tonally. His original aim was for deep tone, but his calculations went astray though this is somewhat compensated for by an additional brightness. Cellos very rare. Generally of long pattern, greatly arched, yellow varnish, frequently too thin in the wood. Tone very mellow but lacks power and brilliance. It is said that now and then, Duke inserted Amati and Stradivarius labels in his instruments. 85 (1959).
------------------------
Richaid Duke
Londini. fecit 1760
------------------------
------------------
Richd. Duke
Lonclini. 17. .
------------------
(both written)
-------------------------------------
Richard Duke, Maker
Holborn, London. Anno 1768
-------------------------------------
(generally written but sometimes printed)
----------------------------
Richard Duke, Maker
near opposite
Great Turn-Stile
Holborn. London
----------------------------
Many examples branded or stamped Duke, London under the button on back. Sometimes Duke only, but this generally applies to the forgeries.
DUKE, RICHARD (2)
Son and pupil of the preceding, carried on his business 1780. Worked in London, 1768-1790.Used a similar brand to that of father - seldom labelled his instruments. Had very little ability and lost the patronage of the clientele his father had won. Finally (in order to make a living) he went from one shop to another hawking his own and other instruments, disposing of them for any sum he could wheedle out of the dealers. 60, 1959.
-----------------
Duke, Junr.
London 1771
-----------------
(also branded)
DUKE, WILLIAM
Worked in London, 1720-1735. Quite probably the father of Richard (1).
------------------------------------
William Duke
Holborn Bars. London 1727
------------------------------------
DUKE, WILLIAM (2)
Worked in London, 1810-1830. Little known, poor work.
DULAC, ANDR
Worked in Viviers, 1780-1786. Contour suggested by the model of Guersan. Workmanship mediocre. Wood selection not good. Coarse looking, dull varnish. Blatant tone, no sweetness.
DULCIS E FORTIS. (Sweet and strong)
Mirecourt manufacture; bright brown shaded varnish.
DULCKEN, JEAN
Worked in Brussels, 1750-1763. Principally made heavily built lutes and clavecins. Extensive dealer in all kinds of instruments including violins of various makers. It is assumed that violins bearing his label were the work of makers who supplied the trade.
DULFENN, ALEXANDER
Worked in Leghorn (English for Livorno), Italy, 1672-1699. It must be said that these instruments have come from the hands of a maker who was not so capable as the ordinary amateur. Yellow brown varnish wins no admiration. Scroll causes wonderment, but only of the kind that puzzles how any man could allow such rough work to come before the public eye. Frequently painted purfling, going to a point within the button on the back. High and inartistic arching. Wood of poor quality which does not stimulate desire for further acquaintance with the instrument. Style of modelling completely opposite to the Italian, so it is generally supposed he was a German who drifted to Italy. Violas also of indifferent workmanship and tone. Body length, 15 inches.
------------------------
Alexander Dulfenn
fecit Livorno 1676
------------------------
DULIG, M.
Period 1750-1760. Very fair workmanship after the Stainer model.
DUMNIL, N.
Worked in Paris, 1786. The celebrated violinist Bruni played on one for many years.
DUMESNIL, JACQUES
Worked in Paris, 1655-1662. Made principally Kits and Pochettes. Violins recall Amati as the prototype. Artistry of the Italian also pervades the sound-holes. Deep red varnish, prettily figured wood. In the Paris Conservatoire collection is a little Violin of unique design dated 1655. Back and sides of maple; table of cedar, purfling inlaid with silver and whalebone. Head a finely carved womans face. Red brown Varnish, clever workmanship.
DUNCAN, GEORGE
Born in Kingston-on-Spey (Scotland), 1855. Worked in Glasgow, 1875. Won gold medal in London, 1885. Emigrated to Canada, 1892. Well-made violins substantially wooded, scroll splendidly carved, other details satisfactory. Fine texture oil Varnish of various shades from golden to red.
--------------------------------------------
No. 31. MQde by George Duncan
Glasgow. 18. .
--------------------------------------------
DUNCAN, JAMES (1)
Born 1871. Worked at Cluny (Aberdeenshire).
Modelling generally Guarnerian. Workmanship takes a high place for finish. Scrolls never demonstrating that he was ever lost in the volute, the valley of the back, or the peaks of the boss. Wisdom of positioning, beauty of curvature, and propriety of central stem, easily perceivable in the sound-holes. Good judgment in choice of material. Transparent oil varnish of own preparation. Tonal quality particularly free, full sonority.
----------------------------
James Duncan
Cluny, Aberdeenshire
No. 27 1910.
---------------------------
DUNCAN, JAMES (2)
Born 1878. Cabinet maker. Produced at Dunfermline, nine Strad model violins, 1895-1897, each regarded as experiments. Resident at Kirkcaldy 1897, but did not entertain violin structure until 1919. Then tried the usual divergencies in thicknessing experimenting with various woods, and traversed the labyrinth of tonal production for three impatient years. Ultimately adopted normal measurements, etc. and produced notable representations of a Guarnerius model. Claimed (in 1951) that he had succeeded in making the Worlds best toned violins owing to a secret process he had stumbled on years previously, revolutionary in that the wood is cut to an unusual thickness and treated by a special process to prematurely age it. Each instrument is subjected to rigid tests of tone - quality and carrying power, being finally left in the open air to all weathers.
DUNCAN, ROBERT
Worked at Aberdeen, 1739-1779. Very high arching, ordinary workmanship and tone.
-------------------------------
Robert Duncan. Maker.
Aberdeen, 1775.
-------------------------------
DUNKEL, BERNHARD
Repairer at Magdeburg, 1870-1912. Instruments labelled as being made by him were manufactured at Markneukirchen.
DUNLOP, ALEXANDER
Resident in Broxburn (Scotland), 1890. Excellent Strad modelling, nice woods and varnish. Strong tone without harshness.
DUPARGE, NICOLAS REMY
Worked in Mirecourt, 1750-1780. Amatese modelling, showy golden yellow varnish. Branded below button.
DUPARY, ADOLPHE
Born in Mirecourt. Pupil of Darte. Worked in Paris, 1906. Guarnerian and Stradivarian modelling, neat workmanship.
DUPONT, FRANCOIS
Worked in Mirecourt, 1761-1780. Had no surprising ingenuity but accomplished better work than was usual in those early days in the little French town. Yellow-brown varnish applied with very good effect. Branded Dupont. Also bows that show the well-schooled dexterity of the intelligent worker. Stamped Dupont.
DUPR
Inventor of a violin without corners. Professor at Paris, 1850-1867. Neat workmanship, good quality red varnish. Perfect proportions, splendid wood, and excellent tone. A pity he did not build violins of the established form.
--------------------------
Violon Dupr artiste
violoniste inventeur
par lauteur
1860.
-------------------------
DUPUY, GEORGES LOUIS
Born in Paris, 1904. Pupil of Vatelot and Brugre. Specialised in Quartets - Italian models. Reddish orange varnish.
-------------------------------
Georges anne
Dupuy 19
Paris 50 rue de Rome
-------------------------------
(monogram in centre)
------------------------------
47
georges-Louis dupuy
luthier
paris 4e.rue demours
1929
------------------------------
(signature on right)
Branded under tail-pin.
DURAND, FRANCOIS
Worked in Mirecourt, 1740-1760. Good modelling, nothing out of proportion. Yellow brown varnish. F.D. branded on button.
DURAND, FRANCOIS
Born in Mirecourt. Worked at Marseilles, 1870. Stradivarian traits. Warm, sonorous tonal quality.
DURAND, VICTOR
Worked in Mirecourt, 1840-1858.
DUREN, HERMANN
Worked in Bonn (Germany), 1850-1869. Instruments not at all perfectly made. Rather disappointing considering he must have had manipulative skill to have attained conspicuous renown as a repairer of many German soloists instruments. Proportions are not exact, although workmanship is passable. Did not attain nicety of judgment in varnishing.
DREN, WILHELM
Worked in Cologne and Bonn, 1870-1891. Son and pupil of Hermann. Neat workmanship constitutes one of the principal necessities in the construction of a violin, but apparently Duren thought differently. Generally, his instruments are thoroughly mediocre, although it is reported that he occasionally realised their ugliness and attempted to be more proficient. Such inequalities have their effect on the tone, which is weak.
----------------------
Wilhelm Duren
fecit Bonn. 1891
----------------------
DURENZY, ADOLF
Fairly well designed modelling of the Stradivarian outline, arching and scroll. Rather straight and widely cut sound-holes. Skilfully applied amber varnish.
-------------------
Adolf Durenzy
-------------------
(no place or date)
Made at the Thibouville-Lamy Factory, Mirecourt.
DRER
Name of bows made by Geipel in Fleissen (Bohemia), 1925. Stamped Durer.
DRFEL, JOHANN ANDREAS
Worked at Altenburg (Germany), 1778-1792. Rather over-arched model, not an accurate design. Brown, almost black, varnish of very indifferent quality and poor taste. Powerful tone, but not particularly penetrating, certainly far from being beautiful. Double-basses should not go unrecorded, as they have created a certain amount of interest among German orchestral players, being well-made with a powerfully clear depth of tone.
Name sometimes given as Drffell.
DU RIEZ
Bass-viol in Snoek Collection.
-----------------------
Nicolas Du Riez
a Abbeville. 1603
----------------------
DURRSCHMIDT
Born 1871. Died 1922. Bows made at Markneukirchen.
Chocolate-coloured round sticks, rather heavily heeled. Not first-class workmanship. Stamed Otto Durrschinidt.
DUSA, ETIENNE
Old French. Flat modelling, pattern slightly under normal size. Careful workmanship. Generally one-piece backs of well-figured material. Varnish a light orange brown shade.
DUVEN DE WIT, DR.
Amateur in Hilversum (Holland). Made investigations into the qualities of maple, owing to frequent dullness of cello tone on the third string, and arrived at a special preparation by means of electric currents which eliminates the defect. Results problematical. Demonstrated his principles at the Hague, 1949.
DUVERNET, M.
Resident in Marseilles, 1895. Inartistic modelling, backs of spotted maple, dull red varnish indifferently applied. Branded interior, large block lettering Duvernet.
DUWAER, HERMAN GERARD
Worked in Utrecht (Holland). Born 1842. Died 1909. Preferred Stradivarian modelling. lntricacies of scroll and sound-holes show the skill between mind and hand. Spirit varnish of own formula. Tonal quality founded on solid structural principles, and its future sonorous maturity is assured.
------------------------------------
Hermanus Gerardus Duwaer
1895
Utrecht
------------------------------------
DVORK, ANTONIA
Worked at Olmtz (Moravia), 1885. Violins, violas and cellos.
DVORK, CAREL BOROMUS
Born 1856. Died 1909. lnstructive career traced and completed by his father Jan Baptista, who paved the way by entrusting him with the repairing of the many fine instruments continually coming into his workshop. Worked in Vienna, Strasbourg, and several years at Paris with Silvestre. Finally established at Prague, where his name was soon hailed as that of a man who had drawn together all the boundaries of physical and scientific facts of his predecessors. In short, a Bohemian Stradivari, who, if he were not encompassing the wonderful harmony of proportion of the Cremonese genius, had at least extracted and defined the elements of all mathematical problems by producing instruments perfect in shape and as perfect in tone when the necessary age has ripened it. Admirably developed modelling, some Stradivarian, others Guarnerian, with a slight reminder of Lupot all over. No part of workmanship can be criticised. Varnish has fine texture, generally of darkish red colour, but a few orange. Carefully ascertained the acoustical properties of the woods, as well as their beauty, before cutting, etc. Stradivarius modelled cellos also finely built. Body length 29-7/8 inches. Particularly handsome scrolls, sometimes with black tipped edges. Orange tinted varnish evenly applied. Regarded as the finest connoisseur and expert in his country. Made great efforts to propagate in other countries, the productions of his countrymen. 100, 1959.
------------------------------
Carolus Bor: Dvork
fecit Prague Anno 1885
------------------------------
DVORK, CAREL JOSEF
Born 1887. Established at Prague. Son and pupil of Jaroslav. Did considerable research work and his enlightened mind conceived all the contour beauties of a stringed instrument. Every detail of workmanship remarkably precise. Instruments much appreciated by the Czechs in particular.
DVORK (DWORAK), JAN BAPTISTA
Born in Unhost 1825. Died 1890. Apprenticed to Kulik. Worked in Pesth and Vienna before finally settling at Prague. Mainly modelled on Stradivarian lines, occasionally Guarnerian though the outline is slightly narrower. Neat, correct workmanship. Sound-holes of the smaller Stradivarian type. Experimented considerably with varnishes, but failed to arrive at anything astonishingly successful. On some instruments the tint is very glaring. Those having a dark reddish brown shade of good texture are preferable. Tone rather shrill in the higher register, and power rather inadequate to the requirements of today. Produced many guitars now valued by collectors.
-------------------------------------------
Joh: Bapt: Dwork
Geigen und Guitarenmacher. Prag.
230/1
-------------------------------------------
------------------------
J. B. Dvork
fecit Pragae. 1880
------------------------
(decorative border)
DVORK, JAROSLAV ANTON
Born 1861. Died 1921. Son and pupil of Jan Baptista. Established own workshop at Prague, 1885. Won several medals and diplomas. Stradivarius and Guarnerius modelling. Neat workmanship, fine outline and arching. Sound-holes completely fraternise with the general contour. Nothing haphazard about the purfling. Very effective shades of varnish. Splendidly free tone capable of quick development towards maturity. Conventional scroll very artistic. Always the best acoustical woods.
-----------------------------
Jaroslav Anton Dvorak
fecit Pragae. 1899
-----------------------------
DYER, HENRY
Worked at Springfield (Massachusetts), 1908.
DYKE, CHARLES N. F. VAN
Resident at Brooklyn, New York, 1924. One of the believers in the Horvath formula.
DYKER, GEORGE
Born in Aberdeenshire, 1878. Resident in Drumduan Forres (Morayshire), 1924. Produced first instrument in 1901. Built about 40 violins and several cellos. Heart and soul in complete sympathy with the charm of the Stradivarian model, absolutely no exaggeration in his delineation of the outline and graduations. Workmanship perfect down to the minutest detail, positively a delight to see. Scroll and sound-holes supremely conceived. Purfling faultless. Inside details beautifully finished. Peculiar properties of various woods, even to the sound-post, carefully ascertained. Orange brown shade of oil varnish applied as only as artistic mind can foresee. Occasionally tried a reddish shade. Instruments that must surely have a high and permanent place in the future. Dyker, in travelling the road of scientific exactitude, also kept in view that elusive thing known as tonal quality, which is as resonant and clear as anything heard, and is already of that peculiar quality which rapidly develops under the stimulus of the bow.
------------------
Made by
George Dyker
1919. Forres
------------------
DYKES, GEORGE LANGTON
Born in Leeds, 1884. Had a predeliction for exploiting with edged tools from his 8th year. Completed his already skilful manipulation of wood-carving, etc., with invaluable experiences under the watchful eye of Paul Bailly. Produced 12 splendidly constructed instruments before reaching his fourteenth year. Subsequently built many exactly corresponding Cremonese and other Italian models.
-----------------------------------------------------
Made by
George L. Dykes
Leeds. pupil of Paul Bailly
(pupil of Jean Baptiste Vuillaume of Paris)
No. 14
-----------------------------------------------------
Sometimes with signature and date.