FABIAN, JULIUS
Born in Landeck (Silesia), 1826. Worked in Glatz (Silesia), 1862. Died 1894. Excellent Stradivarian models. Made several ambiguous excursions into the alteration of shape and position of the bass bar.
------------------------------------
Julius Fabian
Geigenmacher in Glatz, 1873
------------------------------------
FABIANI, ANTONIO
Born 1898. Violinist. Won diplomas at Rome. Pupil in violin construction of Bisiach at Milan, and Sacconi. Established at Ascoli Piceno, 1930. Also a Professor at the local Institute of Music. Stradivarian modelling, splendid design, workmanship and varnish. 90, 1959.
------------------------------------------
Antonius Fabiani
sub Titulo S. S. Ceciliae et Joseph
fecit Ascoli in Piceno
N. Anno D. 192-
------------------------------------------
FABRE, GABRIEL
Worked in Mirecourt, 18. . . Well designed, Strad modelling, purfling rather distant from sides, one-piece backs frequently of strange flame, fair workmanship. Branded.
FABRICATORE, GENNARO (1)
Son and pupil of Giovanni Battista. Worked in Naples, 1790-1832. Lutes, guitars and mandolines, plainly show that he always worked under the spirit of the beautiful; instruments deserving high praise. Turned his attention to the production of violins and cellos after the year 1815. Workmanship rises to considerable heights in point of neatness. Outline, arching, sound-holes, and scroll very attractive. Varnish of golden red-brown shade.
----------------------------------
Gennaro Fabricatore
Anno 1816. Napoli
Strada S. Giacomo No. 42.
----------------------------------
(large, very decorative copper-plate lettering)
Other labels occasionally of different address. 250 to 300, 1959.
FABRICATORE, GENNARO (2)
Son and pupil of preceding. Worked in Naples 1820-1843. Principally a maker of guitars with deep ribs and pretty ornamentation on the front. Also produced a few violins and violas - Gagliano style.
----------------------------
Gennaro Fabricatore
anno 1826
Strada Toledo. Napoli
----------------------------
FABRICATORE, GIOVANNI BATTISTA
Worked in Naples, 1761-1815. Guitars receive marked praise from connoisseurs. Mandoras designed on a large scale - everything harmoniously majestic (one preserved in the Museum of the Paris Conservatoire). Lyra-guitars, mandolines, and lutes. Did not produce many violins, and these generally belong to early years. Lovely dark-amber varnish. Tonal quality of excellent sonority. 150, 1959.
--------------------------------------
Gio. Battista Fabricatore fecit
Neapoli.1811
in S. M. dell Ajuto Numo. 32.
--------------------------------------
FABRIQUE, JOHN A.
Worked in Portland (Oregon), 1908.
FABRIS, LUIGI
Worked in Venice, 1853-1879. Modelling either that of a Stradivarius or Guarnerius - both splendidly conceived. Several connoisseurs have given unfavourable opinions regarding the tonal qualities, but, with all diffidence and deference, we suggest that their depreciation is entirely misplaced. Good specimens realised 50 in 1925. Plenty of vitality in the tone, and its mellowness is rapidly becoming something to be appreciated. Very satisfactory, fairly rich orange red varnish, sometimes of a brownish tinge. Excellent table wood, nicely flamed maple. Scroll and sound-holes in harmony with the graceful outline. Also several cellos generally esteemed. 85, 1959.
--------------------------
Luigi Fabris fecit
Venezia lanno 1861
--------------------------
(decorative circle)
-----------------------------------------
Luigi Fabris fecit
Venezia Anno 1873
Premiato con medaglia dargento
all Esposizione di Treviso, 1872
-----------------------------------------
FACCARO, JOHN
Worked in St. Louis (Missouri), 1912-1927.
FACINI, FRA AGOSTINO.
Monk of the Order of Saint Jean de Dieu. Worked in Bologna, 1731-1742. Graceful Amatese outline. Stradivarian arching attractively graduated. Very pretty scroll. Harmonious Stradivarian sound-holes. Steadily traced purfling. Altogether a charming contour, delightfully free from the slightest heaviness, and as good as a Tononi, in whose workshop he spent many inspiring hours. Remarkably lovely varnish of a yellow or yellowish brown shade. Tonal quality of noble sonority and clearness.
-----------------------------
Fr. Augustinus Facini
Ords. S. Joanis de Deo
fecit Bononiae. 1737
-----------------------------
(written)
Sometimes six-lined - same wording. 300, 1959.
F. A. G.
brand of F. A. Glaesel.
FAGERBERG, ERNST GUNNAR
Born 1899. Amateur in Ekaj (Sweden).
FAGNOLA, ANNIBALE
Established at Turin, 1890. Died 1939. Had no master for apprenticeship other than the assiduous studying of old violins. Thirst for knowledge came early, and he gathered much before commencing his work. Specialised in wonderfully imitating the productions of Pressenda - so well imitated as to cause experts to momentarily hesitate before giving a guarantee as to the true authorship. Beautiful red varnish generously applied, every little detail of workmanship magnificently well finished. Tone of exceptional penetrating quality with considerable mellowness. Astonishing replicas of Rocca and J. B. Guadagnini, and as he entirely originated them upon principles founded on the laws of his two predecessors, we get that brilliance of tone for which the soloist is always seeking. Command of design also created within him, the natural ambition of modelling some violins that have an originality all his own. These evince every genuine quality of tone and workmanship. In addition to the red varnish he used an amply applied yellow of soft texture. Some scrolls have dark edging.
----------------------
Annibule Fagnola
fece Turino 1902
----------------------
---------------------------------
Hannibal Fagnola, fecit
Taurini anno Domini 1904
---------------------------------
(initials H.F.T. in heart shaped design)
In the imitated instruments his own label is placed next to a facsimile of the label of the maker he copied. Inside, will be found his name (twice), and date written in ink. 175, 1959.
FAILLITA, ANTONIO
Italian, 1761-1791. Specimens catalogued at seven guineas.
FALAISE, JOSEPH
Worked in Mirecourt and Paris, 1770-1789. Amatese and Stradivarian modelling, but lacking that artistry indispensable to grace. Occasionally a similarity to Pique. Ordinary workmanship. Sound-holes seem to be placed too high; conventional scroll but well posed. Brownish yellow or orange varnish thinly applied. Tone unquestionably only suited for orchestral purposes. 16 (1925). 60 (1959).
J. Falaise signed in ink.
FALAISE, L.
Worked in Mirecourt, 1770-1788. Brother of Joseph. Amatese and Stradivarian modelling: brownish yellow varnish. L. Falaise branded under tail-pin.
FALCIANI, PAOLO DI GIUSEPPE
Born 1924. Amateur in Appignano del Tronto (Italy). Pupil of C. Celani. Produced several violins of splendid design and workmanship, 1949. Italian connoisseurs speak of a brilliant future in connection with these beautifully varnished instruments.
FALCO, ANDREA
Pupil of Joseph Guarnerius. Worked in Cremona, 1738. Stradivarian modelling slightly reminiscent of Guarnerius about the waist curves. Workmanship shows considerable dexterity and facility of hand. Bold scroll with details of the boss thoroughly carried out. Very graceful sound-holes. Pleasing light brown varnish. Tone of reasonable quality and power.
----------------------------
Andrea Falco
fecit in Cremona 1738
----------------------------
Some instruments have labejs dated 100 years later.
FALCO, PAOLO
Worked in Cremona, 1750-1760. Pupil of Bergonzi. He was acutely alive to the infinite beauty of the large Stradivarius model as regards the outline. Arching slightly more pronounced - rather Bergonzi-like, with longish corners. Large scrolls. Spirit of Bergonzi will be found in the sound-holes being placed nearer to the edge than usual. Yellow-brown varnish of fine transparency. In successfully imitating the style of his teachers he has comparatively lost his identity, as certain people could not resist indulging in the dishonest practice of inserting Bergonzi labels in his instruments, thus much of Falcos ingenuity passes for that of the greater name. Catalogued at 20 (1927) when labelled Falco. 250, 1959.
----------------------------
Paulus Falco
fece in Cremona 1754
----------------------------
FALDT, A. O. H.
Born 1907. Amateur in Horn (Sweden). Violins and guitars, very well made.
FALISSE, AUGUSTE
Born in Lige, 1883. Apprenticed to Delinet at Mirecourt. Passed eighteen months in Paris with Silvestre and Maucotel, also worked with Mougenot in Brussels. Established own workshop at Ixelles-Brussels, 1905. Assisted by his son, 1912. Stradivarian and Guarnerian modelling, with imitative varnishing of each. Everything admirably set forth. Instruments that take their place legitimately within the range of the highest art. Scroll is the embodiment of grace and strength. Sound-holes and purfirng arrest the attention and completely satisfy. Some instruments varnished with the splendid preparations of Angell of Bristol - a delightful chestnut red or golden brown. Clear tonal quality. Catalogued at 30, cellos at 60 in 1930. Constructed violins in accordance with the new acoustical principles of a Parisian physician named Dr. Chenantais. Had a brilliant and prompt victory giving much joy to both maker and scientist at a Violin Competition held at Paris, 1912. Adjudicated first prize with 423 points, a Stradivarius coming in third with 401 points, and other Italian instruments, less. Each violin had the same solo played on it and the performer was not in view of the auditors.
-------------------------------------------------------------------------
Vainqueur du Goncours International de Violon - Paris 1912
11er sur 42 concurrents, tant anciens que modernes
Auguste Falisse
Luthier du Conservatoire Royal de Bruxelles
Anno. . . . 19. .
------------------------------------------------------------------------
-----------------
Concours de
Paris 1912
Aug. Falisse
Luthier
Bruxelles
-----------------
(bears the design of a violin lying on two sheets of paper, with sprig of a plant resting on the strings)
Some instruments have:
----------------------------------------
Auguste Falisse
Imported by Boosey & Hawkes
Sole London Agents
----------------------------------------
85, 1959.
FALISSE, GEORGES
Born 1885. Brother of A. Pupil of Bazin. Worked in Brussels with brother. Principal maker at the Hjorth Establishment, Copenhagen, 1915.
FALLET. ALFRED
Born in Dombresson (Switzerland), 1846. Cabinet maker. Died 1898. Instruments date from 1891. Cremonese modelling, preferably Guarnerian. Yellow varnish. Also good-toned cellos and double-basses.
-------------------------
Alfred Fallet
Menuisier bniste
No. 3 Dombresson
-------------------------
FANTOZZI, PIETRO
Worked in Rome, 1920. Pupil of Sgarbi. Violins and cellos, but principally guitars and mandolines.
-------------------------------------
Premiata Fabbrica
dinstrumenti musicali a corda
Pietro Fantozzi
Via Boschetto, 123 - Roma
-------------------------------------
FRBER
see O. A. ZIMMER.
FARINATO, PAOLO
Worked in Venice, 1685-1725. Outline differs distinctively from that which usually accompanies the Stradivarius or Amati. Medium high arching with some affinity to that of a Santo Serafino. Scroll and sound-holes Teutonic. Altogether an elegant and original model. Violas also well constructed. Acoustically fine spruce, and pretty maple. If we compare his splendidly-textured orange varnish with any other of the Venetian school, no line of demarcation can be drawn. 80 (1927).
------------------------
Paolo Farinato
fecit Venetiis 1700
------------------------
FARKS, BLA
Born 1903. Pupil of Metzker. Worked in Debrecsin Pecs. Established at Gyr (Hungary), 1926. Fine modelling, keen workmanship triumphing over all details. Brilliant varnish. Strong tonal quality.
FARLEY, CHARLES EMERY
Born in Concord (New Hampshire), 1846. Son and pupil of Nathan Farley, Junr. Had a good musical education, and played the violin, organ, and piano quite capably. Gained experience with various local makers. Worked at fathers piano establishment in New Boston. Produced first violin 1883. Incessant activity up to the year of his death, 1927, and the net result was the grand total of 450 instruments - every part absolutely his own handiwork. Early-dated instruments modelled in the familiar way after Stradivari, Guarnerius and Amati. Conceived an original model, 1900, which he subsequently did not relinquish in favour of any other. This combination of Strad-Amati principles brought him better results than he had previously enjoyed. Arching, sound-holes, purfling, and scroll all have a slight divergence towards originality. Rather partial to the maple and spruce found in California. Did not shape the bellies and backs merely by rule and calliper, or adhere to the general thicknessing of the wood; but found out the sound of each and worked to get them completely harmonious. Paid considerable attention to the selection of wood for sound-post, and very critical in the matter of thickness or thinness according with the table and back. Many of the early dated instruments are somewhat thin in the plates, but after 1900, he built more substantially. Never used anything but amber varnish, and that always of his own preparation. An untiring experimentalist in this particular field. Fortunate in finding an old recipe which had been in the family for over a hundred years. Tried this and that formulae, but never satisfied, went on trying for the long period of 45 years before he completely realised what he was seeking, that was to obtain a soft varnish having the appearance and tonal-giving qualities of the old Cremona varnish. This is a pure amber varnish of linseed oil and turpentine, no added colouring matter whatsoever, and no dryer. Claimed by these means to produce crimson and brownish red shades which will not get hard or brittle with age, but will eventually become darker. Took three days to completely dry providing those days had several hours of sunshine. Tint very much like the skin of an apple, and very elastic. Had great faith in gum-amber, but only when rightly used. Later instruments have a remarkably clear tone. Wrote a Violin Method for beginners (published at his own cost). Died at Everett (Mass.), 1927 at the age of 81.
-----------------------------------
Chas. E. Farley
1908. Boston, Mass. U.S.A.
-----------------------------------
On the right, is a picture of the maker - on the left, a coat-of-arms with the latin text Virtue duce comite fortuna.
FARNHAM, ALICE WAKEFIELD
Daughter of Herbert Hamilton. Gained perfect freedom in modelling and neat workmanship under the care of parent, also assisted in the development by minutely studying many violins of the celebrated old makers.
---------------------------------------------------------------
Empress
Antonius Stradivarius
Made by
Alice Wakefield Farnham
San Diego, California
1912
Top from Old Hollis Street Church, Boston 1787
---------------------------------------------------------------
FARNHAM, DAVID J.
Worked at Lynn (Massachusetts), 1908.
FARNHAM, HERBERT HAMILTON
Born in Buffalo (New York State), 1878. Resident at San Diego (California) since 1910. Modelling more or less under the influence of the King Joseph Guarnerias. Workmanship reveals a praiseworthy attempt to reach the ideal. Scroll and sound-holes approach near perfection. Purfling well directed steady and neat. Imported a depth and transparency to the dark orange varnish. Italian-looking instruments endowed with a tonal quality rather unique.
---------------------------------------------
Victory
Made by
Herbert Hamilton Farnham
San Diego, California
1920
-----------
Top of old Tyrolean spruce.
Back material from Austrian Tyrol
Scroll carved by maker
-----------------------------------------------
--------------------------------------
Independence
Joseph Guarnerius.
Made by
Herbert Hamilton Farnham
San Diego, California
1916.
Top from old Fanewil Hall
Known as Cradle of Liberty
Built in Boston, 1762
--------------------------------------
FARON, ACHILLE
Worked in Ratisbon (Bavaria), 1701.
FAROTTI, CELESTE
Born 1864. Worked in Milan, 1890. Exhibition medals gained at Milan, 1908; Turin, 1911, and San Francisco, 1915. Won first prizes at the Chamber of Commerce and Industry, Rome, Philharmonic Academy, Bologna, and the National Competition of Violin Makers, 1917. Died 1928. Early years employed in copying such instruments as came within his reach. In these desultory (though not aimless studies), he laid the foundation of future success. Stradivarian modelling completely showing his theoretical knowledge. Scroll and sound-holes well proportioned (the latter sometimes seem slightly over-large). Workmanship never tinged with indifference. Often beautiful one-piece backs. Oil varnish of orange or red-brown shades - the latter thickly applied. Also maker of artists bows.
--------------------------------------
Farotti Geleste
da San Germano di Casale
Fece in Milano nell anno 1901
--------------------------------------
(C. Farotti autographed, or full signature. Arms-of-Milan on one side, a flower on the other).
----------------
Fatto Farotti
Milano 1918
----------------
-----------------------------
Farotti Celestes
di S, Germano di Casal
Fece
in Milano il - 1907
-----------------------------
---------------------------------------------
Farotti Celestes a Sancto Germano
Casalenso Mediolani fecit anno 1920
---------------------------------------------
(with signature and F C S P circled)
FAROTTI (FAROTTO), SALVATORE
Born 1875. Brother of Celeste. Worked in Milan, 1900. Assisted by son Celestino (born 1905). Pupil of Uncle. Superb copies of a Strad, Rocca, and Pressenda.
------------------------------------
Farotto Celestino
allievo della zio Celeste fece
in Milano lanno, 1927
-----------------------------------
(with signature)
FARQUHARSON, IAN
Worked in Edinburgh, 1915-1920. Designs not at all attractive, nor quite accurately proportioned. Belly arching unnaturally full, back much reduced. Plates worked excessively thin. Ordinary commercial pine (not specially seasoned for violin making), back and ribs of very slightly figured material. Scroll weak in character. Light brownish yellow varnish thinly laid on. One specimen realised the small sum of one guinea in a Sheffield sale, 1929.
---------------------------
Ian Farquharson
fecit Edinburgh, 1919
---------------------------
(typewritten)
FARRELL, WILLIAM JAMES
Born in South Shields, 1870. Had a desire during boyhood to make something useful, so procured a large and sharp jack-knife such as sailors use, his left hand subsequently giving ample evidence of the blades keenness, on account of the numerous scars. Made all toys dear to the hearts of schoolboys, including sailing boats, swords, sleighs, cricket bats, go-carts with steering gear, etc. When approaching manhood made his own fishing tackle, trout rods, sea fishing rods, and various others. Then followed cabinet making, furniture, and wood-carving generally. Also had a penchant for painting landscapes, flower studies, animals, etc. Travelled abroad gaining an extensive knowledge of timbers, especially those of the West African forests. Drawn to the violin 1894, by examining an old specimen belonging to his father-in-law, also. by repeatedly hearing the supposition that the art was a lost one and could not be rediscovered. This whetted his appetite to rediscover it Several years passed in a disjointed kind of way by his trying one thing and then another, never making any progress. Ultimately, inspiration came, he made his own tools, moulds, and designs, and read all sorts of literary essays on the subject. Produced instruments largely based on book instructions, but failed to achieve the ideal tone for which he was striving. Then came to the conclusion that the whole system of modern violin making was erroneous. Feeling very convinced of this, he determined to seek an entirely new principled design. He began by making a particularly minute investigation of the acoustical propensities of various pines and sycamores - subjecting each to the severest test, eventually finding the two rightful plates, embodied certain original vibratory ideas, which culminated in his first true-tone violin. This was in 1916, when he was living in the Caledonian Road, London. He named this first effort La Dedicace, and presented it to his daughter, who was then blossoming into a violin virtuoso. Subsequent productions became better and better, until he felt justified in proudly asserting he could build finely-toned instruments without that element of chance which is so characteristic of most modern violins.
Migrated to Australia, 1920, residing first in Brisbane, then in Concord, near Sydney, 1923. Prominent men in the timber trade and forestry, brought to his notice several Australian woods which seemed to offer superiority over the orthodox pines and sycamores. Treated them with his partly revolutionary ideas, met with greater tonal success than even he had imagined, and built subsequent instruments of Gods-own-country material. Unfortunately, he only lived on for three years, dying suddenly in 1926.
To become a successful maker, one has to acquire a vast amount of knowledge other than the merely mechanical. He must possess broad-minded views, intellectual insight and appreciation of all art, critically travel over the perfections and imperfections of every type of violin, recognise laws of acoustics and vibration, be able to well-bow an instrument, understand the necessities of a soloist, compounding varnish, assiduous thought and labour, and to have a broad back sufficient to bear the onslaughts of adverse criticism which is often levelled at him. Farrell possessed many of these qualities and turned out several worth-while instruments, not only in design, but with a tone pulsating with life, splendidly balanced, strong in carrying power, with an entire avoidance of that new and blatant under-the-ear harshness. Stradivarian or Guarnerian outline and height of arching, but more substantially constructed, with as few pieces of wood as possible used. Everything consistent With strength and elasticity. Back aild front plates each of one piece. Lower rib in one long piece. Linings four in number, and each extending from the neck to end-pin block in one piece differing from the ordinary violin which has twelve small pieces. Backs thereby considerably thickened, and supposed to ameliorate the pliancy, purity, and strength of the G string. Top and bottom blocks also of special design, to withstand the pull of the strings between neck and end-pin.
Not built on any really innovated principles, excepting reduction in pieces of wood, but from a system which has for its foundation the mode of construction adopted by the old masters. Not liable to attacks from worms or other injurious insects, and will stand for centuries. Scroll quite unique as it resembles a rams horn called the aggressive on account of its unusual, imposing boldness, altogether a magnificent conception of massiveness without heaviness. Peg-box of considerate design, having for its object expeditious stringing-up. Thoroughly well seasoned timber employed, and of the finest quality, no very old material used because he thought it militated against the long life of an instrument. Orange shade of oil varnish, full of fire yet velvety, applied in such a manner as to approach the Cremonese in lustre and finish.
Created two models - (1) Orchestral and general model, 35; (2) Artists model, 50. Two completed instruments (violin and cello) together with a group of sectional parts are on exhibit in Kew Gardens Museum. Author of The True-Tone Violin (Cassel, London, 1921). Direct result of years of experience, an attempt to elucidate the mystery of tone, perhaps rather too assertive and selflaudatory, but containing much worth-while cogitation.
FARRIMOND, R.
Born 1855. Established at Liverpool, 1924. Probably the best contrabassist in the city. Member of the Philharmonic and other orchestras. Controlled a shop in Benson Street which he titled Ye olde Fyddle and Bow Hospytale. Produced several properly conceived instruments, design never violating the analogy of the standard models. Golden yellow varnish applied cautiously but masterfully.
------------------
Made by
R. Farrimond
------------------
FARUZI, FRANCESCO
Worked in Venice, 1842-1860. Modelling and workmanship in unison with the best of that city. Medium arching of very graceful grading. Attractive varnish presupposes an inviting tonal quality. Few specimens known, several having labels with well-known names.
------------------------
Francesco Faruzi
fece Venezia, 1853
------------------------
FASANI, GIOVANNI
Born in Cremona, 1785. Died 1850. Worked in Brescia. Violins and cellos of Siradivarian modelling. Rather nice concordance of length and breadth.
---------------------------------
Jo. Fasani Cremonensis
restaurant Brixiae an 1832
---------------------------------
FASCIOLO, ANGELO
Born 1887. Cellist. Pupil of Fagnola. Worked in Turin. Died 1942. Good replicas of Fagnola. Reddish orange varnish.
FASSAUER
see FERRON.
FASSMANN, GUSTAV
Worked in Magdeburg (Saxony), 1888-1893. Violins show he had not the requisite diligence and knowledge to successfully measure the vast copiousness of design and varnish. Bows more happily abound in good qualities.
FAUCONIER, MAURICE
Pupil of Georges Apparut. Passed several years in workshops at Mirecourt, Paris, Milan, Cremona, London, Bordeaux and Lyons. Honoured in France with the diploma of artist violin maker and craftsman. Also won highest award for the tonal sonority of his violins. Established at Ghent (Belgium), 1927. Instruments made entirely by hand. Exquisite old wood, very pretty and splendidly acoustical. Covered with a superb oil varnish, generally of reddish-brown-golden shade. Tone of powerful sonority and considerable sweetness, though not having the qualities desired by soloists. Fertility of modelling admirably exhibited in almost life-like copies of Stradivarius, Guarnerius, Amati and Pressenda. Scroll altogether a fine study - a sort of intelligent head. Artistic genius controlled the tracing of the sound-holes, and placed them in an ideal position. Own original model also very interesting. Cellos of grand proportions, dignified yet graceful. Specialised a modle de luxe of a Stradivarius violin with sculptored head and corners, and other ornamentations.
Produced archets de virtuose - pernambuco wood, sticks superiorly finished, and perfectly balanced. Stamped M. Fauconier. Also controlled a staff of very competent workmen, who, under his direction, made commercial violins of all grades, and the various accessories.
---------------------
M. Fauconier
Luthier
Gand (Belgique)
---------------------
(with signature)
---------------------------
Fait par
Maurice Fauconier
Gand. Anne 1926
---------------------------
(decorative border)
Bears the Royal Coat-of-Arms on the left, and F. M. on the right. Also autographed M. Fauconier.
FAUKHAUSER, HANNES
Student at the Violin making School, Brienz, 1945. Worked in Zurich, 1950.
FAUSTINO
Worked in Lucca, 17th century. Guitars, viols, and violins.
FAVERSANI, CARLO
Born in Cremona, 1880. Studied the violin at the Milan Conservatorio, also worked with Antoniazzi in violin making. Received an appointment as violinist in Russia. Returned to Cremona to be conservator of instruments at the Museum. Established at Treviso, 1923. Recipient of medals at Venice and Rome. Assisted by son Cervino (born 1904).
------------------------------------
Italia! avanti sempre gloriosa
sia in Arte Lavoro a Forza
Salve. . . a chi ti salvo
e chi ti protegge.
---------------
Faversani Carletto Me
Fatto in Treviso - 1927 -
------------------------------------
(with Shield, and C.M.C.)
Dedicated to Mussolini.
----------------------------
Faversani Carletto me
Fatto in Treviso
1924
----------------------------
(with Shield and C.M.C.)
-----------------------------------
Faversani Ferdinando Carlo
fece in Treviso, Anno 19. .
-----------------------------------
(with signature across)
FAVILLA, A. AND SONS
Originally from Italy. Manufacturers of stringed instruments at Brooklyn (N.Y.), 1925.
FEAR, HARRY
Born in Brixton, London, 1878. Resident at Handsworth, near Birmingham. Amateur. Not unbecoming models, varnish of fair quality but tone lacks vitality.
FECHNER
see KUNTZE-FECHNER.
FEDELI, GIUSEPPE
Worked in Foligno (Italy), 1860-1894. Achieved considerable patronage for well conceived models, and neat workmanship.
FEIGE, WALTER
Born in Silesia, 1909. Worked for Mckel and Wunderlich. Established at Berlin, 1949. Customary good transcepts of Cremonese and Neapolitan types.
FEILNREITER, FERDINAND
Worked in Vienna, 1890. Specialised in double-basses and guitars. Few violins. Though by no means inept in workmanship, there is little to recommend.
-----------------------------------
Ferdinand Feilnreiter
Geigen und Guitarremacher
in Wien
-----------------------------------
FEILNREITER, FRANZ
Born 1785. Died 1866. Worked in Vienna. Violins coincident with, and analogous to, the best productions of the Austrian school. Outline and arching show a predilection for breadth and fullness, but everything is controlled with propriety. Some specimens have a brownish shade of varnish, others (generally those considered to be his best), a golden-yellow prepared and applied by Sawitzki.
-----------------------------------
Franz Feilnreiter
Geigen und Guitarmacher
in Wien
auf der Laimgrube No. 180
-----------------------------------
---------------------------------
Gemacht von F. Feilnreiter
Gefirnisst von N. Sawitzki
---------------------------------
------------------------------------------------
Franz Feilnreiter
in Wien
Vorstadt Windmhl Krongasse No. 48
------------------------------------------------
(very large, bearing in Centre design of a violin and guitar crossed at the necks)
Also branded F.F..
FEILNREITER, GEORG
Born 1820. Worked in Vienna. Died 1878. Excellent double-basses in which the maker has managed to infuse an unusually clear tone. Ordinary violins, having no outstanding weak spots. Dark brown varnish of good texture.
FEILNREITER, LEOPOLD
Worked with brother Ferdinand in Vienna. Collaborated with him in producing nine-stringed bass-guitars. Also rnade violins and cellos (of refined aspect) on his own account. Died at Penzing (Nr. Vienna) 1904.
-----------------------------
Leopold Feilnreiter
Geigenmacher Penzing
No. 100 Anno 1888
-----------------------------
FEKETE, MIKLY
Worked in Buda-Pesth, 1890-1914.
FELDLEN, MAGNUS
Attached to the Imperial Court at Vienna, 1622-1656. Viols, lutes, and a few violins.
-------------------------------------------
Magnus Feldlen Kais. Hof Lauten-
und Geigenmacher in Wien, 1656
-------------------------------------------
FELDTMANN, CHRISTIAN
Worked in Oldenburg (Germany), 1890. Brought out a new violin-form instrument called Cymbalgeige. Three metallic strings under the customary four - co-operation of sound similar to that of the Hungarian gipsy orchestra instruments, full tonal quality, but too clangy for ordinary solo purposes.
FELL, WILLIAM JAMES
Born 1870. Worked in Caledonian Road, London, 1900. Customary modelling provoking no demur from connoisseurs; orange varnish, especially good tone. Splendid woods.
FENDT, BERNHARD
Born in Innsbrck, in the Tyrol, 1776. Nephew and pupil of Francois Fent of Paris, with whom he went to live in his 7th year. Came to London, 1798, and worked eleven years with Thomas Dodd, having J. F. Lott on the next bench. Employed by John Betts, 1800. Died in Aylesbury Street, Clerkenwell, 1832, and was buried in Clerkenwell Churchyard. Though greatly employing the Strad model, his instruments have some individuality. All are quite refined. Every detail highly finished. Scroll and sound-holes well carved, purfling finely carried out. Choice of wood coincides with the art-workmanship; belly wood of absolute straight grain, handsome flamed maple for the backs. Tone of exquisite quality, rather Cremonese in the opinion of some. Orange brown shade of varnish, quite beautiful.
Catalogued at 50 (1925) and singularly cheap. Many instruments were made for Dodd, and this maker applied his special varnish and inserted his label. Nearly all the Amati models of John Betts owe their creation of fine contour to the ingenuity of Fendt. Double-basses are eagerly snapped up by players and connoisseurs. Of glorious proportions and varnish. Remarkable graduation of the plates has undoubtedly had its fullest allotment in the verdant field of tone - a tone quite Italian in quality. 80, 1959.
FENDT, BERNHARD SIMON
Eldest son of Bernhard. Born in London, 1800. Worked under father at Betts establishment until 1823. Partner with Farn (a dealer in old violins) in Lombard Street. Started a business with George Purdy under the name of Purdy and Fendt, in Finch Street, 1832, had a branch establishment in the Haymarket, 1843, and finally at 74 Dean Street, Soho. Died in Smith Street, Brompton, 1852. One of the cleverest imitators of any country or period. Produced hundreds of Guarnerius replicas (his principal prototype) and many Strad models. Reproductions pure and simple, even to the label, but perfect of their kind, so perfect as to have subsequently deceived the keenest experts. Finer modelling cannot be conceived and his rapidity and cleverness in the workmanship is in every respect equal to the felicity of the design. Every resource of skill lay within his hands. Thicknessing of the plates based on the ideas of the old Cremona makers. Allegiance to the old scrolls also expressed with unshaken fidelity - fluting most effective. Spacious margins add to the grandeur of the elegant arching and outline. Purfling altogether of that standard attained by the Cremona makers. Finely full sides, and of handsome material. Never varying excellence of wood. Shades and texture of varnish equally resplendent, and his method of application, degrees of thickness, equality of surfacing etc., a perfect triumph of skill. Golden and deep orange tints of the Italians most luxuriously reproduced, also a transparent bright red. Tone of all-round richness, Italian quality, of very noticeable depth on the lower strings, and particularly brilliant in the higher register, the whole topped by an astonishing clearness. He has been termed the Prince of counterfeiters, and adversely criticised for hiding his great talent under unscrupulous labelling and passing them off as genuine Cremonas. But how do we know his exact circumstances? How can we rightly know his views on the matter? What a story he could no doubt tell relating to the gullibility of the public, and how many of its various members are rather prone to rush in and be deceived! However, there were times when he did not resist the impulse of inscribing his own name on his wonderful work, and he must have felt very proud of viewing it, as no doubt he was quite aware of his consummate skill, and the tone he heard from these violins when played upon from time to time by the many players who went to his shop, must have entranced his senses and filled his dreams with visions of Cremona fame.
Guarnerius modelled violas are possibly unsurpassed in tonal quality and appearance. Exhibited a fine quartet of instruments in Hyde Park, 1851, when the Crystal Palace was built for the International Exhibition. Measurements of the cello: body length, 29.15/16 inches; upper bouts, 13.10/16; middle, 9.8/16; lower, 17.9/16. Strad model, superb workmanship, most beautifully shaped sound-holes having a really fine sweep; brownish red varnish with deep orange undercoat. Several double-basses received ample justice at his hands, highly valued for their tonal quality (a particularly flexible one). Generally built on the light side but with no excessive thinning of the wood. Impossible to praise too highly the ingenuity displayed in the outline and workmanship of the Gasparo-da-Salo-like instruments. The varnish too (in all respects) a great achievement. Finally, many Guarnerian modelled violins with a glaring red varnish of a hard nature, and more or less indifferent workmanship, have been attributed to Fendt by certain dealers, but such opinions are not conclusive.
-----------------------------
Bernard S. Fendt Junr.
1831
-----------------------------
-------------------
Bernard Fendt
London 1851
-------------------
It will be noted that he omitted the h in Bernard. Other labels give name in full Bernhard Simeon Fendt. 125, 1959. Cellos, l50.
FENDT, JACOB
Third son of Bernhard. Born in London, 1802. Died at Finsbury, 1849. Apprenticed to brother Bernhard Simon; employed by Davis of Coventry Street, and worked for Turner (violin dealer). Carrying our observations through the careers of the Fendts, and bearing vividly in mind the splendid work of Bernhard Simon, we do not hesitate to affirm that none of them quite elevated the art of clever workmanship to the same degree as Jacob. Received a large share of public attention with replicas of Stradivarius, Guarnerius, and Amati - modern, antiques, superlatively finished imitatiohs (even to the worn appearance of the varnish), which would have constituted in themselves (if a score or so could have collected), an important pictorial gallery of English art, if he had not indulged in the practice of counterfeiting by putting in fictitious labels, etc. Instruments truly Cremonese in every detail, showing the plentitude and versatility of his skjll. Modelling altogether captivating, often beautifully broad and flat. Brownish red varnish of lovely tinge, arresting the eye and forcing itself into observation. Execution of the sound-holes generally flawless in workmanship and design, though the Guarnerius imitations may be somewhat exaggerated. Belly wood invariably of regular grain, backs and ribs always of magnificently figured material. Tonal quality worth 50 (1925) of anybodys money. 800 dollars realised in America for a specimen. dated 1830. These violins can be really enjoyed by those who search for mere external beauty, and in the quiet seclusion of ones studio, where we may have examples of the old masters, and in the comparison, we shall see Jacobs fine embodiment of every characteristic. Some instruments labelled:
--------------
Jacob Fent
London
--------------
100, 1959.
FENDT, MARTIN
Second son of Bernhard. Born in London, 1812. Died in Bell Alley, Coleman Street, 1845. Worked with father, and later with Arthur Betts. Nothing surprising in workmanship, but quite excellent in its way. Modelling shows that his eye-appreciation and hand capability were taught by the Cremonese productions. Treated the sound-holes very satisfactorily. Purfling sometimes of an inlaid design. Some instruments have an inlaid geometrical pattern on the one-piece backs. Top wood often coarse grained, now subjected to the intrusions of the insidious worm. Dominant attraction is the varnish, either a clear and brilliant brown, or a deep red. Unfortunately, seldom labelled with his name.
FENDT, WILLIAM
Second son of Bernhard Simon. Born in London, 1833. Died in 19th year. Pupil of and co-worker with father. Unquestionably a youth of very remarkable talent. His violins catalogued at 40, give every evidence that the art was the passion of his life, and if his life had been prolonged his name would doubtless have been enrolled on the most conspicuous line of any monument of fame we may erect in our mind in honour of genius. His violas and double-basses must not be regarded as merely the tuning of his lyre but rather as one who has accomplished a perfect technique.
------------------------
William Fendt Jun.
London 1851
------------------------
FENGA, LUIGI
Born 1866. Studied and worked in Paris, London, Rome and Naples. Established at Catania (Sicily), 1890. Instruments brimful of interesting features. Clever design, in which the scroll and sound-holes ingeniously co-mingle. Workmanship heightened by excellent varnish. Wood pretty, and splendidly acoustical. Very pleasing tonal quality. Acquired considerable popularity throughout Italy. Also produced guitars and mandolines.
-------------------------------------------------
Aluisius Phaenga Catanensis fecit 1900
Luigi Fenga - Catania (Italia)
-------------------------------------------------
Note the two languages - top line in Latin, the lower in Italian.
FENT, FRANCOIS
Born in Schwaz (Tyrol). Worked at Innsbrck. Said to be Uncle and instructor of Bernhard Fendt. Ultimately decided to make Paris his headquarters, and worked there from 1760-1791. Frenchified his name by omitting the d. An artist of great ingenuity, a man who could delineate the Stradivarius model more gracefully than any maker of French nationality (and in stating this, we are not forgetting there was a Lupot), but also one who occasionally neglected his genius, forsook the proper path in which he should have trodden, and wandered into the attractive labyrinth of generally rosy prospects where a quick and abundant return for his labour was to be found. During these periods, he became singularly careless, hurried his workmanship, and was temporarily a mere empiric in the art which nature had intended him to pursue conscientiously, altogether a deadening influence having the sole effect of affording posterity improper ideas of his actual abilities. The instruments in which he took a personal pride are wonderful achievements in the matter of contour, and fully deserve the high praise assigned to them by all the leading experts. Ribs finely full, consequently small margins as the model is never over-broad. Scroll never large or masculine, but grandly shaped, and perfectly harmonious with entire structure. Sound-holes endowed with similar gracefulness, though sometimes slightly more open than those of a Stradivarius. Usually narrow purfling, done with delightful steadiness of hand. Often belly wood of the most delicate nature, and of very fine grain, but unfortunately often worm-eaten today. Generally one-piece backs cut on the quarter, and always of handsome curly maple. Ribs of same material. Body length seldom under 14 inches; varnish (owing to oxidation), frequently quite dark, but originally of a rich red-brown or lustrous orange tint. Tonal quality singularly of Italian character, having that fine full sonority which can be subjugated at the players will into a sweetness pervading every niche of a large hall. A violinist of the finest sensibilities, if he is lucky enough to meet with a well-preserved Fent violin, and one on which the varnish has lost little of its original colour and elasticity will surely feel it bringing forth something equal with real beauty of tone, if not in power, with any Lupot specimen, something easily emerging with clear responsiveness under undulating bow strokes, something not requiring that perpetual propelling of energy, which many French violins demand. Occasionally these instruments are labelled Lupot, and passed off as such. In fact, one was once sold as a Stradivarius, fully guaranteed (though not honestly), by a leading expert. French violinists frequently rave about them, but in England they somehow have failed to meet with the recognition their tonal qualities assuredly deserve. Perhaps the continual darkening of the varnish, and the worm-eaten bellies, are the causes of this neglect. Usually catalogued at 50 (1925) and 300 to 800 dollars in America. Also produced ideally toned violas, and a few cellos. 80, 1959.
--------------------------------------
fait par fent
Mtre luthier Montmartre
prs de la rue du Mail Paris.
Deutscher
--------------------------------------
(written, last line giving the information that he was German)
---------------------------------------
Fait par Fent
Matre Lutier, rue Montmartre
Cul-de-sac Saint Pietre, Paris
---------------------------------------
(printed, with a gorgeously flowered decorative border)
Seldom dated his work. Three are known, 1774, 1785 and 1790.
FEOFANOV
Established at Kasan (Russia), 1900. Enjoyed the patronage of the Imperial Princes. Fine conceptions of Stradivarian, Guarnerian, and Maggini modelling. Velvety varnish, beautifully transparent. Tonal quality particularly strong and sonorously brilliant in the upper register.
FERATI, PIETRO
Worked at Sienna (Italy), 1750-1765. Rather like Strad in outline and arching, but contour altogether commonplace. Broad purfling, roughly done. Workmanship quite fifth rate. Wood of the poorest quality. Thick brown tinted varnish, absolutely unattractive, even to the vulgar eye. Tone rather vacuous of sonority, and lamentably deficient in mellow quality.
----------------------
Pietro Ferati
fecit Siena, 1764
----------------------
(Roman lettering)
FERBER
Trade violins, 1922. Spirit varnish. 2 10s.
FERBER, N.
Worked in London, 1805-1815. Stradivarian modelling with nicely graduated arching. Wide grain belly wood, prettily figured backs. Cherry red varnish. Tonal quality of considerable penetrative force. 50.
FERENACH, JOHANN
Worked in Estwangen (Black Forest). Very fine grain, but twisted belly wood. Very dark red varnish of repellent hue.
---------------------------------
Johannes Ferenach von
Estwangen auff dem
Schwarzwald. Anno 1721
---------------------------------
FERENCZY, SANDOR (ALEXANDER)
Born in Buda-Presth, 1859. Manifested at a very youthful age, a strong inclination towards violin making. Apprenticed to Mnnig, who taught him the elements of the art. Subsequently worked for Zach and Lembck at Vienna. Established at Debreczen, and diligently set to work to turn his early experience to good account. Six years transpired, then in 1885 he removed to Buda-Pesth. Fame gradually placing its aureola about his name caused him to set up in Vienna, where he was working diligently in 1927. Recipient of several gold medals at various Exhibitions. Modelling of Lupot character with high art qualities in contour. Scroll and sound-holes true to the original design. Fine purfling. Wood absolutely matchless in grain and beauty of figure. Orange red varnish richly applied. Splendidly sonorous and strong tone. Instruments which unquestionably stand at the head of Viennese productions, bearing comparison with any other school for delicacy of workmanship, combined with solidity of appearance.
-------------------------
Alexander Ferenczy
fecit Pestini
1886
-------------------------
FERENCZY, TOMASOWSKY (CHARLES)
Born at Buda-Pesth, 1863. Worked for Zach at Vienna. Won Exhibition medals. Went to U.S.A. 1912. Violins of very clever workmanship.
FRET
Worked in Paris, 1705-1712. Infused into his modelling something of the Amatese. Brown tinted varnish having something not far from the beauty of the Cremonese. Tone of agreeable penetrative quality with added sweetness. Equal in every respect to those of his master Mdard.
----------------------
Fait par Fret
lve de Mdard
anne 1708
----------------------
FRET-MARCOTTE
Successor 1919, to the establishment founded by Prosper Colas in Paris, 1871. Served apprenticeship at Mirecourt, had also an atelier in that town, 1926. Specialist in producing artists bows. Beautiful workmanship and balance, often richly ornamented. Stamped Fret-Marcotte. Violins and cellos modelled and imitated after those of the old masters. Varnished new, or la Cremonese.
FERGUSON, DONALD
Worked in Huntley (Scotland). Workmanship lacking in refinement. Application of varnish rather laboured. Tone feeble.
FERGUSON, R.
Worked in Aberdeen, 1840-1848. Instruments inartistic. Roughly traced with wide sound-holes. Very yellow purfling in blatant contrast to the dark brown varnish.
R.F.A.
Branded Aberdeen on back of button
1841
FERGUSON, WILLIAM
Worked in Edinburgh, 1790-1820. Modelling somewhat Amatese yet not unlike some of Perrys in outline. Medium flat arching, purfling near to edge. Sound-holes reminding one of the Guarnerius type. Scroll has a superficial relationship to the Italian, yet is no more than ordinary. Dark brown varnish. Quite a fair tonal quality easily produced. Also a few good cellos are known.
-------------------
Wm. Ferguson
Edinh. fecit
1805
-------------------
Sometimes name is spelt with two ss.
FERM, ERIC TORE
Born 1908. Worked at Bors (Sweden). Won gold medal at Stockholm, 1948, and diploma at The Hague, 1949. Splendid Stradivarian modelling; good tone.
--------------------
Eric Ferm
Violin byggare
Bors
- 1949
-------------------
(with signature)
FERRARESI, VINCENZO
Worked at San Felice (Modena). Died 1869. Ordinary trade-like instruments.
FERRARI, AGOSTINO
Worked at Budrio (Italy), 1720. Amatese modelling, only three specimens known with his label. Others possibly have Amati labels.
FERRARI, ALFONSO
Worked at Carpi (Modena), 1712-1740. Excellent double-basses with exceptionally fine varnish.
FERRARI, CARLO
Worked in Sienna (Italy), 1740. Splendid quality of tone. Though the workmanship is not of the highest, there is a certain Cremonese influence in outline and arching. Delicately carved scroll, but sound-holes not neatly cut.
FERRARI, GASPARO
Worked in Rome, 1730-1756. Principally produced lutes and mandoline. Mandolines of large neck, swans neck head, twelve horizontal pegs and unique rosette. Workmanship particularly delicate. Also violins of medium arching, rather Tyrolean than Italian, with purfling very close to the thin edging. Yellow varnish of dark shade, pellucid and smooth. 30. 85, 1959.
-----------------------------------
Gasparus Ferrari. Romanus
Fecit anno 1733
-----------------------------------
FERRARIS, ORESTE
Worked in Vigevano (Pavia), 1930.
FERRAROTI, LUIGI AND SONS
Worked in Turin, 1880-1920. Violins, guitars and mandolines.
FERRI, PRIMO
Worked in Mirandola (Italy), 1840-1860. Mediocre work.
FERRIER, WILLIAM
Born 1849. Photographer in Dundee, 1880. Made 30 violins, long model, thinly wooded with yellow varnish of good texture. Instruments of attractive appearance, but with unsatisfactory tone.
---------------------
W. Ferrier
Dundee. No. 18
---------------------
(lithographed on mauve paper with photo of maker)
FERRON, GUSTAV FASSAUER
Born in Frankfort-on-Maine (Germany), 1875. Studied with Oswald Schaller in that city. Associated with Kroeplin at Chicago, 1908-1927. Guarnerius modelling. Charming contour, rather noble, yet gracefully refined. Well carved sound-holes, scroll and purfling clear in all details. Old varnish of orange tint especially prepared from own formula. American players have been impressed by the tonal qualities.
-----------------------
Cremonea
Fassauer Ferron
Violin Maker
Chicago. Ill. 1926
-----------------------
(bearing trade mark of the Cremona Arms, signifying the seal of quality)
---------------------
Fassaver Ferron
Fecit. Chicago
---------------------
(monogram of two Fs placed back to back)
FERRONI, FERANDINO
Born 1868. Pupil of Zorzi. Worked in Florence. Produced 110 violins, 12 violas, 6 cellos. Died 1949.
-------------------
F. Ferroni
Firenze. 1926
-------------------
(photo of maker on left)
FTIQUE, CHARLES
Born 1863. Pupil of Paul Bailly. Worked for the Thibouville-Lamy and Labert firms at Mirecourt. Many well made instruments bear his signature.
FTIQUE, JULES
Born 1875. Brother of Victor. Pupil of E. Miguel. Worked for Bazin, Sartory, and Caressa. Established own premises at Paris, 1934. Won several diplomas. Magnificent bows, almost equal to those of Victor.
FTIQUE, MARCEL
Born 1899. Son and successor of Victor. Similar refined workmanship to that of father.
FTIQUE, VICTOR
Born at Mirecourt, 1872. Son of Charles. Apprenticed to Fournier-Maline, Ausson, and Miguel. Worked for Bazin, also Caressa and Franais at Paris, 1901. Established own premises in the French metropolis, 1913. Title of Greatest archetier in France conferred on him at the Paris Exhibition, 1927. Died 1933. Produced 14 different models, some being exact reproductions of the Tourte, Lupot, Voirin, etc. Also an original design having an elliptical stick with canted sides affording the maximum of resistance and elasticity. Every bow a complete work of art. Stamped Vtor Ftique Paris. Gained medals at Brussels, Barcelona, London and Livorno. 35, 1959.
FETTEL, J. A.
Worked at Wilmington (North Carolina), 1924.
FEURY, FRANOIS
Worked at Paris, 1718-1762. Related to Leclerc, another Parisian violin maker. Small pattern, small scroll, correspondingly small sound-holes, everything contrived to give an appearance of feminity. Workmanship not exceptionally neat, but with no particular blemishes. Thick red varnish of good texture. Produced veilles with guitar-like bodies, also ordinary guitars. Several double-basses have been praised.
--------------------------------------------
F. Feury, rue de lArbre-Sec
vis--vis Saint-Germain-lAuxerrois
Paris. 1753
--------------------------------------------
------------------------------------
F. Feury, rue des Fosss
St. Germain-de-la-Auxerrois
proche la rue de lArbre-
sec. Paris 17. .
------------------------------------
Some instruments branded F. Fleury Paris.
FVROT
Worked at Lyons, 1780; in London, 1789. Returned to Lyons, 1798. Died 1813. Produced a few violins and cellos rather neatly related to the best classical models in outline and arching. Heavy purfling having a beak-like appearance at the corners. Scrolls often edged with black. Yellow varnish (with a touch of greyish hue here and there), of no special texture or intensity of shade.
-------------------
Fait par Fevrot
Lyon 18. .
-------------------
-------------------------
M. Fevrot
No 1, Hollis Street.
Soho, London 1789
-------------------------
(written)
Name sometimes branded inside
FVROT FILS
Worked at Lyons, 1813-1820. Large, broad modelling. Dark varnish rather effectively shaded. 40.
FEYRER, ANDREAS
Ordinary medium arched violins, generally with Lion heads and brownish yellow varnish.
------------------------
Andreas Feyrer in
Mittenwald an der
Isar. 1789
------------------------
FEYZEAU
Worked at Bordeaux, 1740-1795. Generally of small pattern, altogether interesting in the rather vaulted arching. Some of the later dated instruments are flatter and larger. Whole contour very attractive. Corners particularly elegant, thoroughly well finished. Scroll and sound-holes gracefully designed. Generally a weak spirit varnish of light-brown shade, giving a commonplace aspect to the instrument. Others have a yellowish shade of better transparency and texture. Some (dated before 1760) usually dark-brown in colour. Tonal quality of artificial power - the sort of tone sounding loud under the ear of the player, but never carrying far, also not much mellowness. Often good table-wood, and handsome backs. 25 (1930). Also produced lyres and 5-stringed viols.
---------------
Feyzeau
Bordeaux
1773
---------------
FICHTL, ALOIS MATHIAS
Born at Mittenwald, 1764. Died 1810. Instruments not deserving any commendation. Externally they may pass muster as examples of second-rate Mittenwald work, which means there is ample display of inartistic outline and proportions. Internal workmanship very carelessly done, consequently an ignoble and very uneven tone.
FICHTL, ANTON
see JOSEPH ANTON FICHTL.
FICHTL (FICHTEL) GOTTLIEB
Worked at Breslau, 1806-1820. Descendant of a Mittenwald family. Most picturesque imitation of the Amati model, having tonal qualities that satisfy, and a contour that pleases the eye.
FICHTL, JOHANN
Worked at Vienna, 1716-1742. Very good workmanship which leaves little to be criticised.
FICHTL, JOHANN ULRICH
Worked at Mittenwald, 1750-1769. Instruments bearing no lack of ingenuity. Quite attractive in the semi-Amatese outline - his predominating style, and of rather well developed proportions particularly across the upper bouts. Nice medium arching. Edges thinly rounded and neatly done. Perfectly posed scroll, quite superior in style to anything his local contemporaries ever conceived. Careful, almost masterly, sound-holes. Purfling neat. Plentifully wooded with close grained (usually) spruce, and small flame curly maple. Orange-yellow varnish, occasionally used a reddish brown, effectively applied with Italian-like texture. Tone very responsive and particularly equal in the lower and higher registers. 35 (1930). 90 (1959).
-----------------------------
Johann Ulrich Fichtl, in
Mittenwald. An. 1763
-----------------------------
(decorative border)
Name sometimes given as Fichel, Fickel, and Fichts.
FICHTL, JOHANN W.
Worked at Mittenwald, 1712-1741.
FICHTL, JOSEPH ANTON
Born at Mittenwald, 1758. Worked and died there, 1795. Excellent violins and violas, no hint of the commonplace.
--------------------
Antonius Fichtl
1776
--------------------
FICHTL, LEOPOLD
Worked at Mittenwald, 1756. Copied the characteristics of Klotz in a very credit, able manner. Silvery tone, small, but attractively equal from top to bottom 15 (1925).
FICHTL, MAGNUS ANTON
Born 1748. Died 1792. Came from Mittenwald or Fussen. Worked at Krems (Austria). Had a desire to perpetuate the Stainer model. Secured splendid results with highly competent workmanship. Ensured a really good tone by always choosing well grained material. Reddish tinge of varnish. Produced a few violas of a richly deep tone.
---------------------------------
Magnus Antonius Fichtl
fecit Crembst. Anno 1772
---------------------------------
FICHTL, MARTIN
Worked at Mittenwald, 1768-1770. Did not always master the finer points of workmanship. Tone of only average quality.
FICHTL, MARTIN MATHIAS (1)
Born at Fssen, 1651. Worked at Vienna. Died 1707. Modelling follows a Stainer but of smaller dimensions. Rather insignificant looking instruments. Good acoustical pine, somewhat counteracted by unflamed maple of poor quality. Dark brown varnish, scantily applied and without brilliancy.
------------------------------------
Martinus Mathias Fichtl
Me Fecit in Wienn, An. 17. .
------------------------------------
(German lettering)
FICHTL, MARTIN MATHIAS (2)
Born 1682. Died 1768. Son of the preceding. Worked at Vienna. Left full evidence in support of the frequently expressed statement of being one of the best Viennese makers of his period. He was captivated by the large model of Stainer which was never afterwards disassociated from his mind, and with assured rapidity he produced many good instruments. Never had the guidance of a master, except for the experience he underwent in his fathers workshop. Usually favoured high arching though cccasionally examples of medium arching are seen. Outline and grading quite good, but he never arrived at perfect harmony of contour, Always used a fine grained pine of splendid quality, and a pretty maple of very broad flame, cut on the quarter. Ribs sometimes very unattractive, sound-holes not always faultlessly drawn. There is also room for criticism in regard to the scroll and purfling. Varnish of a pretty, rich red tint with golden ground - medium arched examples are varnished yellow-brown without much brilliancy. Very acceptable tone having a modicum of brightness with considerable sweetness. Well preserved specimens 40 (1935). Best work dated 1730 to 1750. Many instruments are labelled Stainer and Albani. It is said he paid a brief visit to Italy, but apparently returned unimpressed as he made no change in the modelling of his instruments. 100, 1959.
------------------------------
Martinus Mathias Fichtl
fec. Vienna. 1736
------------------------------
(occasionally italicised lettering)
-------------------------
Martinus Fichtl
fecit Viennae. 1739
-------------------------
FICHTL, MATHIAS
Worked at Augsburg (Bavaria), 1716-1724. High arching, no grooves near edges. One-piece backs usually of flatter arching. Always used excellent wood. Neck and scroll invariably of pear-tree wood. Scrolls rather ingeniously and prettily carved. Transparent reddish brown varnish of good quality. Clear, equal tone.
----------------------------
Mathias Fichtl
Lauten
und Geigenmacher in
Augspurg. 1720
---------------------------
FICHTL, PHILIPP JACOB
Born at Fssen, 1670. Worked at Augsburg. Died 1701. Outline and arching rather mismanaged. Inartistic high arching with a groove near the edge. Long sound-holes having a precipitous appearance. Was not judicious in choice of wood, generally too thick. Hard, thin and brittle varnish, usually of yellow-brown tint. Poor, rough tone, disheartening to any class of player.
-----------------------------------
Philipp Jacob Fichtl
Lauten und Geigen Macher
in Augspurg, 1698
-----------------------------------
FICKER, CARL FRIEDRICH
Born 1783. Son, pupil, and successor (1822) of Johann Christian (3). Worked at Markneukirchen. Died 1849. Cheap grade instruments but possessing several noteworthy details.
FICKER, CARL MORITZ
Worked at Markneukirchen, 1825-l860. Trade violins - excellent copies of the old Italians and Tyrolese, with a personal touch in varnishing. Assisted by his brother Richard (born 1856).
FICKER, CARL WILHELM AUGUST
Born 1818. Died 1869. Worked at Markneukirchen. Son of Carl Friedrich. Pupil of Pfretschner. Very talented maker. Unfortunately became addicted to heavy drinking, neglected his work, and travelled downwards to obscurity. Reichers was his best pupil.
FICKER, CHRISTIAN FRIEDRICH
Worked at Markneukirchen. Violins branded C.F.F.
FICKER, CHRISTIAN SAMUEL
Born 1766. Died 1819. Worked at Markneukirchen. Made violins and violas. Work of little consequence, varnish hard and dull. Branded C.S.F.
FICKER, FRIEDRICH WILHELM
Born 1794. Died 1873. Son and successor of Johann Gottlob. Worked at Markneukirchen. Produced many instruments - good model and workmanship. Tonal results correspondingly excellent. Best period, 1830 to 1840.
FICKER, GEORG ADAM
Worked at Markneukirchen, 1740-1762. Fairly well modelled, but wood unfortunlitely chemicalised. Tone thin and edgy. Varnish of poor quality.
FICKER, GUSTAVE AUGUST
Worked at Markneukirchen, 1924. Attractive Strad and Guarnerian modelling.
FICKER, HEINRICH WILHELM
Born 1832. Worked at Markneukirchen. Died 1858.
-------------------
H. W. Ficker
Geigeninacher
M. i/S
-------------------
i/S - in Saxony.
FICKER, JOHANN ADAM
Born 1730. Worked at Markneukirchen. Average workmanship of the period (1765). Deep red varnish. 20 (1928).
FICKER, JOHANN CASPAR
Worked at Markneukirchen, 1719-1767. Elegant results of mature workmanship. Nice tone with considerable sweetness.
---------------------------------
Johann Caspar Ficker Vio-
linmacher in Neukirchen
Ao. 1749
---------------------------------
FICKER, JOHANN CHRISTIAN (1)
Worked at Markneukirchen, 1690-1726. Made many well-modelled instruments. Plentiful brown varnish. Also produced violins of guitar form, ultra grotesque affairs, altogether beyohd the bounds of art. Several double-basses of fine tone came from his workshop. Generally flat backs, without violin shaped corners.
------------------------------------
J. Chr. Ficker
Geigenmacher in Neukirchen
1693
------------------------------------
Branded I.C.F.
FICKER, JOHANN CHRISTIAN (2)
Born 1720. Died 1772. Worked at Markneukirchen. Son and pupil of Johann Caspar. Although dated as from Cremona, his instruments have the typical Tyrolese appearance. Medium size model of rather high arching. Contour generally very ordinary-looking. Nearly always good acoustical wood; frequently one-piece backs of handsome flame. Brownish red varnish, occasionally a dark yellow shade also. Tone of that uscful kind for amateurs in quarter playing, the lower register being especially mellow. 30. Violas usually 13-7/8 inches in string length. Also made several neatly worked viols.
----------------------------------------
Johann Christian Ficker
Prove violino in Cremona, 1757
----------------------------------------
(sometimes written)
---------------------------------
Johann Christian Ficker
probe violin fecit Cremona
---------------------------------
Branded I.C.F. inside, with stars between the letters. Sometimes used fathers label, but omitted the date.
FICKER, JOHANN CHRISTIAN (3)
Born 1758. Died 1822. Son of (2). Worked at Markneukirchen. Model sometimes highly arched; others of medium arching having an outline rather reminiscent of Amati. Being originally intended as ordinary specimens of Tyrolese work to be sold at a small figure, the workmanship is astonishingly excellent of its class. There is a distinctive rigidity about the straightish sound-holes which is not perhaps yery pretty. Imparted more ingenuity in the really attractive scroll with its prominent boss and fine cutting. Margins usually very narrow. Not very successful with the hard, glassy, chestnut brown varnish, or the occasional orange tint. Wood fairly well chosen. Quality of tone rather sweet, but often very thin. Instruments date from 1776.
----------------------------------------------------
Johann Christian Ficker
Lauden und Geigenmacher in Neukirchen
bey Adorf. 1809
----------------------------------------------------
------------------------------------
Johann Christian Ficker
probe violino corr. Cremona
------------------------------------
Though using the name of Cremona, he never worked there.
FICKER, JOHANN GEORG
Worked at Markneukirchen, 1746. Died 1772. Quite ordinary productions - usual Saxonian style. Assisted by son (same Christian name).
FICKER, JOHANN GOTTFRIED
Worked at Markneukirchen, 1780-1816.
FICKER, JOHANN GOTTLOB (1)
Born 1744. Died 1832. Worked at Markneukirchen. Though prone to the habit of swift production, his workmanship never falls below that kind of refined spirituality inherent in all men of natural aptitude in their art. Some violins look very Stainerish except that the arching is less bulgy; but usually he modelled after Stradivarius or Amati outlines, though never altered the medium-high arching, thus avoiding the commonplace elements of much German work. Though he offers some suggestiveness of Italian character (as well as inscribing labels to make believe he worked at Cremona), there is always something present in his work which refuses to be quite relevant to the Cremona school. Shape and pose of scroll very artistic. Original treatment of purfling. The chamfer Commences directly at the purfling, and on the opposite side, he rounded off the edge, making it fall rapidly away from the purfling, so that this in its whole extent, formed the highest point of the edge. Likewise gifted in cutting the sound-holes neatly, though not perhaps of ideal grace. Table-wood generally of fine grain, sometimes of one piece when the back is of two pieces. Backs always of prettily figured material. Golden brown varnish, occasionally a shade darker on the front and showing a reddish tinge. Tonal quality of reasonable power with considerable mellowness and warmth. 35 (1932). 85 (1959).
----------------------------------------------
Johann Gottlob Ficker Violino
correspontent Romani Cremona 1793
----------------------------------------------
---------------------------------------------
Johann Gottlob Ficker probe violino
cor-Respont Romani Cremona 1786
---------------------------------------------
Often in wavering caligraphy. Also branded I.G.F. (with a little star between each letter) on the back inside.
FICKER, JOHANN GOTTLOB (2)
Born 1778. Died 1827. Son and pupil of (1). Made exact replicas of fathers instruments, both Stainerish and Italianised. So marked is the similarity that most people are unable to tell one from the other. Used a similar brand.
----------------------------
Johann Gottlob Ficker
in Neukirchen, 1804
----------------------------
FICKER, JOHANN OTTO
Born 1890. Son and pupil of Wilhelm. Killed in the war, 1916. Excellent models of the old Italian and Bavarian types.
FICKER, WILHELM
Born 1855. Worked at Markneukirchen from 1880. Died 1942. Violins and cellos. Italian models very artistic. Deep ribs. Darkish yellow varnish meticulously applied. Splendid type of trade instruments.
---------------------------------------------
Wilhelm Ficker
Fabrikation von Streichinstrumenten
Markneukirchen I/S.
---------------------------------------------
I/S - in Saxony.
FIDA, A.
Probably fictitious.
-----------------
Anton Fida
Paris, 1809
-----------------
FIDLER, JOSEPH CHARLES
Born 1870. Amateur. Resident at Reading, 1925. Generally Guarnerian modelling. Own oil varnish.
--------------------------
J. C. Fidler. Reading
No. . . 19. .
--------------------------
FIEDLER, ANDREA
Born 1887. Worked at Markneukirchen and Graz. Died 1944. Well made instruments with healthy tone. Attractively varnished.
FIFO DEL PAGLIARO
Worked at Rolo (Italy), 1810-1845. Excellent violins and cellos. Also double-basses.
FIKER, JOHANN CHRISTIAN
Worked at Markneukirchen, 1700-1732. Nice curvatures of outline, arching in harmonious relationship. Tonal quality of considerable mellowness.
---------------------------------------
Johann Christian Fiker
Lauden und Geigenmacher
in Neukirchen. Bey adorf 1706
---------------------------------------
FILANO, DONATO
Worked at Naples, 1760-1785. Violins of Gagliano modelling without special attributes. Yellowish varnish. Splendid mandolines, richly marked, also lutes and pandoras, many preserved in Museums. 250, 1959.
-------------------------------------------
Donatus Filona fecit Anno D. 1770
Neap. alla Rue de Tafettanari
-------------------------------------------
--------------------------------------------
Donatus Filano fecit Anno Dni 1773
Av. Rue de la Sainte-Claire
--------------------------------------------
(sometimes 3-lined)
--------------------------------------------
Donatus Filano, fecit Neap. A 1732
Alla Rue di S. Chiara
--------------------------------------------
FILANO, JOSEPH
Son of Donato. Worked at Naples, 1784-1797. Principally produced guitars and mandolines. Some violins however, bear his label.
-----------------------------------------
Joseph Filano filius Donato
fecit Neap. Alla Rue di S. Chiara
Anno 1791
-----------------------------------------
FILANO, LUIGI
Worked at Naples, 1820-1859. Nicely conceived modelling with the variety and beauty of the Gagliano school. Compare his instruments with any other Italian maker of the same period, and none will stand the test better. 40 (1930).
He had the faculty for intermingling light and shade in his warm yellow varnish. Neat workmanship abundantly evident; scroll, sound-holes and purfling. Tonal quality clear and fresh. Equal skill exhibited on his guitars and mandolines.
-----------------------
Luigi Filano
Napoli Anno 1832
Strada Speranzella
Nmo 110
-----------------------
(beautifully scrolled, bearing a classical figure of lady reclining)
90, 1959.
FILIPP, JOHANN
Born 1858. Worked for G. Fischer at Markneukirchen, 1883. Pretty instruments, impeccable workmanship. Seldom labelled with his name as he worked for the trade.
FILIPPI, FILIPPO
Worked at Rome, 1857-1890. Violins of Maggini modelling. Spirit varnish. Quartet preserved in the Royal Academy in that city.
-----------------------------------------------
Philippus de Filippis
fecit Romae anno 1876
et DD Regiae Academiae S. Caeciliae
------------------------------------------------
FILLION, GEORGES CHARLES
Born at Selincourt, 1869. Passed apprenticeship years at Mirecourt. Worked at Paris and Berne - also two years with Hill & Sons. Established at Strasbourg, 1896. Violins which are the outcome of natural ability coupled with long experience. Almost exclusively Stradivarian modelling. Portrays the highest skill in refinement with certain little touches of individuality. Very talented varnisher with a brilliant preparation of an orange-yellow shade. 85, 1959.
--------------------------------------
No. . . . . . . G. Fillion. Luthier
Strasbourg, anne 1897
--------------------------------------
----------------------------------
G. Fillion. Violin Maker
Scholar of W. Hill & Sons
No. 75 Anno 190. .
----------------------------------
(with monogram double-circled)
FINDLAY, JAMES
Born 1815. Died 1896. Handloom weaver living at Padanaram (Scotland). Made violins at the early age of 14 years. Productivity resulted in 500 instruments. Early dated have a Guarnerius outline and arching, a conception entitling him to considerable credit. Later ones more related to the Stradivarius. Best period 1871-1875. Unfortunately for future reputation, he occasionally scamped workmanship to quickly effect a local sale, and most of these come under the denomination of pot-boilers. Sound-holes of rather weak originality, even on best instruments. Broad purfling cleanly traced. Well-posed scroll, perhaps a trifle over bold for general build of instrument, but nicely shaped. Careless in selection of wood as he used anything that came handiest. Seldom otherwise than plain material for backs. Spirit varnish thinly applied, and not particularly attractive. Originally of yellow shade, but now deepening and weakening to pale, or dark brown. Naturally a variable tonal quality must result, some rather clear and metallic well suited for the dance players of the north, others quite indifferent. 10 represents fullest price for best specimens.
----------------------
James Findlay
Maker
Padanaram 1860
----------------------
(printed)
----------------------
James Findlay
Padanaram 1867
----------------------
(written)
--------------------------------
James Findlay
Maker
Padanaram. Forfar. 1895
--------------------------------
(lithographed)
Also a strathspey fiddler enjoying an excellent local reputation, and much in request at balls and country festivities.
FINGLAND, SAMUEL
Amateur. Resident at Glasgow, 1885-1902. Strad and Guarnerian modelling; some details complemented by intelligent artistry. Good wood. Brownish red oil varnish. Weak tone.
-----------------------
Samuel Fingland
Fecit 1890. No. 7
-----------------------
(written)
FINKE, JOSEF
Worked at Haindorf (Bavaria), 1860-1908. Instruments built by a master of technique and taste. Everything most prettily harmonised. Warm varnish, good tonal quality. Fine choice of wood.
---------------------------
Josef Finke
Heindorf bei Freiland
in Bhmen
---------------------------
------------------
Joseph Finke
in Haindorf
anno 1860
------------------
FINKEL, S.
Born 1927. Pupil of Weidhass. Worked at Knigsberg (Prussia). Bows which splendidly reflect the traits of the French and German notabilities. Stamped Siegfried Finkel.
FINLAY, J. B.
Resident at Louisville (Kentucky), 1915.
FINLAY, GEORGE T.
Student at the Bretch School of Violin-making, 1914. Resident at West Newton (Pennsylvania). Died 1922.
FINO AND CANTONE
Worked at Catania (Sicily). Outline, sound-holes and varnish quite Amatese, but arching slightly fuller. 10.
-----------------------------
E. Fino and S. Cantone
Catania Anno 1904
-----------------------------
FINOLLI, JOSEPH ANTON
Worked at Milan, 1746-1762. Outline somewhat similar to the Amati. Flat arching, with middle bouts not so deep as usual, but of rather flat line. Excellent wood, usually of medium grain for top; and frequently one-piece back of curly maple showing well defined pretty, small figure. Scroll of good dimensions and of bold design. Very close inspection of sound-holes and purfling reveal one or two little points that are not so well finished. Thick, orange tinted varnish of rather handsome appearance, sometimes a pale amber. Responsive tone. 100 (1925).
------------------------------
Joseph Antoni Finolli in
Milano 1750
------------------------------
--------------------------
Josef Antonio Finolli
fece in Milano 1759
--------------------------
FINTE
Name (possibly made-up) seen in French violins, 1730-1745. Second-class Mirecourtian work, a maker who failed to control his hand sufficiently circumspect to avoid divergencies from correctness and smoothness.
---------------------------
Finte luthier
rue Francaise Paris
anno 1739
---------------------------
FINZ (FINZE), EMMANUEL
Worked at Avignon (France), 1836-1866. Mediocre instruments.
--------------------
Fait par E. Finz
Avignon 1860
--------------------
FIORANI, VINCENZO
Worked at Pergola (Italy), 1853-1875. Guarnerian modelling with slight modifications. Occasionally somewhat reminiscent of a G. B. Ceruti. Finer specimens (few) sometimes mistaken as the work of Landolfi and labelled as such. Variable workmanship, never positively refined. Wood often carelessly chosen, and frequently of insignificant flame. Scroll and sound-holes are partially cribbed and inartistic; varnish seldom other than brittle and of unattractive light red shade of no transparency, rather oxidised and discoloured. Yet an altogether splendid tone. Variously catalogued in 1920 from 30 to 60. 125 (1959).
FIORAVANTI, A.
Worked at Macerata (Italy), 1735-1747. One well proportioned double-bass known; one-piece back.
----------------------------
Andreas Fioravanti
fecit Macerata a. 1741
----------------------------
FIORI, AMILCARE
Worked at Casinalbo (Italy), 1815. Gracefulness of outline and general accuracy of workmanship ought to entitle these violins to approbation of connoisseurs and the patronage of performers.
FIORI, FRATELLI
Brothers. Worked at Modena. Antonio Andrea, born 1796, died 1870. Gaetano, born 1798, died 1873. Prolific productivity. Made over 2,000 instruments. Variable designs and workmanship dating from 1815. Many specimens heavy-looking and covered with a spirit varnish. Others with clumsy scrolls and sound-holes, general contour deserving critical censure. Occasionally better skill was exercised, and brought out examples (especially cellos) executed with considerable refinement, and having an uncommonly clear tonal quality. Reddish-yellow varnish.
--------------------------
Le Fratelli Fiori fece
Modena lanno 1860
--------------------------
(beautifully scrolled)
FIORILLO, GIOVANNI
Worked at Ferrara (Italy), 1760-1788. Generally supposed to have been a German trained in Tyrolese workshops, and assumed an Italian name when taking up residence in that country. Outline and high arching rather Stainer-like and not really elegant. One or two isolated specimens show more of Italian influence and have reduced arching, but even these are not emancipated from Tyrolese traits. Sound-holes often seem inappropriate to the rest of the design. Workmanship generally very praiseworthy, but excellence in this respect is often overlooked by the eyes of those whose ideas of contour are bounded by the beauty of the Cremonese. Orange varnish of considerable glow. Tonal quality fairly sonorous and sweet. Cellos and double-basses much esteemed.
FIORINI, ALESSANDRO
Worked at Bologna, 1670-1675.
----------------------------------------------
Anno 1671 Fiorini Bologna Lesandro
fecite non piu fultli in Bologna
----------------------------------------------
(written)
FIORINI, ANDREA
Commercial violins manufactured solely for Beare & Son, London, 1928. 10. High grade instruments worked entirely by hand. Reddish brown oil varnish.
-------------------
Andrea Fiorini
fecit - Anno
-------------------
(decorative border)
Bearing B& S L with veni, vidi, vici meaning I came, I saw, I conquered.
FIORINI, ANTONIO
Worked at Bologna, 1716-1724. Modelling and tonal quality distinctively Amatese.
--------------------------------
Antonius Fiorini Bonaniae
fecit Anno 1720
--------------------------------
FIORINI, ANZEGNIO
Worked at Bologna, 1720-1730. Pretty modelling, instruments slightly under normal full size. Extremely rare; especially nice workmanship. Characteristic of the Amati. Lustrous and radiant yellow-brown varnish. Tonal quality not large, but silvery and clearly penetrative. 30 (1925). 100 (1959).
--------------------------
Anzegnio, Fiorini
fecit Anno Dni. 1723
--------------------------
FIORINI, ARRIGO TIVOLI
see TIVOLI.
FIORINI, CARLO
Worked at Turin, 1862-1875. Specialised in the production of cellos. Very flat arching and outline not ideally conceived. Plates frequently too thin, with a long depression above the bass bar which is too shallow. Light reddish varnish.
----------------------
Carlo Fiorini fece
Torinio 1868
----------------------
Branded C.F. on the button.
FIORINI, GIUSEPPE
Born at Bazzano (Italy), 1861. Son and pupil of Raffaele. Inherited parents cultivated propensities in arts and sciences. Built first instrument at the age of 16 years. Worked at Bologna, 1877-1888. Went to Munich and established the Firm Rieger and Fiorini 1889-1914; went to Zurich owing to the war, 1915; returned to native country 1923, and settled at Rome 1923. Honoured with a knighthood (Cavaliere), 1927. Died at Munich, 1934. Had many pupils subsequently prominent in Bavaria and Italy, and enjoyed personal friendship of Royalty, opulent patrons of art, and eminent virtuosi in Italy, France, Germany, and Russia. One of the founders of the German Violin-makers Society, and occupied the position of President for several years. Contributed controversial articles to journals which exhibited all possible erudition coupled with acute reasoning powers. Incessantly examined the violins of the immortal Stradivari, had opportunities of personally handling the diagrams and tools used by that wondrous creator, humbly but hopefully delved into the secrets and came out of the labyrinth into the sunshine of enlightenment. Built 500 violins, 10 violas, and 10 cellos up to year 1926. Some specimens (violins) have realised 60 (1927). Recipient of the highest medals at Exhibitions in Europe and America. Modelling always in the Stradivarian style, but with an individuality not to be merely exact replicas. No inaccuracies or fanciful extravagancies whatsoever either exterior or interior. Exquisite contour which affords a perfect harmonisation of curvature. Artistry infallibly guided his hand in the execution of scrolls and sound-holes. Finely transparent reddish and golden varnishes, the whole applied skilfully.
---------------------
Giuseppe Fiorini
Mnchen. 1895
---------------------
---------------------------------
Fiorini Giuseppe
fece in Bologna anno 188-
op 29
---------------------------------
-------------------------------
Giuseppe Fiorini
da Bologna
fece in Zurigo anno 1918
-------------------------------
-------------------------------
Giuseppe Fiorini
da Bologna
fece in Roma anno 1925
-------------------------------
Each with m p written on the left. Also branded G. Fiorini under tailpiece. Last violin numbered 606. 150 (1959).
FIORINI, PAOLO
No maker of this name resident at Turin. Fantasy name invented for commercial violins solely imported by Beare & Son, of London. Probably emanating from Mirecourt. Happy results of skilled craftsmanship. Amatese-Strad modelling pleasingly revealed. One-piece backs sometimes of a lovely wavy-figure. Carefully selected and well matured belly wood. Golden, red-brown varnish, finished a la Cremona. Thicknesses of plates especially attended to. Good tonal quality. 12.
----------------------------------
Modele
Paolo Fiorini, Taurini
B&S L faciebat anno 1923
----------------------------------
FIORINI, RAFFAELE
Born at Pianoro (Italy), 1828. Parents removed to Bazzano, where in his childhood he became interested in a brother of Tadolini (violin maker) who made primitive instruments for amusement. Considerable ingenuity in violin structure made its appearance before his 16th year. Subsequent years (until 1867) were spent in other industrial pursuits. Went to Bologna, 1867, and devoted himself wholly and seriously to violin making, ultimately opening premises in the Palazzo Pepoli. Died 1898. Connoisseurs who have compared his productions with others of the Bolognese school have not failed to state they are as accurate and faithful to the Cremona as any. Body length 14 inches. Nor is this the only praise, for he has succeeded in transplanting a purity of tone which closely follows the grand maturity of the old Cremonese. Various shades of varnish but generally a deep red. Produced several violas; body length 16-1/2 inches. Also cellos of superior excellence.
FIRIOT
Worked at Mirecourt, 1830-1845. Instruments often branded as made at Paris. Not immaculate in design and workmanship. High modelling studiously disregarding the art of graduation. Plain wood. Objectionable brown varnish. Blatent and rough tone.
FIRMIN
Worked at Munich. Strong adherence to the Bavarian school. Scroll exceedingly dignified. Admirable workmanship enriched by a warm shade of brown varnish. Tonal quality of refreshing brightness owing to a harmonious attunement of the plates by a unique (as claimed by the maker) process.
FIRTH, GEORGE (1)
Worked at Leeds, 1830-1840. Pupil of William Booth, Senr. Faulty modelling and uneven workmanship. Varnish impatiently and unskilfully applied. Mysteries of tonal quality here generally corrupted.
---------------------------------
G. Firth. No. 110 Briggate
Leeds. 1836
---------------------------------
FIRTH, GEORGE (2)
Worked at Manningham, near Bradford, 1872-1880. Son of preceding. Broad, large modelling, plainly showing how uncertain a mans hand can be at times, also how imperfect his conception. One-piece backs of very ordinary material; coarse belly wood. Purfling inaccurate and irregular. Dark shade of red-brown varnish. 4.
-------------
Geo. Firth
Maker
Bradford
-------------
(written)
FIRTH, THOMAS GEORGE
Born 1869. Pupil of Robinson. Resident at Plumstead, 1920. Large and broad Stradivarian modelling. Splendid golden brown oil varnish. Australian pine (supposed to offer greater resistance); very good tone. Inventor of a perfected bass bar distributing equal tonal power over the four strings.
-------------------------
T. G. Firth
Plumstead. London
No. 9
-------------------------
FISCER, CARLO VINCENZO
Brother of Carlo and Giuseppe. Worked with them at Milan, 1770-1780. Principally built mandolines, lutes, small pandoras and guitars. Few violins came from his hands.
---------------------------------------
Carlo Vincenzo Fiscer
fabbricator dInstrumente
Alla Balla in Milano anno 1772
---------------------------------------
FISCER, FRATELLI
Giuseppe and Carlo. Brothers who worked in Milan, 1750-1780. Name sometimes given as Finer and Fitter. Doubtless Germans, who modified the spelling of name to suit Italian pronunciation. Well modelled instruments on the Amati, Guarnerius, or Stradivarius styles, but tinged with Tyrolean characteristics in the wide sound-holes. Purfiing quite close to the thin edges. Often poor and top heavy scrolls. One-piece backs of rather broad curl. Warm looking varnish of golden shade effectively impregnated with red, subtly applied. 25. Also similarly designed cellps.
--------------------------------------------
Giuseppe Carlo fratelli Fiscer
fabbricatori dinstrunienti in Milano
vicino alla balla, 1764
--------------------------------------------
---------------------------------
Carlo Vincenzo Fiscer
fabbricator dinstrumenti
Alla Balla in Milano 1770
---------------------------------
Vicino alla balla - near the Sign of the Pack. Pack means a bale of goods.
FISCHBACH, JOHANN (1)
Born 1860. Pupil of Sandner. Proprietor of an inn at Drngrn, 1882, to which he added a small violin factory. Worked there 1925.
FISCHER
Bow-maker at Brambach (Bohemia). Stamped Fischer -B.
FISCHER, A. E.
Head of an important Music Publishing Firm at Bremen. Employed several workmen to make all grades of violins and bows. Generally Strad models, with yellow-ochre varnish.
-----------------
A. E. Fischer
Bremen 1921
-----------------
Also branded.
FISCHER, ALOIS
Born at Schnbach. Worked at Prossnitz (Bohemia), 1850.
FISCHER, ANDREAS
Worked at Znaim (Moravia), 1855-1861. Modelling, workmanship, and varnish not at all picturesque. Tonal quality momentarily pleases, then one quickly becomes conscious of its weakness and failure to respond under the bow.
--------------------------
Andreas Fischer
instrumentenmacher
in Znaim. 1861
--------------------------
FISCHER, ANTON (1)
Worked at Schnbach, 1890-1914. Average style of Bohemian trade instruments,
FISCHER, ANTON (2)
Born 1794. Died 1879. Established at Vienna. Reasonably good impressions of Italian influence evident in the outline and arching. Scroll and sound-holes insufficiently finished to be typical of the finest workmanship. Unpretentious looking varnish, but effectively applied. Material of the best selection, but failed to derive anything from out the ordinary in point of power or quality of tone. Guitars compel more admiration, highly valued by the Austrians.
--------------------------------------
Anton Fischer
Gitarrenmacher
In der inneren Stradt. Nr. 369
Wien. 1826
--------------------------------------
-------------------------------
Anton Fischer
fecit Viennae, anno 1854
-------------------------------
FISCHER, CARL
Worked at Schnbach, 1890-1916. Specialised in cellos. Careful workmanship, attractively varnished.
------------------------
Carl Fischer
Mulzgasse No. 49
Schnbach
------------------------
FISCHER, CARL
Worked at Bremen, 1890. Average workmanship. Branded.
FISCHER, CHRISTIAN
Worked at Hamburg, 1797. Instruments show little talent.
FISCHER, CHRISTIAN AUGUST
Worked at Markneukirchen. Instruments which excite a little attention for the pretty assimilation of Tyrolese and Italian character in modelling. No rough workmanship to despoil the beauty of the wood. Generally one-piece backs. Old yellow varnish abundantly applied. Warm mellow tone. Branded C.A.F.
FISCHER, CHRISTIAN GOTTHILF
Born 1719. Died 1793. Worked at Markneukirchen. Flat arching blending harmoniously with outline. Workmanship good enough to break down the stubborn resistance of some connoisseurs towards anything emanating from the above town. Golden-brown varnish most effectively applied. Frequently one-piece backs.
--------------------------------
Christian Gotthilf Fischer
Neukirchen. 1768
--------------------------------
FISCHER, CHRISTIAN GOTTLOB
Born 1815. Worked at Markneukirchen. Died 1895. Various models in the category of trade instruments.
FISCHER, E. R.
Bow maker at Landwuest (Saxony), 1890-1912. Fine bows for fine soloists. Stamped with his name.
FISCHER, GEORG
Worked at Vienna, 1820-1855.
FISCHER, GOTTFRIED
Son of Anton (2). Worked at Vienna, 1840-1887.
--------------------------------------
Gottfried Fischer
Wien
Mariahilfer Haptstrasse no. 68
--------------------------------------
G.F. branded below button.
FISCHER, GOTTHILF
Born at Stuttgart (Germany), 1907. Studied with A. F. Kochendrfer at the Wurttemberg Art Works of Violin Making. Built first violin 1921 on the model of a favourite Gagliano. Established at Stuttgart 1924. Made considerable reputation with his ingenious and truthful modelling, minutely proportioned, from a Stradivarius violin.
FISCHER, HERMAN
Born at Schnberg (Saxony), 1881. Fourteen years of age when he entered the bow making establishment of R. Fischer at Brambach. Made bows for August Rau at Markneukirchen, 1898, and inculcated the fine art of that maker. Went to Amsterdam 1900, assisted Van der Meer in the various grades of bows. Became interested in violin making, proved himself competent to successfully cope with the difficulties, and handled the Cremona style in a manner altogether gratifying, though later he found that the geometrical correctness of certain parts was open to slight modifications for complete satisfaction. Worked for Scheffler at Bukarest, 1905, subsequently went to Cologne, Paris, London, and St. Petersburg. Went to America 1910, worked for Carl Fischer, removed to Chicago 1914, as principal in the repairing department of Lyon and Healy. Established own workshop at Chicago, 1917. Violins, though built on the principles of Stradivarius and Guarnerius, splendidly avoid the narrow-minded replication of the originals. Tone has the nice blending of power and sweetness that will certainly impress itself on future generations, Produced bows of fine balance and flawless workmanship.
------------------------------------------
Herman Fischer
Expert violin and bow maker
1166 Diversey Parkway, Chicago
------------------------------------------
(decorative border, bearing design of violin in a horizontal position)
Labels after 1927 give 1434 North Clark Street as the address.
FISCHER, H. G.
Bow maker. Worked at Amsterdam. More than ordinary taste displayed in the workmanship of these light coloured bows. Stamped H. G. Fischer.
FISCHER, JOANNES
Worked at Wrzburg (Bavaria), 1762. Workmanship with minor flaws, everything structurally ordinary, brownish varnish, dullish tone. 20 (1925).
----------------------
Joannes Fischer
Geigenmacher in
Virtsburg, 1762
----------------------
FISCHER, JOHANN
Worked at Schnbach, 1890-1921. Ordinary trade instruments - sometimes with very glistening varnish.
FISCHER, JOHANN ADAM
Worked at Markneukirchen, 1752-1809. Tonal quality satisfying the ordinary requirements of amateur chamber music players. Outline and arching prettily conceived. Scroll and sound-holes equally well desighed. Warm tint of brown varnish.
---------------------------
Johann Adam Fischer
Geigenmacher
in Neukirchen, 1773
---------------------------
FISCHER, JOHANN CHRISTIAN
Second son of preceding. Born 1763. Died 1838. Worked at Markneukirchen. Instruments branded J.C.F.
FISCHER, JOHANN GEORG
Eldest son and successor of Johann Adam. Born 1758. Died 1821. Worked at Markneukirchen. Instruments not arousing much eulogy. Fairly bold modelling, but a critically competent maker would never have committed the errors apparent in the arching. Scroll and sound-holes not accurately drawn. Orange amber varnish covering wood of no especially excellent quality. Tone incapable of much development, lacks requisite power. 12. Violas and cellos here and there lack that essential quality of good art which comes under the name of accuracy. Seldom realised more than 15 and 20 respectively.
-----------------------------------
Johann Georg Fischer
Violinmacher in Neukirchen
-----------------------------------
(written)
--------------------------------
Joannes Georgius Fischer
fecit Neukirchen 1799
--------------------------------
FISCHER, JOHANN GOTTFRIED
Youngest son of Johann Adam. Born 1770. Died 1825. The most talented of the family. Splendidly developed Stradivarian modelling. Outline, arching, and sound-holes give every evidence of the Cremonese. Original scroll. Wood usually superb in quality and figure. Deep red-brown varnish applied skilfully. Tonal quality very agreeable. 20 (1925). Branded J.G.F. with stars between the letters.
FISCHER, JOHANN ULRICH
Worked at Landshut (Bavaria), 1715-1727, and Munich, 1728. Conceived happy curvatures in the outline, particularly at the waist. Very careful graduation in the medium arching adds to the distinction of the rather broad design. Scroll and sound-holes embellished with all that elegance which contributes so much to the whole contour. Light brown varnish applied artistically. Tone often disappointing after viewing such interesting workmanship. Some specimens have fancifully carved heads. 20. Also produced viol-da-gambas, and tromba-marinas (nuns fiddles).
-------------------
J. Fischer
Landshut 1722
-------------------
----------------------------
Johann Ulrich Fischer
laut: und geig: macher
Lan indshut. 1726
----------------------------
(written)
FISCHER, JOSEF
Worked at Znaim (Moravia), 1860-1868. Name seldom seen as he worked principally for dealers.
----------------------------
Josef Fischer
Instrumentmacher
in
Znaim. Nr. 132. 1862
----------------------------
FISCHER, JOSEPH
Worked at Regensburg (Ratisbon), 1790-1834. Pupil of Gedler at Fuessen (Bavaria) and soon showed particular aptitude. Not only excelled in workmanship but also in faithfully reproducing the Italian style - principally that of Strad. So splendid is the imitation that many have been re-labelled and sold as genuine Italian instruments. His eye for colour was as correct as his appreciation of form. Oil varnish, yellow-brown and reddish brown, quite remarkable. Also produced instruments having strong German characteristics - affairs altogether detracting from his fame, and a matter of universal regret that he allowed them to leave his workshop. These are rather broad waisted, fairly full arching, scroll of poor form, and dark brown varnish. Quite common looking fiddles, highly priced at 10. Best instruments 30.
----------------------------------
Joseph Fischer
Lautten und Geigenmacher
in Regensburg. Ano. 1809
----------------------------------
--------------------
Joseph Fischer
fecit in
Ratisbona 1819
--------------------
(very small)
---------------------------------
Josef Fischer
Lauten und Geigenmacher
in Regensburg. Anno 1826
---------------------------------
FISCHER, LEBERECHT
Worked at Markneukirchen, 1860-1894. Won four prizes for good workmanship. The usual commercial violins attractively presented, and sold in hundreds. Some better class entirely hand-made.
FISCHER, LORENZ J.
Born at St. Johann (Corinthia, Austria), 1889. Trained by grandfather, and at the Austrian Violin-making School; also a pupil of Gagl and Reinhold Schmidt. Made first instrument, 1906. Established at Milwaukee, 1909. Produced about eight instruments yearly. Good modelling combining Stradivarius outline with Guadagnini sound-holes. Altogether splendid designs embellished by tasteful workmanship. Scroll graphically and forcibly shaped. No defects in sound-holes or purfling. Finest European woods used. American material generally ignored. Own preparation of a lovely tinted golden orange varnish. Many American artists wrote to him in appreciation of the deep tonal quality imparted to his instruments.
----------------------
Lorenz J. Fischer
me fecit
Milwaukee 1926
----------------------
(beautifully scrolled, absolute imitation of the Seraphin label)
-----------------------
Lorenz J. Fischer
Violin Maker
Milwaukee
Anno 1914
----------------------
Also bearing the letters L.J.F. above name. Also assisted by son Lorenz Junr. - born 1910.
FISCHER, OTTO
Bow maker at Hohendorf (Saxony), 1890-1912.
FISCHER, PHILIPP JACOB
Born at Landshut (Bavaria). Worked at Wrzburg, 1710-1743. Well developed model of convenient size. Pretty outline and atching. Similar artistry pervades the scroll and sound-holes. Medium grain spruce, and maple of ordinary flame. Dark brown varnish gradually getting deeper - not especially fine in texture. Tonal quality rather mellow. 35.
-----------------------------------------
Philipp Jacob Fischer, Lauten
und Geigenmacher in Wrzburg.
Fecit 1714
----------------------------------------
FISCHER, RUDOLF
Worked at Schnbach, 1890-1915. Trade instruments of good class.
FISCHER, THEODORE M.
Born 1865. Pupil of Hoover. Resident at Auburn, 1900. Guarnerian modelling; oil varnish of brownish hue.
--------------------------------
T. M. Fischer fecit
Auburn, N.Y. anno 1914
-------------------------------
FISCHER, WALTER FICKER
Born at Markneukirchen. Resident at Oak Park (U.S.A.), 1900.
FISCHER, ZACHARIAS
Born at Wrzburg (Bavaria), 1730. Worked there all his life. Died 1812. Best instruments belong to the period 1770-1780 - particularly for tone. Incessantly studied outline and arching, making repeated divergencies from former attempts. Those most esteemed by amateurs, and sometimes highly extolled by experts, are generally Amatese-Klotz style. Modelling effective (though the arching is rather high), and exhibits the usual skilful manipulation of a conscientious and enthusiastic maker. Beautifully designed sound-holes recall Amati. Scroll statuesque and neatly accomplished. Excelled in steady purfling. Occasionally fancy inlay of a zig-zag design. Edges and corners admirably finished. Instruments modelled on Stainer principles do not, and never will retain a permanent position in the estimation of connoisseurs and players except on the lowest steps of the ladder. All violins have well marked wood. Red-brown varnish becoming deeper tinted by the hand of time. Tonal quality of the Amatese-Klotz is fairly clear but not sonorously full - that of the Stainer altogether cloudy and weak. The former catalogued at 40, the latter at 15. One especially fine specimen dated 1790, fetched 300 dollars. Announced (in 1786), a new method by which, so he claimed, instruments could be made to equal those of Stradivari and Stainer. This process was only the often tried and futile oven-heating of the wood with the subsequent mixture of injurious chemicals. Result - whatever tone was originally there would gradually evaporate into something weak and hollow, and if it had any brilliancy in its young days, its brightness was dimmed before its 20th year. Also produced lutes and guitars of slight consequence.
-----------------------------------------------
Zacharias Fischer, Hochfrstl: Lauten
und Geigenmacher in Wrzburg, 1771
-----------------------------------------------
(sometimes in German lettering, also three lined)
FISCHESSER-CHOLLET, LEON
Born at Saint Cloud, 1861. Worked at Geneva, 1885; Staufen in Baden, 1900; Mulhausen, 1904; and at Paris in the Faubourg Poissonire, 1905, removing to the Avenue de Villiers, 1914. Died 1937.
Collaborated with Lucien Greilsamer in experimenting to discover the secret of the Cremona varnish, etc. 1906, and exhibited instruments claiming complete success. Built a quartet of instruments for the Svcik quartet party during their prolonged stay in Paris, 1907 Interesting sance organised at the Salle Trvise to demonstrate the tonal uniformity. Result said to be a revelation in richness of tone, carrying power, vitality, and delicacy being well nigh indescribable according to the various reports in journals. Some connoisseurs asserted that the homogeneity of the tone colour was scarcely surpassed by a quartet of Strads. Notwithstanding subsequent opposition from other critics, these instruments have continued to spread throughout France as superb specimens of art finely comparable at least, with anything ever produced in that country. Several French and American virtuosi used them, and several art collectors have placed them beside their finest treasures. Every inch of the work done absolutely by hand, productivity less rapid than is customary with the modern French. Perfect Stradivarian modelling. Recipient of gold medals and diplomas of honour. Author of Violin Construction - a booklet.
---------------------
Leon Fischesser
Paris lan 1914
---------------------
FISHBURN, RALPH E.
Coalminer at Leamside (Durham), 1920. Ardent spiritualist who claimed with apparent sincerity, that he had Stradivari visions of two violins in one, while under the control of a medium. Though having no previous constructive knowledge he managed to build an instrument within the subsequent three months, and gave it the name of viola-violin. Outline certainly the result of dreamy phantasms rather than of the sensible materialism. Upper bouts strangely contracted, and of very unusual curvature; distance between waist corners considerably shortened; lower bouts more approximate to the ordinary shape; sound-holes very inartistic and primitive, grievously afflicted with the central aperture turning inward; greatly concaved body like two dishes put together, resulting in a hollowness from which equal tonal quality cannot come; peg-box open at the back, and ratchet tuning pegs; stumpy head-piece in lieu of usual scroll; bass bar practically uncrescented, hollow sound-post disposed immediately below the middle string D; chin-rest placed on the right of the tailpiece; five strings - C, G, D, A, E, of small viola size, and tonally similar. Regarding the varnish, the spirit of Stradivari, seems rather to have let him down. Proud of the instruments originality, he patented it in 1921, as an improvement etc., but what a travesty of that word! Such an instrument is irrational, and fortunately doomed to insulation, since scarcely anyone could possibly tolerate such a distorted violin design and defiling of the pure stream of classical antiquity. Also had a further supernatural mandate while again under control which resulted in a three-in-one instrument. This four-string triplicate affair is a compromise in construction rather than in tone, for it requires to be restrung according to whether the player desires violin, viola, or cello tone. When strung with the cello strings, the tone has a hollow weakness relatively five times less than that of the normal cello, a state quite understood when we consider the invention as being nearer to viola size than to its larger brother. Built small violins more or less conforming to orthodox principles, and finally created one having the peculiarity of not possessing ribs - the belly and back being bent so as to meet each other. Who is likely to countenance such efforts? and what senses can they possibly gratify?
FISHER, GEORGE
Productivity very small, outline and arching determined with accuracy. Agreeably sweet tone.
------------------------------------------------
George Fisher
Violin Maker. Cheltenham. Anno 1820
------------------------------------------------
FISHER, JOHANN GEORG
Worked at Jena (Thuringia), 1750-1762. Indulged in the sinful practice of chemicalising and heating the wood. Modelling and workmanship very ordinary. A cursory view of the contour is sufficient to ascertain the exact boundaries of the tone, a tone well shut-in and inert.
----------------------------------------
Johann Georg Fisher
Musicalischer instrumentmacher
in Jena, 1758
----------------------------------------
FISHER, WILLIAM A.
Resident at Erdington (Birmingham), 1920-1927. Stradivarian modelling.
---------------------------------
William A. Fisher May 17
62 Sheffield Rd.
Erdingtoh. 1926
---------------------------------
FISK, GEORGE W.
Born at Bennington (Vermont), 1838. Pattern maker by trade, and a skilled artificer in woods before commencing a violin-making career. A man of infinite patience, no amount of labour being too much to achieve the desired result. From the carving of the scroll to the fitting of the bridge, everything had to be perfectly satisfactory to his somewhat fastidious judgment. Trained by no maker, and never had any apprentices. Procured all the books pertaining to the art, and did a vast amount of experimenting on the various theories promulgated therein. Played the violin at village dances, and officiated as first violin at the Greeley Opera House. Achieved little beyond the ordinary attainments of an amateur as he was largely self-taught except for a few gleanings from the professional players who visited his shop. Believed that Amati, Stradivari and Guarneri had solved the problem of size, shape, and elegance of design, and accepted their decision as definitely settled. Never made freak outlines and strange arching, or any fanciful designs of purfling, and eschewed all metal or jewel trimmings. Produced first instrument at Bennington. Removed to Greeler (Colorado), 1876. Violins numbered up to sixty all belong to the Guarnerian outline, subsequent specimens exclusively modelled on a 1710 Strad. Built last instrument, numbered 163, in 81st year, 1918. Especially excellent adherence to the Stradivarian design except the scroll, which is somewhat flatter at the upper part, and intended to be a composite of two different ones. Had a secret system of graduation which he never divulged to anyone, and guaranteed that, given well seasoned wood, he could not have a failure. Testimonies of Remenyi and other virtuosi substantiated his contention. Prepared own varnish, and preferred red and orange shades.
FITSCHE, JOHANN
Worked at Linz (Austria), 1832. Died 1893. Chiefly a repairer. Made few instruments. Some have a splendid varnish.
FIVAZ, CHARLES F.
Worked in Essex Road, Islington (London), 1870-1899. Graceful design, accurately proportioned, and neatly finished. Extremely well cut scroll with the edges picked out in black. Reddish yellow varnish. 15.
--------------------------------
Charles Fivaz. Teluti
Fecit A.D. 1875. London
--------------------------------
FJAESTAD, G. A.
Worked at Arvika (Sweden), 1927. Exhibited excellently-worked violins at Geneva Exhibition, 1927.
FLAGG, RUSSELL DE GREE
Born 1892. Grandson of Henry Lewis Flagg (Essex County, N.Y.), who made a good number of violins. Resident at Rutland (Vermont). Produced 150 violins and 15 violas up to the year 1940. Generally Strad modelling, occasionally Amatese and Guarnerian. Orange red and reddish brown varnish.
FLAMBEAU, CHARLES
Worked at Mirecourt, 1776-1789. Workmanship and modelling quite ordinary. Scroll rather heavy-looking. Waist curves deeper than usual. Sometimes the backs are extravagantly and peculiarly grooved. Cold-looking brown spirit varnish. Loud tone, but not penetrating. Produced some violas which have a more subdued tone, and the character of his modelling better suits these larger instruments. Dealers are well aware of Flambeaus merits and demerits, and assess the value of the violins at 10, violas at 15 (1925).
Branded C. Flambeau on, or under, button; or Flambeau laine Paris interiorally.
FLAMBEAU, PIERRE
Worked at Paris, 1790-1816. Learned his profession at Mirecourt, and with Koliker at Paris. Modelling and workmanship associated with much that tends to present an agreeable contour. Reasonable resemblance to the Stradivarian model, but there is no mistaking its Mirecourtian character. Substantially built instruments. Yellow-brown varnish with a slight tinge of red - not especially attractive. Brilliant tone, without any sweetness. Good specimens catalogued at 20. Cellos with similar characteristics.
-------------------------
Flambeau
lve de M. Koliker
Paris.
-------------------------
(written)
Also branded on or below button.
FLECK, JOHANN GEORG
Stainer outline and arching, with a particularly abrupt descent in the vicinity of the somewhat contracted waist, and a moat grooving entirely around. Purfling placed extremely near to the delicate edge. Beautifully carved scroll, but slightly too large and robust to completely harmonise with the rest of the instrument. Warm looking brown varnish. Tonal quality smooth but of slight penetrative force.
----------------------------
Johannes Georg Fleck
in Tiroli
----------------------------
Branded J.G.F. 1792.
FLECK, WILLIAM
Doctor of Medicine. Resident at High Wycombe, 1884. Amateur violinist. Died 1914. Splendid violins, violas and cellos, in appearance and tone. Strad and Guarnerian modelling. His wife (Ethel) also made excellent instruments. Also varnished those left by her husband.
FLEISCHER, JOHANN CHRISTOPH
Worked at Hamburg, 1700-1732. Beautiful viols and lutes.
FLEMANN, J.
Born in Bavaria. Worked at Prague. Very ordinary workmanship, fairly long model, insignificant scroll, good acoustical wood, painted lines for purfling, straight sound-holes inaccurately placed, too high. Transparent golden yellow varnish.
---------------------
Johann Flemann
Prag. 1787
---------------------
Perhaps misread for Elemann.
FLEMING, JOHN
Worked at Saltcoats (Scotland), 1872-1900. Stradivarian model and oil varnish. Name branded.
FLENDY, THOMAS
Worked in London, 1820-1830. Violins and cellos of truly graceful modelling.
----------------------------------
Made by
Thomas Flendy
19 Princes St. Westminster
----------------------------------
Usually written in ink across the back.
FLENSTRM, OLOF DANIEL
Born 1874. Amateur at Luleo (Sweden). Won silver medal at Sundsvoll, 1928.
FLETA, MANUEL
Born at Huesa (Spain), 1890. Made first instrument in 15th year. Worked with Jaume at Barcelona, 1907. Established own workshop, 1915. Fine workmanship. Italian models. Made modifications to ameliorate tone sonority. Assisted by two brothers (Bienvenido and Ignacio). Violins and cellos of Strad modelling. (Laudatory testimony from the celebrated cellist Pablo Casals). Attractive instruments greatly esteemed throughout native country. Yellowish red or golden red varnish. Bienvenido mostly specialised in producing fine double-basses. Ignacio ingeniously replicated a whole series of ancient viols, also Gothic harps, lutes, rebecs and vihuelas.
-------------------------------
Ignacio Fleta - Barcelona
Construico el ano 19. .
-------------------------------
(with I.F. and design of lyre)
FLETCHER, WILLIAM HARVEY
Born February 28, 1866, in Bulls Ferry, New Jersey. Died September, 1959, Houston, Texas. As a young man, moved to Brooklyn, N.Y., and followed the trade of a watchcase engraver. Was married in 1890, and turned to the Life Insurance business about 1891. Always a musician, was interested in violins, and began making them as a hobby, with special attention to the mathematical ratio of density of wood and effect of varnish in regard to tone. Paid particular attention to the wolf tone. He worked at home and made many of his own tools. He made about 300 violins on various models of the Masters.
About 1929 he moved to Houston, Texas, where in his sons home he continued his experiments in all phases of construction. He sold many of his violins, suited to individual needs, but never standardized or commercialized his work. There are many of them in the family, made for sons and daughters. Many contemporary artists have bought and used his violins.
FLETT, BENOIST
Worked at Paris, 1755-1788. Violins of very ordinary modelling and workmanship. Generally valued at 10 (1925).
FLEURIDOR
Name discovered by Poidras. Modelling of good proportions, rather flat arching, well shaped scroll, golden varnish of warm hue.
-----------------------
Fleuridor Paris
Au pont au Choux
Anno 1760
-----------------------
Name also written under the varnish on the back.
FLEURY, BENOIST
Worked at Paris, 1750-1792. Broadly proportioned modelling, rather imposing. Graceful flat arching with slightly raised edge. Plentifully wooded. Table wood frequently of broad grain. Backs sometimes of very plain maple, but of good quality. Longish scroll rather insignificantly unexpanded at the top, not corresponding with the substantial appearance of the body outline. Sound-holes seem to be set too far apart, also not endowed with much grace, being rather small and positioned on the verge of the perpendicular, also not prettily approached towards the middle nicks. Yellow, orange-yellow, orange-brown, and pale red shades of varnish. Tonal quality that gives these instruments a becoming place of honour among French makers. Catalogued at 50, 500 dollars in America. Equally excellent violas, cellos, and double-basses.
--------------------------------------------
Benoist Fleury, rue des Boucheries
Faubourg St. Germain Paris. 1759
--------------------------------------------
FLEURY, H.
French bow maker in Paris, 1900-1927. Strong sticks, modelled after Tourte, generally with whalebone lapping. Stamped H. Fleury. 30 (1959).
FLORENO, FLORENTUS
Worked at Bologna, 1712-1750. Amatese modelling, slightly modified. Contour rather slim, somewhat highly arched, going up rather abruptly in the vicinity of the upper part of the sound-holes. Workmanship variable, some specimens not invested with a plenitude of refinement, others comparatively flawless. Scroll always distinctive in its graceful pose. Usually wood of a very pretty figure. Brilliantly transparent varnish substantially applied, frequently of a deep golden shade, but occasionally a reddish-brown. Tonal quality may be designated as Amatese, never robust, but very satisfactorily mellow, and particularly clear.
------------------------------
Florentus Floreno
fecit Bononiae, an 1730
------------------------------
------------------------------
Florenus Florentus
fecit Bononiae, an 1732
------------------------------
--------------------------
Florentius Florini
Fecit Bononiae 17. .
--------------------------
Other labels give Florentus Florinus, Florentius Fiorino, and Florino Fiorenzo.
FLORENO, GUIDANTE
See GUIDANTUS.
FLORENTIN, N.
Worked at Mirecourt, 1790-1810. Largely proportioned pattern, wide across the waist, and particularly broad lower bouts. Flat arching, not too carefully calculated. Contour not altogether prepossessing, somewhat reminding of the elder Nicolas type. Workmanship of little refinement. Sound-holes seem rather wide apart, on account of the waist width. Orange yellow varnish thinly applied, cold-looking and certainly of commonplace appearance. Occasionally he used one of a chestnut shade which appears to be of better texture. Blatant tonal quality, vigorous but not especially pleasing. 20.
----------------
A la Ville
de Cremone
N. Florentin
----------------
Triangular brandmark with N.F. (ovalled) and a cross in the Centre.
Also built a few violins on the guitar-shaped model of Francois Chanot. Branded M. Florentin.
FLORENTINA
Commercial violins greatly advertised by Carl Fischer of New York. Various grades from 40 to 100 dollars. Certainly a triumph among the many trade instruments, and representing rather remarkable value. Workmanship and finished details altogether artistic. Modelled after the instruments of celebrated old masters. Gradations carefully and scientifically done, according to the density of the wood. Finely selected wood, naturally seasoned. Tonal quality almost a revelation considering the low price.
----------------------------
No. 140
Florentina
Reproduction of
Antonius Stradivarius
A.D. 1929
-----------------------------
(bearing a shield - name underlined with sound-hole design)
FLORIANI, PIETRO
Born 1787. Died 1870. Worked at Riva (Trento, Italy). Modelling unites the traits of several styles, consequently difficult to classify. No part of the workmanship is positively well finished. Unimpressive shade of varnish. Tonal quality often unexpectedly good in sonority and brilliance. Best period, 1850-1860. 40 (1930).
----------------------------
Pietro Floriani fecce a
Riva di Trento. 1858
----------------------------
--------------------------
Pietro Floriani, 1856
Riva Benacense
--------------------------
FLOSSMANN, GEORG
Born 1843. Worked at Tolz from 1875. Cremonese models, oil and spirit varnishes. Everything ordinary. Better known for guitars and mandolines.
--------------------------------------
Georg Flossmann
Saiten-Instrumenten Fabrikant
Tolz (Oberbayern)
--------------------------------------
FLOWERS, L. M.
Resident at Piqua (Ohio), 1920-1926. Amateur who built fine toned violins. Catalogued at 200 dollars.
FLCK, HANS
Studied with Knig at Brienz, 1944. Resident at Lucerne, 1949.
FLUVAIN, EDOUARD
Excellent French violin maker, 1920.
FLYDAL, MARTINUS HANSEN
Born at Geiranger (Norway) 1870. Lost his ordinary employment and took up violin making as a pastime. Self-taught except through the aid of a few text books. Emigrated to the United States, and settled at Hartford (Connecticut). Built first instrument 1908. Produced about 100 up to the year 1928. Stradivarian design constructively faithful. Light golden yellow and reddish brown shades of oil varnish. No point of accuracy and delicacy disregarded in the workmanship. All instruments broken in and seasoned by his own patented tonal improver.
---------------------
Made by
M. H. Flydal
75. 1924
Hartford. Conn.
---------------------
Branded M. H. Flydal.
F. M. B.
see BERTUCCI.
FODERA, ERCOLE
Born 1895. Pupil of Sgarbi. Worked at Catania and Ragusa. Unblemished modelling, golden yellow or brownish varnish.
----------------------------------------------------------
Hercules Fodera filius Philippi-Panormitanus
fecit Catanne sub titulo Clementinae anno 1926
----------------------------------------------------------
FOETISCH, EDOUARD
Born 1869. Studied at Markneukirchen. Worked at Berlin and other German cities, also at Mirecourt and in Austria. Returned to Lausanne (birthplace), 1894. Member of the firm Foetisch Freres, music publishers and dealers, with branches at Neuchtel, Vevey and Paris. Died 1949. Each instrument faithfully adhering to the Stradivarian model. Workmanship comparatively flawless.
---------------------------------
Edouard Foetisch. Luthier
Lausanne. 19. . No.-
---------------------------------
FOLLIS, CARLO
Worked at Naples, 1790-1810. Three stringed double-bass, small pattern, back of poplar, table of fir-tree, splendidly carved head of walnut tree; dull brown varnish.
---------------------------------------
Follis Carlo
Fabbricante instrumenti Napoli
Centro della Providenza no. 31
1798
---------------------------------------
FOLTINI, JOHANNES
Worked at Gleiwitz (Silesia), 1880-1915. Modelling in conformity with good ideas.
FONC, JEAN FRANCOIS (see PONCE)
Worked at Mons (Belgium). Violin in the Snoeck Collection. Also cellos marked Fonc Mons in ink.
----------------------------------
Joannes Franciscus
Fonc Monensis anno 1751
----------------------------------
FONCLAUSE, JOSEPH
Sobriqueted Le Mayeux. Born 1800. Died at Paris, 1864. Bow maker. Made good progress under the guidance of Pajeot and Peccatte at Mirecourt. Employed by J. B. Vuillaume at Paris, 1825. Ultimately opened own workshop in the rue Paqerin. Balance is here given its fullest significance. Strength and elasticity beautifully welded together. Altogether charming bows to handle - workmanship irreproachably fine. Stamped Fonclause in broad lettering. 35 (1959).
FONTAINE, ALEXANDRE
Worked at Paris, 1835-1860. Violins up to a high French standard. Guarnerian modelling. Brilliant red varnish.
FONTANINI, A. P.
Born 1871. Studied with Cavalli at Cremona. Worked at Brescia, 1906; and at Sal, 1911. Died 1923. Produced 200 violins of various classical designs, nothing particularly distinctive. Also violas, guitars, and mandolines.
------------------------------
Fece il Cremonesi
Andrea Pietro Fontanini
in Cremona anno 1890
-------------------------------
------------------------------
Fece il Cremonesi
Andrea Pietro Fontanini
in Brescia anno 1908
------------------------------
------------------------------
Fece il Cremonesi
Andrea Pietro Fontanini
in Sal anno 1912
------------------------------
FONTANINI, ARISTIDE
Born at Cremona, 1894. Worked at Rome, 1921. Director of a violin making School at Salo, 1946.
--------------------------------------------------------
Scuola sup. di Liuteria Gasparo da Salo
Direz. e Brevetti Aristide Fontanini
Strumento N. 111 costruito da Aris fontanini
Salo. Settembro 1948
---------------------------------------------------------
FORADI (FORADORI), GIOVANNI
Cabinet maker at Verona and Bologna, 1845-1880. Semi-peasant productions, early instruments with incrustations, later specimens more converted to ordinary style.
FORCHEVILLE, JEAN BAPTISTE
Worked at Saint Omer (France), 1668-1695. Pochettes or small fiddles with pentagonal backs.
-----------------------------
Fait a St. Omer par
J. Bte Forcheville 1673
-----------------------------
FORD, JACOB
Worked in London, 1770-1795. Directed his attention to producing truly high works of art, and carried his imitative genius with loving zeal into a kind of Stainer-Amati atmosphere, yet not quite without a touch of something individualistic. Instruments such as these, if judged without prejudice, should make some of us mistrust many of the condescending remarks which certain connoisseurs sometimes give utterance to in a kind of patronising way, when alluding to English violins. In the world of violins, the support of the public is as stable as possible with reference to any dilapidated old Italian specimen, and quite as equally starved when it comes to the finer preserved English. We especially desire players to focus their attention on these rare examples of Ford, when they are unable to pay astronomical sums. We shall also be satisfied if we can impregnate the minds of readers to expand and fruitify by perceiving the very splendid tonal attributes of these violins - a tone contributing equal enjoyment to the listener as well as the player. Architecturally (allowing for the somewhat high arching), they admit of no adverse criticism. Body length 14 inches, but sometimes slightly longer. Margins beautifully full and perfectly rounded; solid-looking but entirely without heaviness. Corners rather pointed but artistically neat. Fairly bold scroll, well executed, not deserving of the slightest censure, and an especially open throat. Sound-holes more typically Amati-like than Stainer, being of graceful curvature with a slight slant, but rather a wide central aperture. Neat purfling placed very near to the edge, and sometimes with a strip of white wood between two very narrow strips of black wood. Carefully chosen belly wood, backs and ribs of handsome material. Deep-tinted golden yellow, or brownish golden varnish with a slight tinge of red. Inside work microscopically accurate. Tonal quality not large, but particularly clear and warmly mellow.
------------------
Jacob Ford
Maker
London 1792
------------------
---------------------------------------
Jacob Ford, Maker
South Street Gr. Sqre. London
1771
---------------------------------------
Both sometimes written with a lead pencil on the inner side of belly, close to left sound-hole. 100 (1959).
FORD, WILLIAM
Born at Sunderland, 1904. Joiner by trade. Acquired technical knowledge of violin construction from Heron Allens text book. Built first instrument, 1924. Stradivarian and Guarnerian modelling. Orange-yellow, ruby, and dark brown shades of varnish prepared by Harris of Gateshead. Commendable designs and workmanship.
FORD, W. R.
Collector and dealer in old violins, 1920. Own violins of Strad modelling, finest woods, amber varnish of reddish hue.
---------------------------
W.R. Ford Co., Inc.
150 West 57th Street
New York
---------------------------
FORGET, ROSARIO
French Canadian. Worked for Dionne at Montreal, 1911. Succeeded to the business, 1920. Considered it his duty not to experiment, but to build rationally on the Stradivarian model. Instruments plentifully wooded, touched with those deeper aspects of varnishing which appeal most forcibly to our sympathies. Broad tonal quality, which will surely arrive at a splendid maturity.
FORGUES, ANDREAS
Worked at Mittenwald, 1774. Stainer modelling of rather small proportions.
FORNI, STEFANO
Worked at Pesaro (Italy), 1660-1667. Modelling in the style of Gasparo da Sal. Not stimulated to achieve much in the matter of true designing. Workmanship not at all refined. Defects in the shaping of the scroll and sound-holes. Wood, though generally plain, is acoustically good. Various lapses from artistry further augmented by the rather poor quality of varnish. Strangely enough the tone has a pleasant deep quality. Well preserved specimens very rare.
------------------------------
Stefano Forni Fece
in Pesaro. Lanno 1666
------------------------------
(sometimes written)
FORREST, E.
Amateur. Resident at Bradford (Yorkshire), 1924. Used varnish prepared by Angell of Bristol.
FORREST, W.
Amateur. Resident at Whitburn (West Lothian), 1924.
FORRESTER, ALEXANDER
Resident at Fauldhouse (Scotland), 1946. Maker and dealer.
FORS, PER ALBIN
Born 1900. Amateur at Forsa (Sweden). Won diploma, 1928. Nicely wrought violins having a most agreeable tone.
FORSBERG, ERIK
Born 1893. Amateur at Boden (Sweden). Received gold medal at Sundsvall, 1928. Designs in close relation to the Cremonese, careful workmanship, desirable varnish, and bright tone.
FORSTER, JOHN
First member of this family to make violins. Born 1688. Lived at Brampton (Cumberland). Died there, 1781. Maker of spinning wheels, also a gun-maker. Occasionally tried his versatile ingenuity in building violins on the highly arched model of a Stainer. Workmanship rather roughly executed - scroll full of good intent. Sound-holes seem to have occasioned him considerable uncertainty. Dark brownish varnish often rather poor texture, probably own preparation. Did not take the trouble to purfle the instruments.
FORSTER, J.
Son of William (1). Born at Brampton. Capable performer on the cello, and wellknown in this capacity throughout Cumberland. Lived principally at Carlisle, 1765-1800. Gave lessons in instrument-making to a few local enthusiasts. Name unaccountably not mentioned in many violin books. One cello, however, was brought to our notice. Measurements: body length, 28-3/4 inches; upper bouts, 13-5/8; middle, 9-1/2; lower, 16-7/8; ribs, 4-1/2 right round. Sound-holes typically Forster. Broad grain spruce, rather soft and handsome sycamore. Warm tinted brown oil varnish. No label or date. J. Forster. No. 32 written in ink under the varnish just above tail-pin.
FORSTER, ROBERT
Period 1886. Sweet toned violins. 20.
FORSTER, SIMON ANDREW
Son of William (3). Born in London, 1801. Died 1870. Pupil of father and Samuel Gilkes. Established in Frith Street, Soho, later in Macclesfield Street, Soho. Instruments generally dated from 1828 to 1840. Stainer outline with the usual high arching, reflecting little credit on the name of Forster. Also some of Stradivarian outline, having a contour amenable to no principle of harmony in the absurd, incongruous and almost grotesque high arching. Other details may be justly denounced as discordant. Accused of sometimes baking and chemicalising the wood. Fairly satisfactory oil varnish. Impoverished tonal quality, not much power, and little sweetness.
--------------------------------------------
S. A. Forster
Violin, tenor, and violoncello maker
No. . . . . London
--------------------------------------------
Also produced what he termed his second class instruments.
Workmanship evinces a poor standard of taste. Wretched spirit varnish. Altogether instruments of that class which excites grave astonishment at every modern attempt to revive them. Inscribed Forster No. . . at the tailpin. Inventor of a new form of tailpiece for the cello, which met with slight recognition. Joint author with William Sandys of the entertaining History of the Violin, published in 1864.
FORSTER, WILLIAM (1)
Son of John. Born 1714. Died 1801. Maker of spinning wheels at Brampton. Made and repaired violins as a relaxation from his usual employment. Considrerably superior to those of father, although he accomplished little that may be completely accepted today as artistic. Stainer modelling, no purfling, and spirit varnish. Certainly a fairly good and easily produced tone.
--------------------
William Forster
Violin Maker
in Brampton
--------------------
FORSTER, WILLIAM (2)
Born at Brampton, 1739. Son of William (1). Instructed by father in the making of spinning wheels, also initiated into the art of violin making. Accomplishments supplemented by practising the violin, and in this capacity he ultimately enjoyed a good local reputation for vivacious reel playing. Went to London, 1759, intending to follow the trade of spinning wheel making. Soon found his country ambitions knocked on the head. Made a few unlabelled violins, toured through the streets to the various music sellers, and thereby gained a little money to the rapid depletion of his finances. Next, set up as a gun-stock maker which likewise failed to lift him from the menace of starvation. Made a few more violins, did a second tour with every hope of disposing of them, offered his services as repairer, etc. and ultimately managed to get regular employment (at a poor wage) with a music seller named Beck on Tower Hill. Settled down after a few months, and seriously gave attention to the production of the best violins he could accomplish. These Stainer-modelled instruments soon brought along approving customers, and his name commenced its deserved circulation throughout London and the provinces. Started in business for himself in Dukes Court, 1762. Speedy attainment of splendid reputation subsequently encouraged him to remove to more imposing premises in St. Martins Lane. To this flourishing business of violin making and dealing he added that of a music publisher, in which capacity (in 1781), he entered into an agreement with Haydn, and published 83 symphonies, 24 string quartets, and other compositions of that celebrated composer. Established at No. 348, The Strand, in 1784. There he gradually reached the high plateau of fame and financial prosperity, and enjoyed a very expansive view particularly gratifying, after the stiffish up-hill climbing of earlier days. Issued (in 1795) a copper medal or token, the size of a halfpenny bearing on the obverse side Wm. Foster, Violin, Tenor, and Violoncello Maker, No. 348, Strand, London, with the addition of the Prince of Wales feathers. On the reverse side, the melody of God save the King, a Crown, the title of the melody, and date 1795. At that time, universally recognised as the premier violin maker of British birth. Died 1808. Generally alluded to as Old Forster. Sometimes as Royal Forster. Violins dated from 1762 to 1771 invariably of the Stainer model, and, judging from the highest standard, they do not assume the essence of grace in outline or arching; breadth of the lower bouts seeming out of proportion to the narrowness of the top. Workmanship generally free from any very perceptible blemishes. Apparently stained the wood previous to applying the varnish (now of a dark red shade with a blackish tinge). Tonal quality decidedly good for this particular high arched model. Favoured (after 1771) the modelling of the brothers A. and H. Amati, also of Nicolo, and these are altogether superior in construction. Comparatively broad pattern with medium arching. Scrolls often of massive design, but winningly spiritual and majestic. Rather original portrayal of sound-holes, result of deliberate and thoughtful intent. Generally closely grained material for tops, and prettily figured maple for ribs and backs. Reddish brown varnish not especially lustrous on the surface, but the tint lasts well. Occasionally tried an orange-red varnish which seems to be far richer and prettier than the former. Finally, the tone is always satisfactory if not really fine, and the possessor of a good specimen may well be proud of his treasure. Very occasionally set himself to copy the Stradivarius. Violas of similar outline and arching, and usually deep ribs. Body length usually just over 15 inches. Cellos considered to be quite superior to either the violins or violas. Most of them belong to the finely proportioned large Amatese model. Used two shades of varnish for these - yellow brown and dark red. The rather full and penetrating tone attracted all the cellists of his day, particularly the one at the head of them - Robert Lindley, who did so much to popularise the instruments, and sometimes persuaded the public to prefer them to Cremonas. Many have unusually wide grain belly wood.
Made a cello for George IV, since known as the Royal George, painted with the arms and the motto Liberty and Loyalty. Sold at Christies in London in 1903 for 52 guineas. Realised 120 at Puttick & Simpsons sale rooms. Average catalogue price today 100. One specimen dated 1790 realised the astounding sum of 1500 dollars (1930).
Reputed (by their contemporaries), that both he, and son William (3) sometimes thinned the wood in the vicinity of the bridge, also increased the weight of the blocks and linings, thereby obtaining an unusually rich quality of tone without the assistance of legitimate old age; but the result of such tampering with the normal thickness particularly under the bridge, can have no other effect than that of tonal deterioration as the years pass. The assertion that William the elder resorted to any tricks at all is flatly contradicted by experts today, also the sound condition of the instruments themselves further emphasise the fact of his honesty. A kind of J. B. Vuillaume in his day - very versatile in building any model to suit his patrons - but he had a conscience and never faked. We like to think of him as a man who remained true to his art throughout life - one who had a predilection for the genuine, and clung to it with the utmost steadfastness. Many instruments about with Forster labels, many of them altogether of common appearance, sometimes even devoid of purfling, but they ought not to be attributed to anything coming from his hands, but rather to the unscrupulous ticketing of certain traffickers. Produced double-basses, but only four, and three of them were made for the private band of George III.
-------------------------------------
William Forster
Violin Maker
in St. Martins Lane, London
1762
-------------------------------------
(sometimes three-lined)
-----------------------------------------------------------------
William Forster
Violin, Violoncello, Tenor, and Bow-maker
Also Music Seller.
To their Royal Highnesses the
Prince of Wales and Duke of Cumberland.
Opposite the Church. St. Martins Lane, London.
N.B.
The above instruments are made in the best manner
and finished with the original varnish,
and a copy of every Capital Instrument in England
may be had
------------------------------------------------------------------
--------------------
William Forster
--------------------
Cellos have the date and number written in ink under tail-pin. 175 (1959).
FORSTER, WILLIAM (3)
Son and pupil of William (2). Known as Young Forster. Born in London, 1764. Died 1824. Amatese modelling often quite similar to that favoured by father. Workmanship variable and erratic, but as neat as possible when he chose to exercise care. Tonal quality often really sweet, sonorous, and very responsive. Brownish red varnish, lustrous and transparent. Cellos sometimes have some affinity to Stradivarian principles, and are especially fine-toned. Produced a few double-basses, which he let out on hire. Generally of indifferent workmanship and shaped almost like a cello. Violas, body length generally 15-1/2 inches. Sometimes signed above or below tailpin.
---------------------------------------------------------
William Forster Junr.
Violin, Violoncello, Tenor, and Bow Maker
1810. Also Music Seller No. 43.
to their Royal Highnesses the
Prince of Wales and the Duke of Cumberland.
---------------------------------------------------------
Some labels are without Also Music Seller, and sometimes written neatly to imitate printing.
------------------------------------------
Made and sold at
Forsters Music Warehouse
41, Lisle Street, Leicester Square,
London, 1824
------------------------------------------
FORSTNER
Nine members of this family. Worked at Schnbach (Bohemia), 1880-1930. Ignaz perhaps the best. Trade violins, violas and cellos.
FOSTER, GEORG
Worked at Regensburg (Bavaria), 1820-1830. Modelling has some slight affinity to the Viennese style. Good quality wood covered with dark brown varnish. Tonal quality savours of sweetness rather than power. 25.
--------------------------
Georg Foster
Instrumentenmacher
Regensbourg. 1823
--------------------------
FOSTER, MALCOLM
Born in Canada, 1894. Professor of mathematics. Resident at Middletown (Conn). First instrument produced in 1929. Guamerian modelling. Brown and red shades of varnish.
FOSTER, RICHARD P.
Born at Leeds, 1884. Resident at Maldon (Essex), 1924. Best instruments have an Amati outline with rather low arching. Others built on Stradivarius and Guarnerius designs. Deep amber oil varnish.
---------------------------------------
Richard P. Foster. Maker. 1924
---------------------------------------
FOSTER, ROBERT C.
Worked at Lancaster (England), 1925. Violins treated to a special process which produces Italian tone. 15.
FOUCHER, FELIX
Born 1888. Son of Georges. Worked in King Street, Hammersmith. Killed in the war, 1917. Produced over 200 instruments, rather a formidable total for a maker who failed to reach his 30th year. Copied the various models including Gagliano and Fendt. Workmanship scrupulous and refined. A real artist forming everything with an intense conscientiousness. Most judicious selection of woods. No deviation from high excellence in the varnishing.
------------------
f f No240
Felix Foucher
Luthier
London. 1915
------------------
FOUCHER, GEORGES
Worked in London, 1900. Ordinary work.
FOUQUET-LECOMTE
see LECOMTE.
FOURIER
Worked at Paris, 1880-1912. Little known.
--------------------
G. Fourier 1888
Paris
--------------------
FOURIER-MAGNI
Violins made at the Laberte Factory, Mirecourt. Trade instruments.
--------------------
Fourier-Magni
Luthier
Mirecourt 19. .
-------------------
(picturesque)
FOURNEAU
Worked at Paris, 1765-1780. Customary Mirecourtian style; common yellow-brown varnish.
FOURRIER
see NICOLAS.
FOWERS, HERBERT
Born 1868. Pupil of Frank Howard. Resident at Draycott, 1900. Violins, violas, and cellos. Alard-Strad modelling, ruby-brown oil varnish.
---------------------------------
Made by
Herbert Fowers
Draycott, nr. Derby. 1925
---------------------------------
FOX, ISAAC
Amateur. Worked at Canterbury (New Zealand), 1887-1905. Violins and violas. Careful, enthusiastic, and fairly deft workmanship. Tone eulogized by local players.
FOX, WILLIAM HENRY
Born 1860. English parentage. Chiefly Guarnerian modelling; velvety varnish; very free tone. Inventor of a machine for graduation of plates.
-----------------------------------
Made by W. H. Fox
Hoquiam. Wash. Nov. 1928
-----------------------------------
FRACASSI, A.
Born 1899. Pupil of Biondi. Worked at Casena. Splendid modelling, old Italian types, transparent oil varnish either of golden yellow or reddish brown shades.
-------------------------
Arturo Fracassi
fece in Cesena 19. .
-------------------------
(with autograph, and a fantastic animal balancing a bow on its left paw)
FRACEI, PIETRO
Worked at Pescia (9 miles from Lucca), 1816. Notwithstanding slight imperfections of workmanship, these instruments may be considered worthy of purchase at 40. Modelling partially unites certain characteristics of the Guarnerian, but of smaller proportions, and somewhat narrower at the waist. Broad purfling has not undergone a very critical revision. No dissatisfaction to be entertained in regard to the scroll. Sound-holes executed with only a modicum of grace, not being of ideal curvature at the top and bottom. Pretty golden orange varnish on a yellow ground. Backs often sumptuous in flame. 125 (1959).
FRAISER, GIORGIO
Tyrolean. Worked with Nicol Amati, 1666. Little known.
FRAMBACH, ANTOINE
Worked at Lige, 1922. Pupil of Giboreau. Italian masterpieces faithfully copied.
-------------------
Ant. Frambach
Luthier
-------------------
(with signature across)
----------------
Liege le. . . .
----------------
FRANCAIS
Worked at Lille, 1835-1850. Good workmanship, sound tone.
---------------------
Francais, luthier
Lille
--------------------
FRANAIS, EMILE MARCEL
Born 1894. Son and pupil of Henri. Worked for Penzel at Markneukirchen, and for Lyon and Healy, at Chicago. Established own premises at Paris, 1938, the same shop where Lupot worked. Appointed repairer to the Conservatoire. Decorated with the Legion of Honour. President of several associations in the city. Known as the modern Vuillaume. Assisted by a large staff of expert workmen. Famed for remarkable replicas of famous violins, violas, and cellos, including the Strad of Menuhin, Guarnerius of Ysaye, King of Bavaria Strad, etc. Created a new form of viola for quartets - laudatory notices received from French and Hungarian quartet players. 80 (1959).
--------------------------------------------------------
Fait sous la discipline
dEmile Franais
Luthier du Conservatoire national de Musique
No. Paris 19. .
--------------------------------------------------------
(with monogram on left)
--------------------------------------------------------
Fait sous la direction
dEmile Francais
Luthier du Conservatoire national de Musique
12, Rue de Madrid. Paris (8e)
--------------------------------------------------------
Also branded Emile Franais Paris with monogram and a lizard-like figure. Many really fine bows with certain originalities. Stamped Emile Franais Paris in two places.
Finally (in collaboration with Margot - celebrated lacquerist) made wonderful replicas of ancient decorative instruments including a viol-da-gamba titled Terrestrial Paradise, a violin named Bnfique sur le Malfique, and a viola called Allegory. These bear three different labels (with designs by Calbot), each having a musical stave and the clef corresponding to each instrument, and Similes sed Singularis at the foot. Quite unique.
FRANAIS, HENRI
Born 1861. Apprenticed to Darte at Mirecourt. Worked for Lullier at Boulogne, and for Gand and Bernardel at Paris, 1880. Succeeded Gand, 1892, and became associated with Caressa, 1901. Died 1943. Produced several splendid violins, cellos and bows. Achieved grand reputation as a repairer.
FRANAIS, JACQUES PIERRE
Born 1923. Son of E.M. Apprenticed to Victor Aubry at Havre, 1942. Worked for Apparut at Mirecourt. Established at New York, 1945. Made a good number of violins and violas. All noted for especially refined workmanship. One violin (in the collection of Jean Himmendinger at Nantes), with a finely sculptured back representing Christ and Mary Magdalen.
FRANAIS, LUCIEN
Born at Mattaincourt (Vosges), 1886. Worked in Paris and London. Established at Nancy, 1922. Stradivarian modelling; dark red oil varnish.
-------------------------------------------
L. Franais, Luthier
ex-Premier ouvrier des Premires
maisons de Paris et de Londres
No. Nancy. Anno 19. .
-------------------------------------------
FRANCHI, CELSO
Born 1905. Worked at Ravenna. Customary Cremonese modelling, yellow orange, or brown varnish.
---------------------
Franchi Celso
fece in Ravenna
Lanno 1929
---------------------
FRANCHI, ERNESTO
Worked at Legnago (Northern Italy), and at Milan, 1940.
FRANCHI, GALLIANO
Worked at Gorizia, 1930. Exhibited a violin at Cremona, 1937.
FRANCIOLINI, LEOPOLDO
Worked at Florence, 1760-1785.
FRANCK
Amateur. Musician and sculptor. Resident at Gand (Belgium), 1820-1854.
--------------------------------
Franck
rue de la Maison Dieu.
paroise St. Sauveur. N-5.
Gand
--------------------------------
(labels also with other addresses)
FRANCK, JOHANN MICHAEL
Worked at Dresden, 1772-1798. Modelling based on the small Amati. Workmanship nicely finished. Yellow-brown varnish.
------------------------------------
Johann Michael Franck
Violinmacher. Dresden 1794
------------------------------------
(written)
FRANCK-REINER
Manufacturers of trade violins and cellos at Schnbach, 1920, with branches at Mayence, Hamburg and Leipzig. Italian and Tyrolese models.
FRANOIS, BENJAMIN
Worked at Antwerp, 1890-1912.
-------------------------------------
Benjamin Franois, violoniste
Rparation
Anvers. 19. .
-------------------------------------
FRANOIS, GABRIEL MARC
Born at Mirecourt, 1873. Apprenticed to Jacquet. Worked with Paul Bailly in Paris and London. Established at Pittsburgh, U.S.A., 1898. Died 1938. Models most frequently follow those of Stradivarius and Guarnerius. Occasionally Guadagnini. Also exact reproductions of celebrated Italian violins, which he guaranteed to have their tone qualities and wonderful varnish. Workmanship certainly steps beyond the recognised canons of Mirecourt style, and realises a fragment of the old golden age. Claimed to be sole possessor of the Cremonese varnish. Though we cannot altogether subscribe to this statement, we must admire its splendid elasticity, and extraordinary manner of its application. Also used one prepared from a recipe of J. B. Vuillaume. Tone endorsed by Kreisler, Thibaud and other reputed violinists.
----------------------------------------
G. M. Francois
Made in Pittsburg. Anno 19. .
Smithfield St. and Seventh Ave.
----------------------------------------
FRANOIS, JEAN
Worked at Mirecourt, 1742-1760. Workmanship does not show much advance on the ordinary ability of an apprentice. Average value 15. Also produced several viols.
--------------------------
Gian Franoit a
Mircour an Lorraine
Fai en 1758
--------------------------
(written)
Some instruments dated as from Paris, branded Francois Paris.
FRANOIS, MATRE
Nicknamed Le Luppetier. Worked at Mirecourt, 1612. Probably the first maker in that small town.
FRANK, EDUARD
Worked at Zwota (Saxony), 1820-1835. Various models, rather commonplace designs.
FRANK, JOSEPH
Worked at Linz (Austria), 1790-1798. Only a few instruments known. Generally deep red varnish.
-----------------------------------
Joseph Frank, brgerlicher
Geigenmacher in Linz, 1795
-----------------------------------
FRANK, MEINRADUS
Worked at Linz, 1800-1845. Very original model of rather lengthy proportions, but in diverging from the orthodox there is an entire avoidance of any touches of vulgarism. Deep middle bouts, upper and lower bouts of slight bend at the corners, and usually high arching. Earlier specimens perhaps being a little less pronounced. Sometimes bevelled edges and very deep ribs. Narrow scroll lacking in any unique firmness of carving, or an appreciative conception of ideal curves. Long sound-holes invested with a tinge of singularity. Always excellent wood. Often one-piece backs. Various shades of varnish from golden brown to dark brown, frequently not resplendent in lustre. Workmanship unquestionably good. Tone of singing character, but not particularly powerful. Produced several violas, body length 15-5/8 inches. Not very high arching.
----------------------------
Meinradus Frank
Fecit Linz. Anno 1818
----------------------------
(beautifully scrolled)
Device of a lion holding a lute, in the centre. Name sometimes written in ink.
FRANKE, MAX
Born at Kustrin (Brandenburg), 1880. Pupil of Otto Jaeger at Frankfort. Worked at Mannheim, Nrnberg, and Berlin. Sixteen years as principal assistant to A. Wilfer at Leipzig. Established own workshop in that city, 1921. Stradivarius and Guarnerius modelling. Oil varnish of various shades. Branded Franke Leipzig.
FRANKE, PAUL
Born 1876. Made first instrument 1909. Established at Nrnberg (Bavaria), 1900-1927. Modelling somewhat after the large pattern Stradivarius, very slight arching, but outline not perfectly homogenous to the Cremona. Sound-holes and scroll accurately planned. Reddish yellow varnish of own preparation. Always the finest old wood. Esteemed in Germany.
---------------------------------
Paul Franke, Geigenbauer
Nrnberg gefertigt, 1910
---------------------------------
FRANKLAND
Pupil of Forster Junr. Worked in London, 1776-1795.
Workmanship occasionally rough, but rather good tone.
FRANKO, JOSEPH
Born 1917. Amateur. Resident at Clifton (New Jersey), 1950. Mostly Strad modelling, well chosen wood and golden yellow oil varnish. Some specimens have J.F. inlaid near button. Also violas in the style of the large Tertis model. Printed, and written labels.
FRANOT, P.
Worked at Mirecourt, 1840-1870. Though having a few of the Maggini characteristics, the model is somewhat deficient of the original masculine dignity. Double purfling rather well done. Sound-holes and scroll show that the manipulator did not lose his way along the intricate road. Uneven grain of top wood, fine to wide. Yellow varnish. Other violins resemble those of Nicolas ain - brown varnish. Branded Px Franot, or Patrix Franot Paris in the usual label place.
FRANSSON, ATLE
Amateur at Kattisavan (Sweden), 1925. Strad modelling.
FRANTZICH, BINGER
Born 1899. Amateur at Boras (Sweden). Violins and violas of modified Strad design. Instruments signed on the wood.
FRANZ, JOACHIM
Worked at Havelberg (Prussia), 1808-1814. Fairly excellent reproduction of the Stainer model. Workmanship not especially refined. Nicely figured wood for back, usually of broad flame. Light brown varnish. Rather sweet, easily produced, but not powerful tone. 20.
FRANZA, G.
Resident at Badia Polesine (Province of Rovigo), 1780. Violins of rustic type.
----------------------------
Giacoma Franza
Fabricatore da Violini
in Badia Polesine
----------------------------
FRANZE, HANS
Born at Leipzig, 1890. Worked at several German towns. Chief repairer and maker for Hug & Co. at Ble, 1920. Splendid modelling generally of a 1714 Stradivarius.
----------------------------
H. Franke anno 1921
Geigenbau-Werkstatte
Hug & Co. Basel
----------------------------
FRASER, CHELSEA
Born 1876. Son of O.L. Resident at Saginaw (Mich), 1925. Strad and Guarnerian models of considerable artistry, entirely handmade. Oil varnish of own formula.
FRASER, OLIVER L.
Born at Le Roy (New York), 1833. Commenced in 18th year to study the principles of violin construction. Went to Scotland and studied for three years with Archie Sinclair at Glasgow. Returned to America, and became established at Syracuse, 1860-1880; at Buffalo, 1880-1892; and at Saginaw (Mich.), 1892 until death in 1929.
Made 600 instruments entirely without assistance from anyone, well illustrating the national temperament for effecting rapidity of work. Did much to develop the latent artistic powers of his early day contemporaries. Copied the old models, also one called Celtic - very popular in U.S.A. Brownish yellow varnish predominates among other shades.
--------------------------
O. L. Fraser
Saginaw. Mich. 1911
--------------------------
FRATELLI, CARLO
Viola labelled with this name catalogued at 9 (1894).
FRATELLI, MENTE
see MENTE.
FRATIS, STEPHAN
Worked at Prague, 1680-1696.
FRAZIER, JOHANNIES
Worked at Bristol, 1880-1892. Made violas of 16-1/4 inches, body length.
FRBRUNET, JEAN BAPTISTE
Born at Mirecourt, 1713. Worked at Bordeaux and Paris, 1740-1776. Excellent instruments, rather sought after. Modelling something similar to the Amati, designed on the surest art principles although having a slightly attenuated appearance owing to somewhat narrow middle bouts. Workmanship reaches the highest attainment. There also is evidence of the makers determination to work with absolute fidelity to true measurement. Sound-holes entirely devoid of eccentricity, very free from carelessness and singularly graceful. Scroll not so perfectly conceived, seems a trifle short in being abruptly cut off, and unfortunately detracts a little from the otherwise beauty. Reddish brown varnish of dark shade completely satisfying in effect. Occasionally a yellow brown. Invariably good top wood, and nicely figured maple. Resonant tone of splendid mellowness though not strong. 20 to 50. Some instruments labelled as made by Claude Pierray.
-------------
Joannes
Frebrunet
1760
-------------
(unique lettering and original)
Very frequently undated. Sometimes Frebinet. Name occasionally branded with a Fleur de Lys on back. 100 (1959).
FRECKERT, JOHANN GEORG
Tyrolese maker. Period 1770-1795.
FREDEKING BANKS VIOLIN COMPANY
Manufacturers at Huntington (West Virginia), 1920-1926.
FREDI, COUNT FABIO
Born at Lodi (Lombardy), 1845. Worked at Rome, 1879-1894. Workmanship externally and internally well-nigh perfect. Modelling demonstrates the fullest idea of beautiful contour. Superb, rich varnish very delightfully applied.
FREDI, COUNT RODOLFO
Born 1861. Son and pupil of the preceding. Established in the Via Vicenza, Rome. Professor of violin playing, 1875-1900. Died in 89th year, 1950. Produced first instrument, 1885. Built 450 violins, 70 violas, and 50 cellos, double-basses and many viols. Modelling based on that of a Stradivarius, but always something quite personal in several details which favourably impresses. . Woods either from the Tyrol, or the slopes of the Abruzzi mountains. Golden yellow, rose, or yellowish brown oil varnish. Instruments also made for wholesale dealers, good specimens of their class, and have a spirit varnish of various shades. Busied himself with manufacture of organs and pianos, 1920.
------------------
Rodolfo Fredi
fece in Roma
A.D.
------------------
(within a large pictorial design)
---------------------------
Rodolfo Fredi. Roma
---------------------------
(with initials and crown above)
-------------------------------
Rodolfo Fredi
fece in Roma anno 1901
-------------------------------
---------------------------
Rodolfo Fredi fece
in Roma lanno 19. .
---------------------------
FREDIMAUR
Worked at Florence, 1736-1760. Rather high arching, notably original sound-holes, yellow varnish. 30 (1927).
--------------------------------------------
Joannes Baptista Fredimaur eximius
Ligneus faber, Florentie anno 1743
--------------------------------------------
FREDRIKSSON, ERIK L.
Born 1869. Amateur at Brunsta (Sweden).
FREDRIKSSON, HUGO ERHARD
Born 1896. Amateur at Brunsta. Won bronze medal at Stockholm, 1925. Violins showing assurance of tasteful progression.
FREDRIKSSON, STEN AXEL
Born 1903. Amateur at Lrbro (Gothland). Violins of various models, red varnish.
FREEMAN
Associate of Joseph Hare (London), 1715-1740.
FREESSE, A.
Amateur. Resident at Bremen. Two violins known, and a pochette at the Brunswick Museum.
---------------------
Andrs Freesse
Bremen d. 27
Septemb. 1727
---------------------
FREIDEL, HERMANN
Born 1873. Worked at Landau (Bavaria), and Glatz (Silesia). Died 1934. Tyrolean and Cremonese models.
FREISEISEN
Worked at Mittenwald, 1790-1812.
FRENOT, JEAN
Worked at Mirecourt, 1740-1788.
FRESKBERG, HANS
Born 1864. Worked at Sundsvall (Sweden). Died 1939. Good Strad. modelling, transparent brownish yellow varnish. Tone of bell-like sonority.
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H. Freskberg
Sundsvall. 1931
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FRIBERG, CARL HENRIK
Born 1887. Policeman and amateur violinist at Skultuna (Vstmanland), 1909. Worked at 37 Hogbergsgatan, Stockholm, 1925. Excellent Guarnerian modelling, strong tone. Made violins with sculptured backs. One dated 1934 especially interesting in having busts of ten famous violinists.
FRIEDEL, HEINRICH AUGUST
Born at Markneukirchen, 1863. Pupil of Gustav Otto. Established at Berlin, 1889-1925. Violins exhibiting form and workmanship which the maturest judgement deems true and correct. Consummate accuracy operates everywhere. Not the slightest mistakes or oversights discoverable in the varnishing. Tonal quality meritoriously firm and Sonorous.
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H. A. Friedel
Berlin W. 1898
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FRIEDEL, PAUL RICHARD
Born 1883. Pupil of Nurnberger at Markneukirchen. Worked for Koch at Tressingen. Instruments marked by initials K.F. interlaced in triangular form.
FRIEDL, GUSTAV
Worked at Fleissen (Bohemia) 1909-1926. Violins, cellos, and bows of the usual trade order.
FRIEDL, RICHARD
Worked at Absroth (Bohemia), 1765.
FRIEDRICH, JOHN
Born at Cassel (Germany), 1858. Gave evidence, when a boy, of skill which was subsequently developed under Schonger at Cassel. Worked for Mckel at Berlin, Hammig at Leipzig, and in other German centres. Went to New York, 1883, and by sheer force of merit worked his way into rivalship with Gemunder after three years residence. Also a capable violinist. Died 1943. Produced about 300 violins, violas, and cellos, all entirely his own handiwork. Recognising the perfection to which the old Italian makers brought their art, he endeavoured to model instruments after the best originals of Nicola Amati, Stradivarius, Guarnerius, and Maggini. Having had many opportunities of a completely critical observation when taking the old master violins to pieces, he built his exactly (as regards the thicknesses) as they did. Workmanship represents the choicest neatness gained by any maker, past or present. Wood used possesses those remarkable tonal qualities which give that rare sonorousness, purity, softness, far-carrying and sympathetic timbre. Always justly prided himself upon the preparation and application of the varnish. This possesses much of the distinguishing characteristics of the Cremonese - transparent, strongly adhesive to the wood, soft in its consistency, and brilliancy of surface. When worn, either naturally or by artificial means, it reproduces the brilliant colouring, as well as the fire-like radiance which adorns the famous Cremonas. Application of varnish done exactly to faithfully represent the worn appearance of the old originals. Stradivarius replicas have a golden brownish varnish under which the wood fibres flash out like small fish-scales. Guarnerius replicas have been treated to a fine display of brownish red shade, absolutely wonderful. Every man has little weaknesses, and Friedrich occasionally evidenced his in the apparent impatience of hand whilst tracing the purfling.
The Worlds Fair held at Chicago, 1893, afforded him the opportunity of bringing about a wider knowledge of his productions. Of this he took the fullest advantage, and placed an exhibit of completed and incompleted instruments which gained the highest award and a special diploma of merit. Similar critical encomiums were received at the Worlds Exposition, St. Louis, 1904. Many letters of commendation from the finest players afforded him considerable joy, and encouraged him in his truly artistic efforts. Cellos (few) equally resplendent in workmanship and varnish, and have a tonal quality that renders them attractive to soloists.
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John Friedrich fecit
New York anno 1903
---------------------------
(decorative border - monogram double-circled)
Bows also highly prized for their elasticity of stick and finely finished workmanship. Modelled after Tourte, Voirin and others. 100. Bows 30.
FRIEDSTADT, JOHANN CHRISTOPH
Born 1694. Worked at Cassel. Repairer to the Court. Died 1775. Seven-stringed soprano viols, and viol-damours - several preserved in German Museums.
-------------------------------
Christoph Friedstadt
Hoff-Instrumentmacher
Fecit Casselis, 1745
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FRIESS, GEORGE THOMAS
Canadian maker and repairer. Born April, 1903. Founder President of Violin Makers Association of British Columbia. Made first violin at age of 16 years. Studied with August Hoebel (German Violin maker). Production rather spasmodic at first, but latterly more constant - three to four instruments each year. Production to date (1959) 19 violins, 3 violas of standard model, 1 viola of Tertis model, 1 cello and several bows. Oil varnish ranging from golden yellow to brown. P.N.E. Award winner - 1st for Violin, 1st for Viola, and 1st and Bronze Medal for Cello. Mainly Strad. modelling.
FRIRSZ, MIKAS
Worked at Buda-Pesth, 1890-1930. Assisted by two sons, Miks and Mrten. Much esteemed in Hungary. Varnish paletted in vivid colouring.
FRITSCH
Adolf, Anton, and Michael. Worked at Schnbach, 1920.
FRITSCH, GASPER
Born 1875. Worked at Wildstein (Bohemia). Died 1916. Various models - ordinary workmanship and varnish.
FRITSCH, JEAN
Born 1910. Apprenticed to Dieudonn at Mirecourt. Worked for Serdet at Paris. Established own premises, 1934. Cremonese and Neapolitan models; reddish orange and reddish brown varnish. 50 (1959).
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Jean Fritsch Paris
Anne 1938
-------------------------
FRITSCH, ROBERT
Born 1912. Brother of Jean. Pupil of Dieudonne and Enel. Worked at Paris. Won Diplomas of Honour, 1927. Modelling with slight originalities, splendid woods, golden red varnish, thick, rich in texture, and transparent.
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Coronae
Sub Signum Caroli Magni
Robert Fritsch. Luthier Paris
No. Anne 19. .
---------------------------------------
(Crown of Charlemagne in centre)
Instruments very popular with French and Swiss violinists.
FRITSCHE, JOHANN SAMUEL
Worked at Dresden and Leipzig, 1780-1810. Pupil of C. H. Hunger. Modelling splendidly following the various Cremonese, outline and arching finely harmonised. Constructively sound with a plenitude of wood. Golden yellow varnish. Tonal quality of reliable strength and considerable maturity. 30.
-----------------------------------------
Johann Samuel Fritsche
Lauten und Instrumentenmacher
fecit Dresde. 17. .
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Joh: Sam: Fritsche
Leipzig, 1794
-----------------------
------------------------------
Johann Samuel Fritsche
in Leipzig 17. .
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FRITZ, JOHANN
Born at Pfaffenhofen, 1783. Son of a builder. Became skilful in wood carving. Made early attempts at constructing guitars and harps. Went to Innsbruck (Tyrol), and became assistant to G. Grber in organ building. Subsequently established own business as a general instrument maker. Also officiated as magistrate. Died 1825. Though having no actual training in violin structure, experiences with other instruments easily enabled him to rapidly attain accuracy and many excellent violins, violas, and cellos came from his workshop. Conscientiously aimed at reproducing early Tyrolean traits, but with a sensible avoidance of extravagant arching. Modelling of rather broad proportions, particularly across the upper bouts. Arching of belly something between medium and flat. Back of a higher rise, but gracefully graduated. Propriety of curvature and delicacy with dignity pervade the pretty scroll. Sound-holes of reasonable length, set rather perpendicularly, and with widish central aperture. Generally one-piece backs of pretty material. Succeeded in getting a varnish quite Italian-like in transparency and gleam. Tonal quality of considerable warmth, never harsh, but not especially clear though of fair strength. Cello backs sometimes of apple tree and pear tree wood, also a dappled material of unusual beauty. Good violas, but too small for present day players.
---------------------------------
Johann Fritz
Geigen und Chitarmacher
in Innsbruck, 1821
---------------------------------
FRITZSCH, BERNHARD
Born in Germany. Resident at Cincinnati, 1914-1920. Conducted his hand with zeal and prudence. Apparently encountered no difficulties in workmanship. Varnish absolutely free from the oft-times dangerous inconstancy of the brush.
FRITZSCHE, CARL AUGUST
Worked at Dresden, 1797-1809. Produced bowed instruments, generally very ordinary.
FRITZSCHE, JOHANN BENJAMIN
Brother of C.A. Maker to the Dresden Court, 1810-1830. One specimen realised 3000 marks in Saxony, 1926.
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J. B. Fritzsche
H.S. Hof-Instrumentenmacher
Dresden, 1820
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(within an oval)
FRBERG, ANDREAS
Worked at Stockholm, 1762-1773. Strad-Amati modelling; yellow-brown varnish.
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Andreas Frberg
Stockholm, 1769
----------------------
FRDERBORG, PER JOHAN
Born 1885. Amateur at Bollns (Sweden), 1923. Guarnerian and Strad modelling, oil and spirit varnishes.
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P. J. Froderborg. Bollns
nr 62 1949
-------------------------------
(written)
FROMM, CARL
Born 1852. Worked at Vienna, 1878. Amatese and Strad models. Workmanship which assured him much success. Also guitars of own invention specially created for Austrian orchestras. Exhibition medals.
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Carl Fromm Geigenmacher
Wien II. Taborstr, 20, 1886
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FROSALI, MARIO A.
Born at Legnano (Italy), 1886. Graduated as a violin soloist from the Florence Conservatorio, 1908. Worked a short time at Milan then went to America and settled at Los Angeles. Commenced violin-making 1932. Very prominent, 1949. Splendid imitations of the old Italians; superfine workmanship, beautiful orange or reddish oil varnish, tonal quality strongly appealing to the virtuoso. Cellos of a special model. Also bows.
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Mario Antonio Frosali, Legnanensis
fecit Los Angeles. +
M.A.F.
--------------------------------------------
FROST, J. N.
Worked at Aalborg (Denmark), 1890-1920.
FUCHS, ANTON
Worked at Goerkau, 1820-1841.
FUCHS, CARL
Worked at Schnbach. 1880-1912. Specialist in the making of double-basses.
FUCHS, FRANZ
Born 1875. Established at Linz (Austria), 1903-1927. Modelling of large proportions, having a mixture of Stradivarian and Guarnerian traits, with a few originalities. Significant design, agreeable breadth arranged with artistic propriety - analogous in dignity with the best Cremonese. Pretty scroll with slender peg box. Purfling which will pass scrutiny through a magnifying glass. Sound-holes elegant in curvature and position. Particularly happy in acoustical belly-wood, backs of picturesque figure. Meticulous thicknessing of the plates, and their perfectly harmonious graduation has allowed a fine tonal atmosphere. Soft reddish yellow oil varnish. Bass-bar shaped and fixed in an innovated manner. Workmanship throughout shows that he was eminently skilled and fitted for the honourable task he assigned to himself. Productivity restricted to four instruments yearly. Tonal quality of both violins and cellos very sonorously responsive and splendidly clear in brilliance.
--------------------------------
Geigenmacher
Franz Fuchs Linz a
d.D. Baujahr. . . No. . . .
--------------------------------
Linz a.d.D - Linz on the Danube.
Baujahr - year of production.
FUCHS, FRANZ
Worked at Schnbach. Died 1877.
FUCHS, JOHANN ANTON
Worked at Schnbach, 1802-1810. Absence of uniformity in design. Workmanship shows he had a certain fitness, but lacked those canons of taste based on superior knowledge which conceive perfect neatness and harmony. Carefully chosen wood which should have given better results. Deep brown varnish. Ordinary tone.
FUCHS, JOSEPH (1)
Worked at Schnbach, 1750-1772. Flat model, brown varnish, good quality tone.
FUCHS, JOSEPH (2)
Worked at Schnbach, 1800-1849. Skilled worker who acquired the necessary cunning of manipulation to make the general contour of his instruments one of recognised harmoniousness. Splendid outline and pretty arching of medium gradient. Well carved scroll. Superb quality of wood. Red-brown spirit varnish very effectively applied. Exceedingly smooth and pleasing tone. 25 (1930).
---------------------------
Joseph Fuchs, Geigen
und Lautenmacher in
Schnbach. 1806
---------------------------
(sometimes written)
----------------------------------------
Joseph Fuchs Violinmacher
in Stadt Schnbach
bei Eger in Bhmen. Anno 1840
----------------------------------------
FUHR, KARL
Doctor of Physics and violin-maker. Resident at Bielfeld (Westphalia), 1926. Author of The Acoustic Riddle of the Violin (Leipzig). Result of twenty years experiment and workshop experience. Violin problem is one of resonance, demands exact analysis of all acoustic related problems, even of a finished instrument. The fundamental thought of this book is that the vibration of the resonant body is not dependent on enforced resonance as formerly supposed (i.e. a pure intensification of the vibrations of the strings as in a piano), but, that a violin body has many proper tones, with the result that a single definite resonance set up in one part of the body by the vibrating strings, then enforces general resonance in all other parts. Each one of the scale has its own vibration field. Open strings play their part in this respect. Intervals set up by the proper tones are not exact. There are six to seven tones approximately those of the scale of C major - a good violin in playable condition has approximately following proper tones. Lowest is C (Savarts system tone) produced by the air space and the mass of the wood - whether the air or wood is set into vibration it is made deeper by thinning the plates, and, by widening the sound-holes or lowering the ribs it is raised. Of the other tones, the bass bar tone, bottom plate tone, and high bottom plate tone (approximately corresponding to a1. c2. e2) are the most important. This series is supplemented by the deep tone of the waist-curves, the under or lower bottom plate tone, and the higher back tones. To determine the proper tones, Fuhr uses a glass tube of 1.3 mm. thick and 7 cm. long; for viola it must be slightly thicker; for cello, about 2.25 mm. thick and 10 to 15 cm. long. This tube is lightly placed on the spot to be examined and stroked from top to bottom with the moistened finger. Longitudinal vibrations are converted into transverse ones in the plate, so that the proper tone of the vibrating field in question is heard. Even the bridge of a completed violin can be excited in the same way - if placed by the G string, the bass bar tone is heard, in the middle of the bridge, the bottom plate tone, on the right side of the bridge, the high bottom plate tone. This device for examining violins enables a person to make the most minute acoustical investigations of old and new violins, imitations, sound-holes, etc., and locate any faults. Varnishing puts the proper tones of the instrument up. If the tones of the finished but unvarnished violin are already high, then varnishing spoils the tone; if they are too low, then varnishing improves it. This explains conflicting statements concerning varnish effect on violin tone.
FUHRER, WILLY
Student at the Violin-making School, Brienz (Switzerland), 1950.
FULIK, BOHUSLAV
Established at Jensorice (Bohemia), 1925. Various grades of bowed instruments; category commercial.
FULLER, HENRY
Born 1863. Resident at Plaistow (London), 1910. Strad and Guarnerian modelling, well conceived and treated to careful workmanship. Also a smaller model (became quite popular) for ladies. Golden-red to red-brown shades of varnish.
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Henry Fuller
Plaistow, 1929
-------------------
(written, surrounded by dots)
FULLER, JAMES A.
Resident at Davenport (Iowa), 1914-1926. Assisted by his son. Excellent violins, equally meritorious bows.
FULMER, JAMES
Resident at Bessemer (Alabama), 1927. Design and workmanship afford proof of skill and minute attention. Instruments built very substantially, tonal glorification is assured in the not-too-distant future. Quality and application of varnish cannot be criticised. Advocate of Oregon curly maple.
FULQUET, ANNIBAL
Worked at Montevideo (Uruquay), 1890-1916. Son, pupil and successor of Sebastien. First period instruments belong to rather original modelling, and though not of ideal design, are not to be carped or cavilled at. Subsequently realised the necessity of adhering to the Amatese, Stradivarian, and Guarnerian modelling. Sufficiency of skill exhibited at every point. Extremely fortunate choice of woods. The whole enriched by a beautifully transparent varnish. Tonal quality honoured by the highest praise from soloists and amateurs.
FULQUET, SEBASTIEN
Worked at Montevideo, 1860-1890. Studied with J. B. Vuillaume at Paris. Copied his masters style with praiseworthy fidelity. Every point of design weighed with the nicest exactitude and expressed with the greatest precision.
FULTON, HENRY
Worked at Liverpool, 1890-1915. Violins and cellos without distinctiveness, but never commonplace.
FURBER, DAVID
Worked in London, 1758-1780. Apprenticed to John Johnson and copied his style. Modelling after Stainer. Workmanship and design not particularly praiseworthy. Poor quality of varnish.
FURBER, HENRY
Worked at 185 Euston Road, London, 1872-1888. Workmanship has artistic merits of no inferior order, even when placed beside a Cremona. Special novelty in the conception, but the outline and arching have a fascination which few connoisseurs are able to resist. Modelling after the best examples of Stradivarius and Guarnerius, though frequently of larger proportions. Arching carried out with the utmost nicety. A perfect embodiment of repose will be found in the scroll. Sound-holes accurately placed, and very graceful. Purfling of neater manipulation rarely seen. Top wood of fine fibre, and handsomely figured maple. Reddish orange varnish of rich quality. Good full tone getting more mellow every day. Produced several fine violas particularly useful for orchestral purposes. General body length 16-1/2 inches, occasionally 17.
------------------------------------------------------
H. Furber
Violin, Violoncello, and Double Bass Maker
1876
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(rather heavy, squarish type, sometimes in small italics and without place name)
------------------
H. Furber
London, 1886
------------------
FURBER, HENRY JOHN
Son and pupil of John. Worked in Grafton Street, London, 1825-1868. Made a large number of instruments. Favoured the Strad model but occasionally copied others. He has no claim to originality of thought or plan, but there is seldom anything strained or stilted though the workmanship is not always neat. Never very successful with the perfect curving and fluting of the scroll. Not always careful in choice of wood, top wood often of broad grain, and of plain figure for the backs. Varnish of various shades according to the model he imitated. Frequently of poor quality and indifferently applied. Some instruments have a remarkably excellent tone. Seldom labelled with own name. 30 has been realised for best specimens. 60 (1959).
FURBER, JOHN
Worked in London, 1810-1845. Superb copyist of the grand Amati model, and the Betts Strad. There is not a single detail on which he did not exercise the talent and care of the conscientious worker, though a few amateurs might disapprove of the sometimes pronounced grooving near the edge. Golden-red varnish not thickly applied. Tone as mellow as the instrument is graceful. Worked for J. E. Betts at the Royal Exchange, and several instruments supposed to be the work of Betts (and labelled as such), were really constructed by Furber. 50 (1959).
-----------------------------------------------
John Furber. Maker
13 St. Johns Row, top of Brick Lane
Old St. Saint Luke, 1813
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Worked at Cow Cross, Smithfield, 1841, also in Turnmill Street, Clerkenwell.
FURBER, MATTHEW
Worked at Clerkenwell, London, 1780-1831. Made a large number of instruments of various models. Workmanship has few inequalities, and the yellow (usually) varnish is fairly generously applied. Ordinary tone which received a value of 20 (1930). 65 (1959).
---------------------------
Matthew Furber
Maker
77 Turnmill Street
Clerkenwell, London
---------------------------
FURBER, WILLIAM
Worked in London, 1820-1840. Violins of third-rate order. Generally a rather harsh tone.
FURLOUGH, HENRY
Worked at Bath, 1800-1826. Amatese modelling not disgraced by any errors. Careful workmanship. Golden brown varnish nicely applied. 45 (1959).
FURNOW, WALTER
Resident at Cheltenham, 1790-1810. Stainer high model.
FRST, GEORG
Worked at Mittenwald, 1788-1810. Ordinary Bavarian construction far from being immaculate in design or workmanship. Brown varnish of poor quality indiscriminately applied. Toneless, only effectual in disgusting the player.
-------------------------------------
Georg Frst in Mittenwald an
der Iser. 1790
-------------------------------------
----------------
Georg Frst
Mittenwald
----------------
FRST, JOHANN
Worked at Mittenwald, 1880-1912. Cremonese and Tyrolese models. Quite ordinary. Assisted by son (also named Johann). Died 1923.
FRST, THOMAS
Born 1860. Pupil of Tiefenbrunner at Munich. Worked at Mittenwald, 1890-1926. Assisted by two sons and two daughters. Violins and cellos. Customary copies of Italian models. Won medals for superb guitars.
FUX, JAKOB
Worked at Vienna, 1787. Died 1819. Broad and rather flat modelling. Yellow or reddish varnish. Instruments not animated by an individualistic spirit. 10.
-----------------------------------
Jakob Fux
Musik-instrumenten-macher
in Wien. 1804
-----------------------------------
FUX, JOHANN JAKOB
Worked at Vienna, 1691. Died 1705. One of the founders of the Lute Makers Guild. Violins built under the influence of the Stainer model. Correct workmanship and fairly excellent wood, though not always of the prettiest.
FUX, MATTHIAS
Worked at Vienna, 1672. Died 1700. Probably born at Fuessen (Bavaria). Suggestive of the Stainer in outline and high arching, and most satisfactorily repel the frequently made assertions in attributing (irrationally) incompetency to the early Viennese. Wood consistently excellent. Varnish mostly of a garnet-red shade.
-------------------------------------
Matthias Fux. Lauten und
Geigenmacher in Wienn. 1682
-------------------------------------
(German lettering)
--------------------------------------------
Matthias Fux Romisch Kayserl:
Majestt Hof Laitenmacher in Wien
zugericht. 1685
---------------------------------------------
Maker to His Majesty the King of the Romans.