GABRIELLI, ANTONIO
Worked at Florence 1750-1767. Modelling full of the finest distinctions of character. Generally under full size with fairly high arching. Left no neatness out of his calculations; to be specially approved in the shaping of scroll and sound-holes. Golden yellow varnish of naturally quiet shade, and of splendid texture. Sweet tonal quality, but lacks intensity. 250 (1959).
----------------------------
Antonio Gabrielli, fece
in Firenze. 1760
----------------------------
GABRIELLI, BARTOLOMEO
Brother of G.B. Worked at Florence, 1725-1750. Workmanship often inferior to that of G.B.
--------------------------------
Bartolomeo Gabrielli
fec. anno 1734 in Firenze
--------------------------------
GABRIELLI, CRISTOFORO
Worked at Florence, 1730-1745. Little known.
GABRIELLI, GIOVANNI BATTISTA
Worked at Florence, 1736-1787. Variety is the peculiar feature of these violins, and sometimes we cannot altogether admire some of the styles. Pattern always just under full normal size Arching, of the different periods, oscillates between the very high and the medium - the former being a phantasy we have no special regard for; ribs often shallow. General measurements: body length, 34.7 cm.; upper bouts, 16.3; middle, 11.5; lower, 20.2. Scrolls not particularly graceful and often appearing too large to be in complete harmony with general build of instrument. Sound-holes oddly at variance with true artistry though they frequently have the style of a Stainer. Workmanship generally bears the impress of neatness and gives a feeling of something rather good notwithstanding the peculiarities of the modelling. Very lucky in choice of wood, the backs and ribs usually of a straightish and close figure, but rather pretty. Varnish most often of a transparent and brilliant yellow shade, rather lacking softness occasionally a light brown or orange red of warmer nature. Tonal quality never dissatisfies. Not large, certainly, but instead we get a bell-like clarity that penetrates anywhere. Some connoisseurs state the tone is somewhat nasal, but we have never heard anything of the kind coming from a Gabrielli. Tone of the flatter instruments is of Gagliano timbre. Popularity of both types amply furnished by the fact that often we hear of amateurs expending as much as 100 (1925) for one. Violas nearly always of the flatter modelling, and have a rounder, harmonious, and more composite appearance than the violins. Body length 15-1/2 inches; sometimes 14-1/2. Principal characteristics - fine grain spruce, rather plain maple, and dark orange varnish. Cellos pretty well exquisite idealisms in appearance and tone, soloists employ much praise concerning them. Labels - written and printed.
-------------------------------------
Joannej Baptistae da Gabrielis
Florentinuj fecit 1739
-------------------------------------
-------------------------------
Gio. Batista de Gabriello
fece in Firenze 1754
-------------------------------
-------------------------------------
Joannes Baptista de Gabbrielli
Florentinus fecit 1743
--------------------------------------
(sometimes three lined)
------------------------
Gio. Battista.
Gabbrielli. Firenze
Ammo 1762
------------------------
--------------------------
Giov. Bapt. Gabicelli
fiorentini fecit 1740
--------------------------
Sometimes branded G.B.G. or I.B.G.
Name sometimes given as Garbicelli and Gabbicellis. 350 (1959).
GADANUS, JACOBUS
Flattish modelling, under normal full size. Generally one-piece backs. 20 (1930).
GADD, JOSEPH J.
Born at Hastings, 1895. First instrument dated 1942. Splendid dimensions based on the Gillot Guarnerius. Exhibited own model at The Hague, 1949, very commendable workmanship; especially neat double-purfling. Amber oil varnish of various shades applied artistically.
------------------------------
Joseph J. Gadd
Maker. (Signature here)
Brough. E. Yorks. 1942
------------------------------
GADDA, GAETANO
Born at Sorga (Province of Verona), 1900. Studied and worked with Stefano Scarampella. Established at Mantova, 1925. Produced first instrument in 15th year. Built about 20 instruments yearly. No blemishes in modelling, workmanship or tone to deprive them of vital value. Wooded to stand any test of time. Some retain Stradivarian principles, others are splendid copies of a Guarnerius, and occasionally a Nicol Amati comes in for a little attention. Acquits himself most admirably in each type. Fascinating scroll at which we hardly tire of looking. Sound-holes equally fine. Unfolds high aspirations with a golden-yellow (having a slightly reddish tinge) varnish. Admirable shading. Many specimens are practically replicas of his teachers instruments, and several dealers (particularly in the U.S.A.) are pocketing a nice harvest by vending them as genuine Scarampellas.
--------------------------------------
Gaetano Gadda di Mantova
premiato con Medaglia dOro
Allievo di Stefano Scarampella
Fece in Mantova. anno 1925
--------------------------------------
GADE, J. N.
Worked at Copenhagen, 1830-1850, with brother, S.N. Principally made guitars and pianos. Only a few violins bear his label, but everything has the stamp of serious intent fully developed.
-----------------------------------------------
J. N. Gade, Instrumentmager
boende i Borgergade 197 Kjobenhavn
-----------------------------------------------
GADE, SREN NIELSEN
Born at Copenhagen, 1790. Died 1875. Father of Niels W. Gade (celebrated Danish composer). Worked with brother J.N. under the name of Brdrene (brothers) Gade. Produced many violins of truly excellent design and workmanship. Also prolific in guitars.
-------------------------------
S. N. Gade, Kjobenhavn
1830
-------------------------------
--------------------------------------------------
Brdrene Gade
Instrumentmagere Boendes i
Borgergade No. 197. Kjobenhavn. 1846
--------------------------------------------------
(printed within an oval)
GAENDL
see GNDL.
GAERTNER
see GRTNER.
GAESSLER
see GSLER.
GAFFINO, JOSEPH
Born in Italy. Became attracted by the instruments of Castagneri, and went to Paris to study and work with him. Established own workshop, 1742. Dean of the Luthiers Guild, 1766. Died 1789. Modelling essays no ethereal flights, but there is an attractiveness teeming with a charming combination of the old French school tempered with Italian influence. Pattern sometimes large and sometimes smaller, but generally slightly arched. Scroll and sound-holes almost matchless in contour. Yellow or pale red varnish rather generously applied. Also golden brown. Very neat purfling. Somewhat peculiar tonal quality, but of a timbre which forces acquiescence, particularly after getting accustomed to it. 60 (1925). 700 dollars in America. Violas of very large dimensions. Ambition for anatomical bigness is to be deplored most emphatically, as such abnormal length and width cannot be handled comfortably. Consequently the instruments are destined only for the rooms of collectors. Usual measurements: body length, 17.1/16 inches; upper bouts, 7-3/4; middle, 5-3/8; lower, 9-7/8.
-----------------------------------
Gaffino, Cto. di Castagnery
rue des Prouvaires
Pariggi 1748
-----------------------------------
(decorative border)
Cto. means consorto - associate pupil.
-----------------------------------------------------------------------------------
A la Musetta de Colin
Joseph Gaffino, maitre et marchand luthier
Paris, rue des Prouvaires.
fait, vend, achte, et loue toutes sortes dinstruments de
Musique, savoir - violons, basses dorchestre, violoncellos, alto-viola
violes damour, et toutes sortes de un faon.
Il vend aussi violons et basses de Crmone,
basses de viole dAngleterre et de loutes
sortes dauteurs, etc. etc.
-----------------------------------------------------------------------------------
GAFTETH, GEOFFREY
Old English type and model. Generally Without purfling. Fair workmanship except the scroll which is quite indifferently conceived. Dark red varnish. Tonal quality withotit power but has a certain - element of sweetness.
----------------------
Geoffrey Gafteth
1685, his ticket
----------------------
GAGE, CHARLES
Born at Dover (New Hampshire, U.S.A.), 1847. Resident at Wolfeboro (N.H.), 1878-1903. Pre-eminent in the business of carriage building. Made violins as an amateur. Achieved marked success in doing so. O. H. Bryant of Boston was one of his pupils.
GAGGINI, PIERRE
Born 1903. Nephew and pupil of Alberto Blanchi at Nice. Established own premises, 1934. Produced 150 violins, violas, and cellos up to year 1948. Modelling either personal or Guarnerian. Splendid workmanship. Various shades of varnish from golden yellow to deep red. Instruments favoured by several eminent professors at French Conservatoires. Won diploma of honour at The Hague, 1949, for a quartet.
-------------------------
Petrus Gaggini
Nica Civitas, 1934
-------------------------
(written)
-------------------
Petrus Gaggini
Nicaea Civitas
Anno 19. .
-------------------
(printed with crown and coat-of-arms)
GAGLIANO, ALBERTO
Son of Raffaele. Worked at Naples, 1877. Modelling and varnish quite reminiscent of his fathers work.
GAGLIANO, ALESSANDRO
Son of a Marquis. Born at Naples, 1640. Seriously studied music, and became fairly adept as a performer on the mandoline and violin. Also whiled away a few hours constructing primitive lutes, mandolines and guitars. Compelled in youth, to leave the city after fighting a duel which ended fatally for his antagonist. Withdrew to a dense forest in the neighbourhood of Marighanetto Borgo, and whilst there, amused himself by carving violin-shaped instruments on the trunks of trees. Then, by tapping or sounding certain woods, he had cut down, found out their acoustical differences, and was thus incited to try his not entirely unsuited hand at making violins. Several months passed amid these romantic surroundings (possibly not then fully appreciated by him), then, finding that the polizia had practically ceased to busy themselves with his tragedy, he wandered northwards, and ultimately arrived at Cremona.
Soon found his way into Nicola Amatis workshop and gained much dexterity in the art whilst there. Later apprenticed to Stradivari. Remained in Cremona for about thirty years. It is presumed that he occasionally did the preliminary work of several instruments for his teachers. Seeing no reasonable chance of much recognition in a town where these men were so pre-eminent, he wisely returned to Naples, 1695. Became known as the founder of the Neapolitan school, and in that city, he and his sons monopolised the art. Died 1730.
His early Amatese modelling is often rather rigid. Pattern generally looking long and attenuated owing to the lower bouts not being proportionately wide enough to be completely harmonised with the width of the upper. Curving of outline altogether less graceful than that of an Amati. This is particularly noticeable in the curve from the middle of the upper bout to the corner - the corner being given a prolongated appearance naturally necessitated a modification of the curve to accommodate the extension but does not add anything to the outline except a rather weak angularity. Considerable width of grooving inwardly from the border, though not very deep which gives to the arching a rather ungraduated rise to its central medium height. Later formed some notions of a nearer relationship with the second period Stradivarian model and its relatively flat arching. These instruments are of broadish proportions, generally about 13-7/8 inches bodylength, and not unlike some of the Bergonzis. Curving less rigid than formerly, corners more graceful.
Thicknessing of the wood always received the most precise attention from him. Workmanship generally not of the highest refinement. Scrolls (of early period) decidedly cramped-looking, seeming diminutive in comparison with the build of the instrument, the turn at the back being somewhat contracted, faulty curving as the centre of the boss is approached, and not artistically scooped where it should be. Altogether of a mean demeanour, looking as though ashamed to be there. A few of his later instruments have heads far different from those just cited, and are more worthy of being associated with artistry. But generally totalling up his work, leads us to affirm that his talent did not prominently shine forth in this particular department. Purfling varies, sometimes of very distinctive character with a narrow middle strand - other times indifferently and unevenly laid. Sound-holes of the Amatese model rather freely traced, somewhat approaching the perpendicular, rather narrow in the stem, and well conceived top and bottom curves. Many of these have unfortunately been tampered by sound-post setting bogglers, and by repairing vandals who choose to implant their misplaced ingenuity on the widening of them. On later violins he placed the sound-holes more after the Stradivarian plan, but could not resist going to the extreme by making them unnecessarily wide. He seems to have been the fortunate possessor of a very large piece of pine, as nearly all his violins have tops of an open grain inclined to a slight waviness. Possibly thought this gave a peculiar, resonance to the tone. Used sycamore of handsome figure, though occasionally the scrolls are of plainer material. Sometimes this sycamore has an unusual development of a downward grain, certainly unusual so far as our experience carries. Some violins have the figure of the wood running on an angle at the middle ribs, but running straight up and down at the upper and lower parts. Also occasionally cut the spruce on the bias, so that the grain runs slightly at an angle from the centre joint.
Varnish of good texture, though generally very hard, sometimes of a cold and unattractive greyish-yellow, but also of shades a trifle warmer, something like golden-yellow or brownish-yellow, never thickly applied. Supposed to have had a Cremonese recipe for a softer and more reddish varnish, but possibly found that the excessively hot climate of Naples prevented a successful application. Tonal quality very mellow on the G and D strings, and delightfully silvery on the A and E.
Well preserved and authentic specimens very scarce.
Violas generally of flattish build and somewhat Strad outline. Usually favoured with a golden-brown varnish. These realise fancy prices owing to their scarcity. Cellos usually of very generous proportions, and sometimes mistaken as the work of Stradivari. Measurements: string length, 27-3/4 inches; back, 30.3/16; medium arching, often with deeply cut scroll, and yellow-brown varnish. Best period, 1707-1721. Only one double-bass has been recorded. Labels - some written in longish lettering: (Cellos 600, 1959)
----------------------------------------------
Alexandri Gagliano Alumnus Antonio
Stradivarius fecit anno 1702
----------------------------------------------
----------------------------------------------
Alessandro Gagliano, Alumnus
Stradivarius, fecit Neapoli, anno 1722
----------------------------------------------
-----------------------------------------
Alexander Gagliani, fecit Neapoli
1717
-----------------------------------------
----------------------------
Alexander Gaglianus
me fecit Neapoli 1724
----------------------------
(possibly not genuine)
Many instruments known without labels. Made a violin expressly for Arcangelo Corelli who used it until death in 1703. Bequeathed to Tartini, who played on it when he gave the first performance of his subsequently famous Devils Trill Sonata. Passed into the possession of Pugnani (pupil of Tartini). Purchased by a wealthy French merchant who presented it to Charles de Briot. Since owned by Ole Bull, Miska Hauser, Ferdinand David, and Ovide Musin. Finally acquired by a wealthy amateur in New York. 400 (1959).
GAGLIANO, ANTONIO (1)
Third son of Niccol (1). Born 1728. Died 1805. Worked at Naples. Associated with brother Giuseppe (Joseph). Rather well-made violins of good contour. True offsprings of a talented maker. Managed to appropriate not merely the form of fathers instruments, but also their tonal spirit, that vitalising germ which kindred spirit alone can seize. Used a pretty reddish varnish. Handsomely figured maple, and nearly always of one piece. Also produced mandolines and guitars.
-------------------------------
Antonius Gagliano filius
Nicolai, fecit Neap. 1789
-------------------------------
(decorative border)
----------------------
Antonio Gagliano
fecit Napoli. 1793
----------------------
See under Joseph Gagliano. 300 (1959).
GAGLIANO, ANTONIO (2)
Son of Giovanni (1). Born about 1778. Died 1860. Worked at Naples. Associated with brother Raffaele. Made a few instruments solely bearing his own name which are greatly superior to those labelled with both names. Finely large pattern affording the nicest and most sensible glimpses of the Stradivarius. Workmanship indicates his almost limitless powers. Splendidly figured wood, and an abundance of it. Had the clearest perceptions of beauteous glow and intensity of colour when applying orange red varnish. Healthy strong tone with considerable mellowness. Workmanship inside just as refined as on outside.
------------------------------------------
Antonio Gagliano, Sedile di Porto
Neapoli fecit anno 1824
------------------------------------------
(sometimes written)
-------------------------------
Antonio Gagliano
Via Ciriglio No. 75 Neap.
fecit anno 1837
-------------------------------
------------------------
Antonius Gagliano
Via Cirriglio fecit
Neap. 1803
------------------------
See under Raffaele Gagliano. 300 (1959).
GAGLIANO, CAIETANUS
see GAETANO GAGLIANO.
GAGLIANO, CARLO
Worked at Belluno (Italy). Violins which evince little lustre to the name of Gagliano. No adroitness shown in any detail, even to the application of the varnish.
-------------------------
Carlo Gagliano
me fecit
Belluno anno 1732
-------------------------
GAGLIANO, CARLOS
Worked at Naples, 1802. Physiognomy of a large and broadly proportioned Stradivarius. Arching, scroll, and sound-holes having an aspect of truthfulness to that model. Generally broad grain spruce, and handsome backs. Golden-brownish varnish of the deepest tint related to that shade. Tonal quality good for the soloist. 200 (1959).
GAGLIANO, FERDINANDO
Eldest son of Niccol (1). Born 1706. Died 1784. Worked at Naples. Earliest dated instruments rather follow the modelling of father, something similar to the first period Stradivarius. Body length 35.4 cm. Later set out on a path of his own but occasionally ran across the other, forming a peculiar character entirely his own, and one which a pen cannot intelligently delineate though the eye can instantly perceive. Body length 36 cm.
Outline generally rather heavy, and differs materially from that of the other members of the family. Arching slightly more pronounced than Niccolo favoured, sometimes even rather abrupt in its rise near the middle of the span, though beautifully steady from the margins, also differently arranged in the back and arching slightly moderated. Margins very prominent, in fact the whole model is broadly proportioned, and certainly perfect in its style. Corners often very robust. Middle bouts rather deeply cut one of his independent wanderings. Sound-holes unusually long for a Gagliano. Purfling often treated indifferently, but also occasionally with painstaking care. Scrolls frequently portrayed with real grandeur and largeness which is completely consonant with the general structure. Sometimes, however, there is a somewhat sudden spreading-out at the bottom of the volute which has called forth criticism from connoisseurs. Beautifully soft orange-red varnish, possibly the darkest shade used by any of the Gaglianos also a golden-yellow toned down from the hard brilliancy usually associated with the Neapolitan school. Some instruments have a remarkably fine tone, richly sonorous and splendidly penetrating. 400 guineas was reached at Putticks sale room in 1920, but was withdrawn as it did not reach the reserve price. One particularly fine example, dated 1782, formed part of the collection belonging to the American millionaire Partello. Back wonderfully beautiful, the loveliest possible broad flames also widely separated, and the top of remarkable fine-grain material. Broad model with pronounced purfling very perfectly done. Orange-red varnish three parts covering the back. Acquired by Lyon & Healy of Chicago and catalogued by them at 5,000 dollars. Another magnificent specimen was once owned by Messrs. Balfour & Co., of London. Long pattern distinctly Cremonese in contour. Neat inlaying all round, instead of the usual purfling. Pine of very fine silky grain, mottled or flowered in parts. Made a number of half, and three-quarter size violins. Also several small violas well under 15 inches in body length. Some of these have been reduced and converted into large violins. Cellos in union with a noble gracefulness handsome backs and ribs, very fine golden-brown varnish, and incomparably beyond anything of the other Gaglianos in point of tone. Body length 75 cm. Many guitars also bear his label. A few doublebasses complete his astonishing productivity. Made a lot of instruments of a nondescript kind for the trade at cheap prices, and these, showing decadence in workmanship and often inaccurate thicknesses, etc., attached a certain approbrium to his name for many years.
Labels, some with decorative border, others plain: 500 (1959).
-----------------------------------
Ferdinandus Gaghiano Filius
Nicolai, fecit Neap. 1774
-----------------------------------
-------------------------------------
Ferdinando Gagliano, me fecit
Neapoli, anno 1730
-------------------------------------
----------------------------
Ferdinandus Gaglianus
me fecit anno 1781
----------------------------
GAGLIANO, GAETANO
Born 1750. Died 1824. Son of Giovanni (1). Worked at Naples. Broad and flat modelling. Contour and varnish altogether satisfactory. Workmanship parallel with that of the other members of the family. Very speaking tone. Light orange shade of splendid texture varnish. Often priced beyond their actual value because they are Neapolitan. 300 (1959).
------------------------------
Gaietanus Gagliano filius
Joannes. Neapolis. 1820
------------------------------
-----------------------------
Gaietanus filius
Joannes Neapolis 1817
-----------------------------
GAGLIANO, GENNARO (JANUARIUS)
Second son of Alessandro. Born 1690. Died 1771. Worked at Naples. Supposed to have worked in early youth with Stradivari. Had first place of honour in this family until the last few years, when the instruments of Ferdinando and Niccol rapidly leaped into more recognition. Not a very prolific maker. Modelling something Stradivarian in conception, though the outline (particularly upper part), is less graceful. Body length usually 14 inches. Generally nicely broad and flat, but there are a few examples about on which he slightly raised the arching and made tiny divergencies at the sides. Workmanship must be recognised as completely artistic in rather superb neatness. Sound-holes beautifully graceful, but seem a shade shorter than those of Niccol. Also set rather wider apart. Scrolls vary. Some characterised by greater breadth and freedom than those of the other Gaglianos, others (generally associated with early dated violins), assume something akin to the Stradivarian, and in their way quite splendid though not perfect, but the majority have not that consummate sweep we like to admire, but instead there is a noticeable decline into a sort of meanness as though unwilling to lift up its head. Also, the boss seems set very low. Fine belly wood, handsome backs and ribs. Varnish either of a light orange-brown or of darker reddish shade, both of subdued radiancy. None of the family quite approached Gennaro in this important matter, although a recipe in his own handwriting remained in the family, probably kept secret some essential ingredient. Tone rather full, of rich quality and responsive in all registers (except perhaps the higher notes of the third string which are often dull, though a lower adjusting of the bridge may remove the defect). First and second strings refreshingly clear, whilst the G string has that sonorous quality compelling the bow to exert its mastery. Some instruments have a beautifully thin purfling. Best period, 1730-1750. 200 in 1930 represented the average price. We think this figure rather excessive although certain American dealers may vociferously disagree, since they were placing 2000 dollars alongside the name at that time. Produced several small violas. Charmingly clear tone but without that real viola-depth quality properly belonging to the instrument.
General measurements: body length, 14-3/4 inches; upper bouts, 7-1/8; lower, 8-7/8. Cellos of seraphic beauty, body length generally 29-1/2 inches. A Stradivarius cello, dated 1732, has been attributed to Gennaro Gagliano. Irreproachable workmanship, arching slightly fuller, ribs narrower, and the warm-looking red-brown varnish applied more thickly than usually exhibited by the Cremona maker. Bought from Gennaro by an Italian, 1740; sold to M. Champsor (a well-known cellist at Marseilles), 1765; and passed into the possession of M. Bonnet (a Parisian), 1826.
-------------------------------------------------
Januarius Gaglianus alumnus
Antonii Straduarii fecit Neapoli Ao 17. .
-------------------------------------------------
-------------------------------------------
Gennaro Gagliano fecit Neap. 17. .
-------------------------------------------
---------------------------------------
Gennaro Gagliano fecit Neapoli
---------------------------------------
-----------------------------------------------
Januarius Gagllanus filihius Alexandri.
fecit Neap. 1732
------------------------------------------------
-------------------------
Januarius Gaglianus
fecit Neapoli 1742
-------------------------
-----------------------
Januarius Gallanus
fecit Neap. 1760
-----------------------
Several instruments unlabelled. Frequently neglected to date the few he inserted. Experts often experience difficulty in correctly assigning his best working years. Some have Strad labels, and have been purchased as such. Name sometimes found pencilled on the inside of back. 500 to 600 (1959).
GAGLIANO, GIOVANNI (1)
Fourth son of Niccol (1). Nephew and pupil of Gennaro. Worked at Naples, 1740-1806. Also a short time in Venice, about 1761. A few of his instruments are of unquestionable merit. Modelling treated with considerable mathematical and academic skill. Outline and arching somewhat Stradivarian, but curve of upper part never really fine. Scrolls typically illustrative of the small Gagliano style. Top wood often of wide grain, backs and ribs of lightly flamed material, scrolls sometimes of very plain wood. Mostly orange-brown varnish, also a brown of darker shade.
Violinists have allowed their enthusiasm (with the sometimes exaggerated notion of the glamour of Italian tone, and possibly the imaginary assistance of the exorbitant prices given by connoisseurs and wealthy amateurs of enfeebled playing abilities who often prate and assert that a Gagliano is the most easily responsive of all instruments) to throw a captivating spirit over them. With such praise, we do not entirely disagree, if we regard the instruments as solely destined for chamber-music playing in small concert rooms; but we emphatically declare them to be ill-adapted for the modern concerto as the tone lacks power, and though there is a certain penetrative quality, the vigorous player is apt to stifle its purity. Best specimens realised about 120 in 1925. Also made several instruments hurriedly and of careless handicraft. Players who pretend to an exemption from prejudice, will appreciate the futility of dipping deeply into their pockets for such productions though the alluring name of Gagliano may be within.
-------------------------
Joannes Gzgliano
Nepos Januari, fecit
Neapoli 1804
-------------------------
(decorative border)
-----------------------------------------
Joannes Gagliano fecit
sub Disciplina Januarius Gaglioni
Neapoli. 1792
-----------------------------------------
Measurements of a cello dated 1792: body length, 28-3/4 inches; upper bouts, l4-1/2; lower, 17-1/4; belly wood of wide grain, divided back of small figure material, and scroll of plainer wood. Reddish shade of varnish. Measurements of one dated 1809: Body length, 28.15/16 inches; upper bouts, 13-5/8; middle, 9.5/16; lower, 17-1/8; ribs, 4.7/16 to 4.13/16. Cellos 450 (1959). Violins, 300.
GAGLIANO, GIOVANNI (2)
Born 1800. Died 1867. Probably son of the preceding. Rather limited in talent though the Gagliano spirit is traceable in his few productions. As he became older, he worked for dealers, and so there is inevitably a diminution instead of an expansion in any individuality he may have had.
GAGLIANO, GIUSEPPE
see JOSEPH GAGLIANO.
GAGLIANO, JOANNE
see GIOVANNI GAGLIANO.
GAGLIANO, JOANNES BAPTISTA
Probably a young brother of Alessandro. Worked at Cremona, 1720-1730. Pupil of Stradivari according to label.
---------------------------------
J. B. Gagliano
alumnus Stradivarius
Fecit Cremone Anno 1725
---------------------------------
GAGLIANO, JOSEPH
Second son of Niccol (1). Born 1726. Died 1793. Broad Stradivarian outline, well conceived. Sometimes attractively arched and rather perfectly graduated, but occasionally he gave the deck part a kind of table-land on each side of the division. Workmanship never particularly impressive. Sound-holes not endowed with graceful features, being generally too large to be absolutely consonant with outline, also too straight, with sweeping (unnecessarily exaggerated) upper and lower curves. Scroll insignificant, albeit ugly. Something altogether out of the order of the natural. Not wide enough for its length. Looks like an emanciated mans head, a head drooping towards the neck as though wishing to be hidden, which gives inartistic width at upper part of the volute, between the outer side and boss. Instruments (when unlabelled) always identified by this extraordinary head-piece. Wood often of good figure. Deep orange-red varnish very effectively applied. Occasionally one of a browner tint. Some violins modelled more after the Amati. In fact, there are a few bearing the Nicol Amati labels. Tone quality never really fine in sonority though many people consider it to be responsive and free. For our part we have found it rather shrill on the E string, and slightly thick on the G.
------------------------------------------
Giuseppe Gaglianus filius Nicolini
fecit Neapoli. 1787
------------------------------------------
---------------------------------
Giuseppe Galiano di Nicola
fecit Napoli, 1781
---------------------------------
----------------------------
Joseph Gagliano filius
Nicolai et nepos ja
nuarius fecit Neapoli
1793
----------------------------
(large, squarish lettering)
Some labels with decorative border, others plain.
------------------------------
Joseph Gagliano filius
Nicolai fecit Neap. 1761
------------------------------
Some instruments dated up to year 1810. Posthumous works labelled by his family or successors. Associated many years with his brother, Antonio. These instruments, labelled with their names, are of the broad model of a Stradivarius. Arching perhaps slightly fuller. Workmanship not always quite conformable to classical and critical taste. Beautifully figured backs often associated with plainer material for ribs. Lustrous brown shade of varnish generally, sometimes a light orange tint. Tone, as the model indicates, of considerable carrying power, also possessing a pleasing responsiveness. 450 (1959).
-----------------------------------
Joseph et Antonius Gagliano
fecit anno 1787
in Platea dieta Cerriglio
-----------------------------------
--------------------------
Joseph et Antonius
Gagliano filii Nico
laj et Nepotes ja
nuarj. F. Neap. 1770
--------------------------
(decorative border, large square lettering)
---------------------------------------------
Fabbrica di Violini, ed altri strumenti
armonici dei Fratelli Giuseppe
ed Antonio Gagliano. Napoli, 1815.
Strada Cerriglio num. 37
---------------------------------------------
(with accolades at sides, small lettering)
Instruments dated after 1805 must be the incomplete ones left by the brothers, finished and labelled by their successors. Some specimens have the original sound-holes lengthened.
GAGLIANO, NICCOL (1)
Eldest son of Alessandro. Born 1675. Died 1763. We feel he achieved more (and he had a very long period in which to do it), than any other member of the family. Snatched at things beyond them in his free way, and perceived the finer qualities of the models he desired to imitate by a more rigorous analysis and a closer dissection of their parts. Working from artistic sources deep in his heart up to shapes high in his fancy he conceived for his off-springs something of majesty and beauty which enchants the observer. Got nearer to the particular outline and thicknesses of graduation of the Stradivarius than any of the other Gaglianos, though there are isolated specimens where he modified the arching to the medium and to the high, also slightly brought in the width across upper bouts. About the entire contour there is a mobility of aspect, a healthiness, and a fine modulation of curving and arching conveying a kind of masculine vitality combined with a feminine gracefulness. Other violins he made, reach the high standard of the Grand Amati pattern. In fact, several of these have received Amati labels, and disposed of as such. Workmanship seldom incompatible with the highest requisites of art. In this matter he was less variable than his relatives. No niggling about the margins, nor any exaggerations. Waist curves acquire a delightful flexibility. General measurements of his Amatese model: body length, 14 inches, perhaps the smallest fraction under; upper bouts, 6-1/2; lower, 8-1/8; depth of sides, 1-1/8 to 1-1/4.
Sound-holes cut with great accuracy, generally inclined to be more upright than those of an Amati or Stradivarius; frequently placed a shade higher than customary with those makers, and often quite narrow. Scrolls vary considerably, some showing all the eloquence of artistry, others only passably graceful, even a few wholly insignificant in the matter of roundness, and one or two rather ugly round the boss. Sometimes used beech wood. His most pronounced and characteristic form is rather contracted from the front to the back of the upper part, emphasised by a seemingly long peg-box, and fairly broad right down the back of it; upper part, though looking a bit cramped, nevertheless nicely rounded, but generally the scroll seems too small in proportion to the body of the instrument. The arrangement of the peg-holes shows that he had some consideration for the player. These holes being placed closer together than usual, and the rather wide peg-box all reduces the stress of irritability sometimes occasioned when hurriedly putting on strings. Top wood always of fine material. Backs generally of small figure maple. Sometimes used this pretty wood for the upper and middle ribs, whilst the lower rib (of one piece) is of plainer material. Master hand at purfling, some of which he inlaid with an ornamentation of diamond and lozenge-shaped pieces of ebony. Others have the well-known Maggini design beautifully set out on the back. Varnish mostly golden yellow of grand transparency, others of a brownish yellow hue, and some of a light and deep orange red shade, all of rich quality. Occasionally applied a harder varnish, a gummy gamboge resinous affair which undoubtedly gives that nasal quality of tone sometimes associated with his name. On the whole, the tone is rather full and rich, very responsive, very penetrating, reasonably brilliant, and of persuasive sweetness.
Two and three thousand dollars quoted by American dealers (1930) is quite general in that country. European prices hover around 200. Cellos, flat modelled, show everything analogous to grandeur of design. Enriched with the rich quality varnish previously mentioned, and tonal quality particularly fine in clarity. More uniform dignity about the scrolls than those of the violins. Also produced three-quarter size cellos. Violas (quite a goodish number), do not in any degree weaken the enconium given to his work. Double-basses especially magnificent in appearance and tone.
At Putticks sale rooms in 1912, one gorgeous specimen was honoured with a 360 bid. Sometimes a portion of the peg-box is cut away to facilitate stringing.
----------------------------
Nicolaii Gagliano fecit
in Napoli 1711
----------------------------
----------------------------------
Nicolaus Gagliano filius
Alexandri. fecit Neap. 1732
----------------------------------
Some of his work has been identified under previously reputed Stradivaris. On the dot-and-diamond purfled instruments, the letters D.G.M. (meaning Dei Gratia Maria) will be found on the button at the back. The following Latin inscription, in small lettering has sometimes been seen when the top plate has been removed: In conceptione tua Virgo Maria Immaculata fuisti, Ora pro nobis Patrem, cujus Filium Jesum de Sp. s. preperitei. Translation: In thy conception, Virgin Mary, didst thou remain immaculate. Pray for us to the Father, whose son thou hast born from the Holy Ghost. Also occasionally found in the instruments of the other Gaglianos. 500 to 650 (1959).
Innumerable Gagliano-imitated violins, obviously of the Mirecourt old French style of 1800-1845, are always popping up. Capitally made too, and varnish golden yellow.
-----------------------
Nicholas Gagliano
Naples
1740
-----------------------
Also modern commercial violins, of good modelling and dark brown varnish. Catalogued at 5 (1930).
-------------------------------------------
La Copia da
Nicolaus Gagliano Filius Alexandri
Fecit Neap.
-------------------------------------------
GAGLIANO, NICCOL (2)
Son and pupil of Giovanni (1). Worked in the Galata dell Ospidaletto, Naples, 1790-1826. His road to Strad modelling paved with good intentions, led him to accomplish something of that fineness of contour so especially looked for by critical connoisseurs. Tonal quality of rare timbre. 100 (1928). 300 (1959).
----------------------
Nicolas Gagliano
Filius Joannis
Neapoli. 1793
----------------------
GAGLIANO, NICCOL (3)
Son and pupil of Niccol (1). Worked at Naples, 1790-1795. There is here a harmony of conception, which has more than a little tincture of the grace of the small Stradivarius model. Body length, 13-7/8 inches; string length from nut to bridge, 12-3/4. Orange varnish with nice modification of shade. Not too exacting violinists will find a few appreciable points in the tonal quality. 250 (1959).
GAGLIANO, RAFFAELE
Son of Giovanni (1). Born 1790. Died 1857. Worked with brother Antonio, at Naples. Apparently made no instruments signed or labelled with his name alone. Violins labelled with both names follow the traditional style of the Gaglianos. Best productions dated from 1807-1839. Good, flat modelling, strongly wooded; well proportioned scrolls, general workmanship quite excellent. Old yellow, light orange-brown, and reddish-brown shades of varnish fairly plentifully applied. Often very fine medium grain spruce, and handsomely figured, maple. Tonal quality often nicely full and responsive. Rather good-class orchestral instruments. The name Gagliano has presented fine opportunities for dealers to catalogue inflated prices quite beyond the actual merit of the violins. Later in life the brothers made the inevitable descent into producing commercial instruments to gratify their pilgrimage to Mammon, the most deceitful deity of all the Gods, and neglected their genius for original work, produced indiscriminately all grades, and all models. Some with broad and ugly sound-holes, and most indifferently varnished, others with double purfling, and some with none, very seldom anything that was not cheap. Even in this decadence they were ousted from the trade by the better finished German merchandise. Ultimately (failing to gain the vulgar-eye recognition they confidently expected) they ceased productivity, and turned their almost undivided attention to the manufacture and exportation of gut strings, and as such, they worked up one of the largest businesses in Italy. Occasionally one meets with their violins, dated up to 1857. 175 (1959).
-------------------------------------
Raffaele ed Antonio Gagliano
Quondam Giovanni
Napoli 1832
-------------------------------------
(some with decorative border, others plain)
-----------------------------------------------------------
Raffaele ed Antonio Gagliano
Fabricante e Negozianti
di Violini, Viole, Violoncelli, Contrabassi
e Corde armoniche
Strada Sedile di S.Giuseppe, n. 17 primo piano.
-----------------------------------------------------------
GAGLIANO, VINCENZO
Son of Raffaele. Worked at Naples. Died 1886. Made instruments principally for dealers throughout Europe and America. Also a manufacturer of strings. Labels with his own name, or a nom-de-plume.
------------------------
Vincenzo Gagliano
Napoli
Fecit Anno 18. .
------------------------
GAGLIANO, VINCENZO AND SONS
Established at Naples, 1900-1925.
GAIBISSO, GIOVANNI BATTISTA
Born 1876. Pupil of Berardi (Modena). Established at Alassio (Genoa). Stradivarian, Guarnerian and Rocca models, impressive achievements in solidity of structure without the slightest heaviness. Yellow or orange-red varnish. Made 200 violins, 14 violas, 10 cellos, and many concert guitars. 100 (1959).
----------------------------------------------
Gaibisso Giovanni Battista
fece Alassio anno 1929
Medaglia doro Esp. Int. Torino 1911
----------------------------------------------
(with initials in triangle on right)
GAIDA, CESARE
Born at lvrea (Italy), 1902. Son and pupil of Giovanni. Resident in London, 1927, as assistant to father. Produced several instruments which have been treated to much minute manipulation. Altogether a fine flat contour with well designed sound-holes and scroll. Red varnish of good quality. 50 (1959).
----------------------------
Fatto da
Cesare Gaida
figlio di
Giovanni
nel Anno 1921. No.2
----------------------------
Full name written diagonally across label.
GAIDA, GIOVANNI
Born at Bollengo (near lvrea), 1862. Came to London 1890, returned to native place 1895, then finally settled in London, 1904. Worked for the Stainer Manufacturing Co., also many years for F. W. Chanot. Established own workshop in Castle Street, Long Acre, 1925. Produced splendid transcripts of Stradivarian principles, some not unlike the robustness of a Pressenda; also a few of Guarnerian modelling. Workmanship particularly attractive for its neatness. Scroll and sound-holes very cautiously, but successfully executed. Also possessed necessary perspicacity in choosing finest woods. Imparted a fine intensity of shade in varnishing, either orange-red or dark amber brown, always plentifully applied. 30 (1920). Tonal quality rather remarkable for its velvety softness and evenness.
-------------------------------------------
Gaida Giovanni
Fabbricatore dinstrumenti ad arco
Ivrea 1903
-------------------------------------------
(decorative border)
Full name written diagonally across label, or initials G.G. 75 (1959).
GAIDA, SILVIO
Son of Giovanni. Born 1899. Pupil of father. Made about a dozen instruments as his work as a professional musician left him little time for making. Very fine violinist and player of the mandoline, also a repairer of considerable merit. Died 1952.
GAILLARD
Worked at Mirecourt. Violins of small pattern, somewhat Guarnerian.
---------------------------
Gaillard luthier Elve
de Bernardel de Paris
---------------------------
GAILLARD, CHARLES
Born at Mirecourt. Apprenticed to Gand at Paris. Worked in that city, 1850-1880. Most successfully represented Gands Stradivarian modelling. Arching and scroll truly splendid. Every detail of workmanship of superior merit. Bold designing but never over-pronounced. Sound-holes admirably adapted to the whole contour, neatly cut, and being set fairly upright they seem slightly wide, but look well. Often pretty one-piece backs. Red varnish of good texture. Sometimes an orange-brown shade. Bold and vigorous bowing will get the best results from a tone not yet mature in mellowness. 50 (1940). Also a large productivity of bows. Generally chocolate coloured round sticks. Branded Gaillard. Paris.
-----------------------------------------
Charles Gaillard
Rue Poissonnire, 15. Paris 1851
-----------------------------------------
-------------------------------------------------------------
Charles Gaillard
No. 20 Rue Notre-Dame-de-Recouvrance No. 20.
Paris 1865
-------------------------------------------------------------
GAILLARD-LAJOUS, JULES
Worked at Mirecourt, 1840. Made ordinary violins, also double-violins, and guitar-fiddles in the style of Chanot. Name branded.
GAILLOT
Worked at Paris, 1735-1745. Rather diligent studies from the style of Boquay, from which little has been overlooked. Whole contour distinguished by enhancing qualities. Magnificent table wood, and pretty material for back and ribs. Thoroughly excellent varnish. Tonal quality completely satisfying for 25. Generally branded, but sometimes labelled.
------------------
Gaillot Paris
1739
------------------
GAIRAUD, LOUIS
Worked at Nantes (France), 1737-1770. Modelling wrought with considerable cleverness. Workmanship neater than that of many antecedent French emanations. Red varnish artistically applied. Tonal quality fairly mellow but generally lacking in breadth.
-----------------------------
Fait par Louis Gairaud
a Nantes 1739. L + G.
-----------------------------
(decorative border)
GAISENHOFER, ALOYS
Worked at Vienna. Probably an early spelling of Geissenhof (see this name).
------------------------
Aloys Gaisenhofer
in
Wien
Anno 1770
------------------------
GALASSI, GIOACHINO
Worked at Gatteo (Forli). Exhibited a violin at Cremona 1937.
GALBANI, PIETRO
Worked at Florence, 1610-1640. Violins (though of early period) offer considerable respect to Italian traditions.
GALBUSERA, CARLO ANTONIO
Officer in the Italian Army. Resident at Milan, 1830-1836. Constructed several guitar-form violins, also guitars of remarkable tone. Won gold medal at Milan, 1832. 125 (1959).
GALEAZZI, ADELINO
Born 1828. Violinist and composer. Resident at Ascoli Picino. Died 1910. Made a few ordinary violins, reddish-salmon shade of varnish. 75 (1959).
------------------------------------------------
Adelino Galeazzi fece in Ascoli
nel 1863 e dono a suo nipote Giuseppe
------------------------------------------------
GALEAZZI, EUGENIO
Amateur. Resident at Ascoli Picino (Italy), 1836-1862. Violins decidedly commonplace, heavily constructed, brownish-yellow varnish.
GALERZENA
Worked in Piedmont (Italy), 1790. Very few instruments known. Ordinary workmanship and tone. 20 (1935).
GALIERI, FILIPPO
Worked at Naples, 1720-1763. Model has some resemblance to that of Gagliano. Rather high arching, but not ungraceful.
GALIERI, GIUSEPPE
Worked at Padua, 1753. According to label he was a pupil of Nicola Amati, but the date is ninety years after the death of this celebrated maker, so we suppose it was Dom Nicolas Amati of Bologna. Outline and arching more reminiscent of the Neapolitan than the Cremona school. Workmanship without particular merit. Sound-holes too slanting. Varnish of yellowish tint.
-----------------------------------------------
Giuseppe Galieri, Paduensis.
placentinus Alumnus da Nicola Amati
faciebat 1753
-----------------------------------------------
GALILEO, ARCELLASCHI
Born at Como, 1910. Pupil of Carlo Oddone at Turin, 1932. Good modelling of classical types, and one more personal combining several. Golden-yellow oil varnish. Produced 50 instruments up to year 1950. Also a few violas, cellos, small lutes and viol-damours.
--------------------------
Galileo Arcellaschi
in Como. A.D. 1950
--------------------------
(with signature)
GALIMBERTI, LUIGI
Born at Seveso, 1888. Pupil of Rottola and Antoniazzi. Worked at Milan. Won medals at Rome and Florence. Produced up to year 1948 350 violins, 25 violas, 200 cellos, 30 double-basses, and many concert guitars. Generally worthy of admiration. Cremonese modelling, golden-yellow varnish, oil and spirit.
---------------------------------
Luigi Galimberti
fece a Seveso lanno 1924
---------------------------------
----------------------
L. Galimberti
Rinomato Liutaio
fece lanno 1948
Milano
via Dolomiti, 17
-----------------------
---------------------------------
Luigi Galimberti
fece a Milano lanno 1933
---------------------------------
Each with signature. 80 to 100 (1959).
GALLA, ANTON
Born at Lelekovice (Marovia), 1897. Worked at Prerov, 1926; and at Kosice until 1938. Later at Brno. Produced a very large number of violins, violas, and 80 cellos up to year 1950. Partaking accurately of Strad and Guarnerian elements, every detail treated with immaculate refinement, splendid woods, golden-yellow oil varnish most artistically applied.
-------------------------
Galla Ant. Kosice
Anno 1935. op 447
-------------------------
Galla Kosice also branded. Signed with lead pencil on the deck interiorally. Violins minus signature and number are made by assistants.
GALLAGHER, DARIUS M.
Amateur. Resident at New York City, 1936. Productivity small but good in all details. Oil and spirit varnishes, light brown to brownish red.
GALLAND, JOHANN
Worked at Bayreuth (Bavaria) and Leipzig. Died 1896. Principally made guitars and zithers. Also a few violins.
GALLESI, GIOACCHINO.
Born at Rome, 1876. Worked at Paris, 1898. Subsequently returned to Rome. Specialised in guitars and banjos. A few violins bear his label.
------------------------------------------
G. Gallesi
Fabbricante di Strumenti Musicali
Via Margutta N.17. Roma
Anno 1947. N. . . .
------------------------------------------
GALLI, DOMENICO
Worked at Parma (Italy), 1684-1692. Cellist, wood-carver and poet. Workmanship emphasised with point and purpose, no trace of amateurish work. Scroll difficulties beautifully surmounted. Varnish arrests the eye by its brilliant transparency. Unfortunately did not produce many instruments.
--------------------------------------
Domenicus Galli Parmensis
fecit Parmae anno salutis 1687
--------------------------------------
GALLICANNE, LUC
Established at Paris, 1923. Supposed to have found a varnish recipe (dated 1716) called the Secret Processes of Van Eyck which came into use in the 17th century in Flanders, and subsequently given to Cremonese makers to prepare their varnish, this (according to Gallicanne) has a solution which dissolves hard resins. Instruments (violins, violas and cellos) seem to be of Mirecourt emanation. Wood homogenised, impregnated in a varnish (before final varnishing) to make the wood hard, thereby improving its acoustic properties. Medals at Geneva Exhibition, 1927.
GALLINOTTI, PIETRO
Born at Salerno (Piedmont), 1885. Won medals at Geneva and Rome, 1931. Stradivarian and Guarnerian modelling, thickish varnish.
GALLIOT, ROBERT
Resident at Paris, 1926. Patented a tone-amplifier, not an attachment, but is built in, and forms part of body. Shaped like a horn, mute device included, supposed to increase sonority and suppress all nasalness.
GALLREIN, PAUL
Worked at Markneukirchen, 1910. Artistically constructed violins and bows.
GALRAM, ERNESTO
Worked at Lisbon, 1825. Made good violas of 16 inches. Sometimes the wood for the breast is of wavy fibre. Yellow varnish under a thin pale red.
--------------------------
Ernesto Galram
fecit Lisiponae 1825
--------------------------
GALRAM, JOAQUIN JOS Worked at Lisbon, 1765-1825. Supposed to have studied in Italy. Italian influence easily recognised in outline and arching. Whole contour delightful in its concord, and every detail of workmanship truly artistic. Yellow varnish of delicate transparency. 20 (1930). Some instruments preserved in the private collection of the former King of Portugal.
----------------------------
Joachim Josef Galram
fecit Olesiponae 1769
----------------------------
Name sometimes given as Galrao.
GALTANI, ROCCO
Worked at Florence, 1640-1670. Instruments built with a commanding hand. Scroll charmingly curved and shaped. Varnish emphasises the beauty of the wood. 30.
GALVANI, GIUSEPPE
Italian maker. Period 1815-1840. 30 (1934).
GAMBERINI, CLAUDIO
Born 1895. Pupil of Mozzani. Worked at Cento and Bologna. Good-class Italian trade violins valued at about 15 each. Instruments rather individualistic in certain points though perhaps not to be commended. Edges distinctly beaded. Purfling rather wider than usual. Modelling somewhat full, both back and front. Scroll of smallish dimensions not quite in proportion to the general build of instrument. Thick and strong peg-box sides. Sound-holes not pretty, middle notches too deep. Native woods, generally acoustically good, but back and ribs often of a peculiar narrow figure. Reddish brown varnish thinly laid on, sometimes a very dark red shade. Produced (up to year 1949), 260 violins, 44 violas, 37 cellos, 5 double-basses, and many guitars.
------------------------
Liutaio
Gamberini Claudio
------------------------
------------------------
Gamberini Claudio
Cento (Italia)
------------------------
------------------------
liutaio
Gamberini Claudio
via de Poeti No. 4
Bologna
------------------------
------------------------------------
Liuteria Centes
Gamberini Claudio & Comp.
Cento (Ferrara)
------------------------------------
GAMBINO, SEBASTIANO.
Worked at Genoa, 1890-1920.
GAMBLE, ERNEST
Worked at Leicester, 1880-1920. Double-bass player who had a repairing establishment. Generally supposed that his instruments were made in Saxony, to which be put a label with his name. Business carried on by his son Howard, 1938.
GAMBON, ANDRIES
Born 1757. Worked at Maastricht (Holland). Died 1846. Strad-Amati models, slightly similar to Cuypers. Sound-holes just escape perpendicularity. Well set and well carved scroll. Yellow-brown varnish not especially transparent or warm looking. Medium tonal quality, and only of moderate penetrative power. Also violas of similar attributes.
-------------------------
Racommode
par A. Gambon
Lutier Maestricht
-------------------------
GAMBONI
Worked at Naples, 1760. Died 1805. Rather ordinary. Excellent woods, carefully varnished, good tone for cheap-priced instruments.
GAND
Worked at Amiens (France).
------------------------
Recoup par Gand
luthier Amiens
en 1803
-----------------------
GAND, CHARLES ADOLPHE
Born at Paris, 1812. Died 1866. Son, pupil and successor of Charles Francois. Fervent and earnest in producing the best, had sympathies with the French school and large views for its advancement, a genius working quickly and unobtrusively. Made a fair number of instruments, all beautifully finished workmanship and considerable richness of tone. Appointed repairer, etc. to the King and the Conservatoire. The most ubiquitous as well as the most conscientious of restorers, and achieved an enviable popularity throughout France. Renowned for expert valuation of old instruments. Associated with brother C. N. Eugne, 1855. Gand Frres obtained the first-class medal at the Paris Exhibition the same year. Received the decoration of Chevalier de la Lgion dhonneur 1862. The products of these clever brothers have always been held in the highest esteem, and year by year become more valuable. Workmanship, inside and out, very neat and masterly. Orange shade of varnish, delightfully transparent and of soft texture.
------------------------
Adolphe Gand fils.
Paris. 1832
-----------------------
---------------------------------------------------
Gand, Luthier de la Musique du Roi
et du Conservatoire de Musique
rue Croix-des-Pettits-Champs. Paris 18. .
1845-1848. A.G.
----------------------------------------------------
------------------------------------------------------------
Gand, Luthier du Conservatoire de Musique
rue Croix-des-Petits-Champs. No. 20. Paris 1854
A.G.
------------------------------------------------------------
---------------------------------------------------------------
Gand Freres, Luthiers de la Musique de lEmpereur
et du Conservatoire Imprial de Musique
No. . . . . Paris. 1855 1866
---------------------------------------------------------------
Charles Dancla played on a Gand, and preferred it to any Italian instrument.
Bows branded Gand Freres Paris. Beautifully cut - splendid sticks, not likely to warp. Usually of light weight. Artists impressed with the economic blending of strength efficiency and increased elasticity. 5 (1930). 15 (1959).
GAND, CHARLES FRANOIS.
Born at Versailles, 1787. Known as Gand Pre. Son of Charles Michel with whom he first worked. Apprenticed to Nicolas Lupot at Paris, 1802. Returned to fathers workshop, 1806. Established own business at Paris, 1810. Bought Kolikers property, 1820. Succeeded Lupot, 1824, whose daughter he had married. Died 1845. It is the attribute of genius, and the sincerity accompanying it, to attract only the homage of the few, and never of the many; for inasmuch as all see not with the same eyes, and are not endowed with like understanding, a variety of opinions is the natural result. We too often speak of what pleases us rather than of what we comprehend, applauding or condemning, not according to our judgement, but to what fancy or taste dictates. Perhaps there is no class which includes within it, men of genius so subjected to these whims or vagaries of appreciation as violin makers, especially during their life-time, whose works are tried by standards often diametrically opposed to each other - elevated or depreciated by mere caprice and not by knowledge and unprejudiced views. It is sometimes well for the makers fame that he has in posterity a more righteous judge than in his contemporaries, for the world frequently accords to the dead what it denied to the living. Early instruments of Gand (being built very substantially, and absolutely free of any faking, thinning, or chemical impregnation of the wood), did not make much headway for quite a good number of years. Violinists objected to the newness of tone, they failed to see the magic of the design, the strength of its proportions, and the fineness of the varnish, all complementary to splendid tone. New instruments however must inevitably fall under this obloquy, and the violin maker must realise it. Therefore we admire the man who builds for posterity, and so sincerely avoids the premature ageing and imitative worn varnishing which has and always will deceive the oft-times credulous public. Catalogues (1930) give the figure of 120 for best specimens. These massively constructed instruments though closely following in the footsteps of Lupot, have a character distinctly individual. Outline and arching completely majestic. General measurements: body length 14-1/4 inches; upper bouts, 6-3/4; lower, 8-1/4. Scrolls very powerfully conceived, finely broad when viewed from the back. Sound-holes and purfling definitely surrounded by the highest art principles. Every little bit of workmanship shows refinement most conspicuously. Brilliant and strong varnish of very fine texture, light red or brownish red on a yellow ground, very plentifully applied all over. He seems to have sometimes left patches of yellow on the margins where the hands mostly touch. Generally on each shoulder and at the bottom of each side. Always superb wood. Tonal quality truly brilliant and magnificently mellowing with the purifying elements of legitimate age. Especially interesting are the Maggini model violins. Constructed (in later life) instruments on an original plan of having bellies harmonically arranged in three parts in order to give greater resistance to the pressure of the strings; the middle portion being shaped by heat. Achieved very little success with these, and their value has steadily fallen. His capabilities as a good violinist were recognised. All Parisian amateurs and professionals continually stepped into his premises for a few minutes converse. Visiting virtuosi and collectors entrusted their valuable instruments to his sagacious repairing, and for a few years he had no superior in Europe. Honoured with appointments to the King and to the Conservatoire. Made special violins and cellos for presentation to the prize-winning students at that institution. Completed Lupots unfinished set of instruments for the Royal orchestra, magnificent affairs unfortunately destroyed when the Tuileries was burnt down in 1871. 100 (1959).
------------------------------
Gand, chez Lupot,
rue de Grammont, 1805
------------------------------
(used when in Lupots workshop)
--------------------------------
Ch. f. Gand fils
Luthier Versailles, 1807
--------------------------------
(when working with his father)
---------------------------------------
Gand, Luthier brevet rue Croix-des-Petits-champs 24
Paris.
---------------------------------------
---------------------------------------
Ch. F. Gand, lve de Lupot
successeur du sieur Koliker
rue Croix-des-Petits-Champs 5.
Paris 1810
---------------------------------------
-----------------------------------------------------------------
Ch. f. Gand, Elve de N. Lupot
Luthier, rue Croix-des-Petits-Champs No. 12, Paris
an 1812
-----------------------------------------------------------------
----------------------------------------------
Gand, Luthier, lve de Lupot
rue Croix-des-Petits-Champs No. 24.
Paris. 1820 1824
----------------------------------------------
----------------------------------------------------
Gand, Luthier de la Musique
du Roi et de lEcole Royale
de Musique. rue Croix-des-Petits-Champs
Paris. 1825 1830
----------------------------------------------------
------------------------------------------------------
Gand, Luthier du Conservatoire de Musique
rue Croix-des-Petits-Champs. 1835
------------------------------------------------------
---------------------------------------------
Gand, Luthier de la Musique du Roi
et du Conservatoire de Musique
Paris 18. . 1833 1845
---------------------------------------------
GAND, CHARLES MICHEL
First of the family to make violins. Born at Mirecourt (the well-known cradle of French violin making), 1748. Established at Versailles, 1780. Died there, 1820. His sign-board was Aux tendres Accords. Well conversant with his art, and his violins have an attractive assemblage of good qualities. Unaccountably scarce.
GAND, CHARLES NICOLAS EUGNE
Son of Charles Francois. Born at Paris, 1825. Devoted himself to the study of repairing and making violins under the direction of father and brother. Also entered the Conservatoire of Music where he remained as the favourite violinist-pupil of Baillot from 1840 to 1842. One of the few violin makers who was really a first-class technician (though most of them play the instrument more or less in amateur style. Being so splendid a player gave him more insight into the perfect rounding of bridges for soloists (who are often rather pernickerty in this particular matter), and the final adjustment of fingerboard relativity and sound-post. Famed as a connoisseur of old instruments, and as a repairer. Did not find much opportunity of making new instruments. Went into business with his brother Charles Adolphe, 1855. When the latter died, 1866, the two houses, Gand and Bernadel became one, henceforth to be known as Gand and Bernadel Frres. Instruments labelled with both names are covered with the traditional Lupot-Gand red varnish. Exquisite modelling on the Lupot-Strad outline and arching. Very fine, powerful tone, necessitating the passage of many more years before reaching maturity.
Commercial prosperity favoured the Firm of Gand and Bernadel, workmen were engaged, and instruments poured out of their premises. Eugne, though no longer making them with his own carefully experienced hands, kept in touch with the art by doing all the varnishing, something at which he was especially adept. Supplied 32 violins, 18 violas, 18 cellos, and 18 double-basses for the large orchestras engaged at the Paris Exhibition, 1878. Labels of these all bear the words Palais du Trocadero, 1878. Decorated Chevalier de la Lgion dhonneur, 1878. Exhibited a double-quartet of instruments, which (being perfectly constructed on harmonic principles and magnificently varnished in the usual red), were awarded a gold medal. Brought out (1889) a double-bass of ordinary size but having five strings.
Received decorations, orders, and various honours from Royalty in Belgium and Spain. Died 1892. Funeral attended with much reverential pomp. Between the years 1866 and 1891, he put the finishing touches to 1500 violins, 450 cellos, and 200 violas. 80. Cellos 100 (1959).
------------------------
Eugne Gand fils
Paris 1842 No. 1
------------------------
-----------------------------------------------
Gand & Bernadel
Luthiers du Conservatoire de Musique
No. . . Paris 18. .
-----------------------------------------------
---------------------------------------------------------------------------------
Gand & Bernadel Fres
Luthiers de la Musique de lEmpereur et du Conservatoire. No. . .
Paris 18. .
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Also bows stamped Gand & Bernadel, generally (1925) catalogued at 3. Gand & Bernadel Colophon - a fine light coloured resin packed in tin boxes, a huge commercial success.
GAND, FRANCESCO
Worked at Madrid. Probably born at Mirecourt. Nicely finished reproductions of Stradivarian modelling. Sometimes chose very indifferent woods, but some pretty Violas are known.
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Echo pr. Franc. Gand
En Madrid ano 1788
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Echo pr. - made by.
GAND, GUILLAUME CHARLES LOUIS
Second son of Charles Michel. Born at Paris, 1792. Died at Versailles, 1858. Worked with father, and succeeded him, 1820. Made few instruments, each a fine impression of the Lupot style. Always beautiful woods. Orange-red shade of finely compositioned varnish.
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G. Gond, Luthier
Versailles. 1822
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(written)
GAND, L.
Worked at Dijon, 1912, in association with Claudot. Maker and repairer to the Conservatoire. Produced many violins of excellent design. Wood judiciously selected, and tastefully varnished. 15 (1920). 50 (1959).
GNDL, FRANZ
Worked at Goisern (Tyrol). Instruments typical of the usual Tyrolese character. Tonal quality better than the workmanship suggests. Modelling generally rather heavy-handed. Sound-holes have no pliant grace. Dullish varnish likely to be condemned.
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Franciscus Gandl. Geigen-
macher in Goisern, 1763
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GNDL, FRANZ CARL
Worked at Goisern. Instruments with workmanship eluding anything refined. Dull varnish and rather weak tone.
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Franciscus Carolus Gndl, Geigen
macher in Goysern, Anno 1751
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(initials in right-hand corner)
GNDL, JOHANN
Worked at Ramsau, 1734. Modest looking violins of fair modelling and workmanship.
GNDL, JOHANN JOSEPH
Worked at Goisern, 1747-1786. Modelling somewhat after Stainer but arching not quite so high. Workmanship shows the spirit of neatness. Scroll and sound-holes endowed with considerable character. Good wood. Backs often of plain material and one-piece. Rather dark brownish varnish. Tonal quality responsively sweet and moderately powerful. Some violins have a large Maggini outline with broadly breasted arching. Golden red varnish of exceptionally nice appearance. Rather a variable maker, some instruments having incorrect mensuration and not properly graded thicknesses.
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Johann Gendl. Geigenmacher
in Goysern. Anno 1747
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(sometimes written)
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Johannes Josephus Gndl, Lauten
und Geigen Macher in Goysern.
Anno 1754
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GNDL, MICHAEL
Worked at Goisern, 1772-1780. Charges brought vaguely against his instruments by some connoisseurs are not well founded. Votarists of Tyrolese style ought to recognise these fairly good examples.
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Michael Gndl
Geigenmacher in Goysern, 1772
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GNDL, PAUL
Worked at Ramsau, 1772. Very few instruments known.
GANDOLFI, GIUSEPPE
Worked at Crernona, 1925. Most attractive rnodelling, golden red varnish.
GANSHIRT, WILLIAM
Born at Boston (U.S.A.), 1890. Studied with Walter Goss, J. A. Young, and F. A. Mayer. Employed by Oliver Ditson, and Musicians Supply Company. Assistant and pupil of O. H. Bryant at Boston, 1926. Produced first instrument, 1913. Modelling on Stradivarian and Guarnerian principles. An artist who has succeeded in affording the spectator something quite worthy to leave a permanent impression. Light reddish brown shade of varnish. Tonal quality not deficient in responsive sonority.
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William Ganshirt
Maker
Boston. 1926
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(yellow paper)
GANZERLA, LUIGI
Born 1809. Worked at San Felice (Italy), 1835-1861. Violins of slight excellence, artistically and tonally. Design imperfect, some proportions not coinciding with others. 15. 60 (1959).
GARAI, JNOS
Worked at Timisovara (Hungary), 1910. Good class trade violins.
GARANI, MICHAEL ANGELO
Worked at Bologna, 1680-1726. Violinists ought to be cognizant of the fact that these Stradivarius modelled instruments commend themselves for a splendid sweet quality of tone. Body length, 14 inches. Workmanship exhibits skill of no ordinary power. Brownish yellow varnish with some nice gradation of tint. 40 (1930). Violas also much appreciated for their tonal clarity. 150 (1959).
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A.
Michael
Garanus
F. Bonon, 1724
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Michel Angelo Garani
in Bologna, 1687
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GARANI, NICOLO
Born at Bologna. Studied with one of the Gaglianos at Naples. Worked in that city, 1745-1802. His style does not greatly emerge from the conventionalities of the Neapolitan except perhaps in the higher arching. Workmanship very refined, particularly the lightly-built edges. Plain wood unfortunately disparaging to the appearance. Yellow varnish of slight golden tint, parsimoniously applied. Tonal quality of comparative brilliancy, but apt to become dull and sadly unresponsive if not given an occasional long period of rest. 30. 90 (1959).
GARCEUX, L.
Worked at Paris, 1780-1810.
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Rpar Paris par
L. Garceux 1804
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GARDEN, JAMES
Born at Edinburgh, 1849. Violinist. Made fine violins and a viola, Stradivarian modelling, red varnish.
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Jas. Garden
Edin. 1887
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GARDINER, PIERSON
Worked in London, 1758-1790. Shows himself proficient in the art of copying the Amati model, something after the same style as Duke, also aspires to honour in the neat workmanship. Sound-holes and scroll both show he was endowed with artistic gifts. Golden red-brown varnish. Even grained spruce and prettily figured maple. Very responsive tone and fully rich. In America dealers are placing (1930), the price of 300 dollars beside the name.
P. Gardiner branded inside, also just under button, and also close to bottom block. Seldom labelled.
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Pearson Gardiner
London. 1764
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GARDING, EDGAR
Born 1916. Resident at Paynesville (Minnesota). Cremonese modelling, arching according with wood density, developed by some original theories in relation to tonal quality. Oil varnish for base, spirit preparation to coat it, yellow to transparent mahogany brown.
GARDNER, CHARLES
Worked in London, 1868-1895. Ordinary in every detail, specimens never realising more than 10.
GARDNER, ELLERY J.
Worked at Canaan (New York), 1925.
GARENGHI, GIUSEPPE
Worked at Brescia, 1835-1855. Principally commonplace Maggini models, double-purfled, not especially attractive. Fleur-de-Lys inlay on back quite novitiate. Non-transparent orange-yellow varnish.
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Giuseppe Garenghi
fece Brescia. 1849
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GARGNONO
Label seen in a cello: probably fictitious
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Heredes q Gasparo
Gargnono de Salodio, 1621
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Perhaps by Gaspar da Sal - finished after death by somebody employed by widow. Heredes means heritage. Gargnono is the name of a village, not a maker.
GARGO, GIOVANNI
Worked at Forli, 1760-1790. Made a few violins. Better known for lutes and guitars.
GARIMBERTI, FERDINANDO
Born at Mammiano (Province of Parma), 1894. Pupil of Antoniazzi Brothers. Worked at Milan. Won high diplomas at Rome, Padua, and Cremona. Also a splendid cellist. Elevated impersonations of Cremonese modelling, workmanship without flaw, and exquisite varnish. Few instruments will dethrone these in the future. Many players in Italy and Switzerland are already enamoured with the rapid development of tonal maturity.
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Ferdinandus Garimberti Parmensis
fecit Mediolani Anno 1944
No. 107
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(with F.G.P. in a floral circle, also signature)
Also branded exteriorly and interiorly.
GARNER, HUGO
Worked at Chelsea (London), 1860-1884. Ordinary designs of Strad and Guarnerian modelling.
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H. Garner. Chelsea 1880
London
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GARNER, JOSEPH
Resident at Broxburn (Scotland), 1820. Amateur. Only a few violins, all coming under the appellation of ordinary. Certain dimensions inaccurate.
GARNIER, L.
Mirecourt, 1920. Trade mark of Charles Bailly.
GARRETT, RALEIGH AUGUSTUS
Born at Atwood (Illinois), 1893. Resident at Mansfield (Ill.), 1926. Violin and cornet soloist of considerable repute. Travelled three years on the Lincoln Chautauqua Circuit. Favoured the Stradivari model, although occasionally adopted other well-known designs. Specialised in a fine varnish which is also used by many of his contemporaries. Used a filler containing quick-lime and radium salt, then a soft filler that does not penetrate the wood very much, thus remaining elastic for all time and leaving the wood free to vibrate. Also experimented with a new gum which has not previously been associated with violin varnish, but could never be persuaded to divulge its name. Strong believer in varnish and fillers as destroyers or otherwise of tone, rather than solely concentrating on good wood and its acoustical properties. Preferred home grown woods to European. Produced over 100 instruments up to the year 1930. Some taken up by American soloists who have repeatedly published their praises concerning the unusually fine sonority of tone.
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R. A. Garrett Anno
Violin Maker 1926
Mansfield, Illo. A.F. & A.M.
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GARSI, ANTONIO
Worked at Parma, 1875-1914. Modelling after the old Cremonese, used woods grown in his district.
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A. Garsi da Parma
anno 1904
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(with signature)
GARTH, REGINALD
Amateur maker resident at Kendal, England, 1872.
GRTNER, EUGEN
Born at Stuttgart, 1864. Pupil of Sprenger in native place, also of Simoutre at Paris. Established own workshop, 1891. Appointed maker and repairer to the King of Wrtemberg. Enjoyed well earned fame throughout Germany. Died 1944. Produced 300 violins, violas, and cellos from 1891 to 1910 - retained the same rapidity through succeeding years by adding 200 more. Recipient of several Exhibition medals. Outline and arching done with exquisite nicety. Scroll and sound-holes admirable in execution. Carefully worked purfling with fine strands of ebony. Finest old woods covered with an especially beautiful oil varnish, very effectively applied. Coloured paper labels.
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Eugen Grtner
Stuttgart
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Eugen Grtner
Atelier fr Geigenbau
Stuttgart, fec. 1895
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(with photo of himself on left, and initials in circle on right)
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Eugen Grtner
Atelier fr Kunstgeigenbau
Hgl: Wrttby Hof-Geigenbauer
Frstl: Hohenzoll Hoflieferant
fecit 1900. Stuttgart.
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(two forms of this, one having the Royal Insignia in centre, the other on left)
Also branded E.G. within a double circle, the letters being separated by the design of a small plant.
GRTNER, WILHELM
Born 1914. Worked with Uncle Eugen. Went to Stockholm. Instruments much appreciated in Sweden.
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Wilhelm Gaertner
Stockholm anno 1950
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(design in centre)
GASKIN, GEORGE
Amateur. Born 1856. Worked at Bromley. Kent. Brought up on a farm until early youth when the whole family removed to Newcastle where he became a miner. After a few years, finding this work too hard, he moved to Bromley where he joined the Metropolitan Police. Very clever at woodwork, which he did in his spare time. eventually commencing to build violins. Became quite successful at this and found it quite a profitable hobby. Many professional musicians enthused over his instruments, and an article appeared in The Strad Magazine concerning his work with a photograph of him in policemans uniform. His violins were greatly praised by Kubelik who wrote his signature across one of his labels and gave him permission to have a die cast of the signature if he wished to use it inside his violins. To obtain the necessary wood he visited old mansions and bought long pieces of pine which had been used for ceilings etc. Also used maple for bellies and ribs. It was his custom to knock on pieces of wood with his knuckles and always knew when he had found the right piece as he heard music in it. Rehaired bows for Marie Hall at a price of 10d. each. Used a yellowish shade of varnish which he bought in London for 4/6d. per oz. Awarded a Gold Medal at Crystal Palace Exhibition and won a prize at Peoples Palace Exhibition, East London. Died aged 57 years in 1913.
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Geo. H. Gaskin
Violin Maker
1885
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(printed)
Label dated 1902 bears the signature in ink of Jan Kubelik. 30.
GSLER (GSSLER), ANDREAS
Worked at Mittenwald, 1740-1755.
GSLER, ANTON
Worked at Mittenwald, 1750-1763. Model rather fully developed and thoroughly expressing the proclivity of all Bavarian makers of the period. Workmanship very carefully carried out. Brown varnish.
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Antonius Gsler
Lauten und Geigenmacher
in Mittenwald 1758
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GSLER, JOHANN
Worked in Mittenwald. Ordinary violins.
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Johannes Gssler
Lauten und Geigenmacher
in Mittenwald, 1762
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GASLER, MICHAEL
Worked at Mittenwald, 1754-1780.
GASPARD AND CO., LEON
Factory established at Mirecourt. All grades of commercial stringed instruments.
GASPARO DA SAL Born at Sal (a small town in Brescia on the side of the Garda Lake), 1542. Son of Francesco di Bertolotti (prominent citizen), but discarded this name in favour of Salo. Pupil of Girolami Virchi (important lute-maker) up to 18th year. Local directories announce that he was Magistro de violini 1568; Magistro cittaris 1579; Artefice dinstrumenti musici 1583; and Magister instrumentorum musicorum 1588. Worked industriously, lived frugally, spent money only on necessities, was entirely immersed in his art, and ultimately became comparatively rich for a man of his calling. Bought himself a fine home in St. Peter-the-Martyr Street, Brescia, 1599. Died 1609. A monument to commemorate his genius was unveiled at the Salo Church, 1906 and bears the following inscription:
Gasparo da Salo
nell arte di liutai maestro
per trovar le vie nauve
loggi, materia, forma studiando
die quasi anima e senso
al violino moderno
creazione sua.
Nato 1542 - Morto 1609
fu sepolto in questo tempio.
Generally regarded as the pioneer in definitely designing the violin as we know it today, although the Germans claim that honour for one of their countrymen. But whosoever the German was none of his instruments have come down to present times. If the statement that Gasparo was the first violin maker is disputed, the cultivation and improvement from the old viols towards the present design must be attributed to him. It was mainly his genius united with that of Maggini (his favourite pupil), which gave assistance to the monumental artists at Cremona. Impossible to overpraise, in writing of him, for the greatness and universality of his talent seems to have dazzled all the makers who succeeded him. Only by considering the very early period of his existence that we arrive at an adequate estimation of his work. Youthful years were confined to producing lutes and a few viols, thus rendering homage to his predecessor Virchi. A few years later he released himself from this bondage through the impulses of originality permeating his mind and causing him to create instead of copy. Thus he evolved and formed the foundation of the future violin-form - an inspiration that has never ceased to breathe through the entire realm of violin-art, and has acted as a torch lit from a past enthusiasm to develop and embrace a wonderful future. He accomplished much by realising the importance of bringing the viol into a shape more conformable to the growth of the performers technique. So, inspired by instinctive insight and discernment, he built violas and violins, thus stepping ahead of his few contemporaries and continued to walk on to immortality. Only eight or nine really authentic violins are known. The pattern nowadays may be considered rather primitive, ungainly, and deficient in grace, yet when the eye becomes acquainted with its quaintness, splendid and masterful harmony will be found to prevail over its primitiveness.
Outline quite striking in its uniformity of curves, and on the whole, not without the elements of real beauty. Body length about 13-7/8 inches. Arching generally quite full, but this fullness has nothing bulgy about it. In fact everything seems to be in accordance with most minute specifications controlled by remarkable judgment. Middle curves sometimes rather shallow, but also one or two examples with them more extended. Corners generally sharp and short, but occasionally finely rounded. Margins quite narrow owing to the abrupt rise of the arching. Scroll distinctly rugged and not happy in delicacy of cutting, but has a character peculiarly its own though he kept to the conventional number of turns set up by the ancient Greeks in the carving of volutes. Sound-holes generally long and wide, the stem being practically the same width from top to bottom - notably his idea for the creation of tonal sonority and freedom of response. Primitive purfling composed of one line of dark wood. Hard and resistant woods specially chosen for tone and not always for beauty of grain or flame. Pear-tree wood sometimes preferred to pine. Thicknesses especially accurate, repairers have never found any delinquencies in anatomical proportions.,
Magnificent transparent varnish of delightful elasticity, two shades, a toast-brown, and a golden-brown with reddish tint. Violas undeniably finer than the violins, and rather rare. Of varying, but generally large, proportions, and very valued on account of their remarkably broad yet velvety quartet tonal, quality. Body length, 16.5/16 inches. Height of modelling also varied. Sound-holes likewise, a few rather narrow and long but with bold swing, others shorter and wider. Single purfling. Examples, bearing the label of Da Sal, are known to have double purfling and other characteristics rather opposed to his usual modelling, but these are attributed to Maggini during his years as pupil. A few viol-da-gambas, later altered to cellos, now much coveted by connoisseurs. Six-stringed bass viols have been remounted as three and four-stringed double basses. Their unusual flexibility of tone combined with richness and depth have always attracted the greatest virtuosi of the past, including Dragonetti, Bottesini, and Storch.
Varnish, of a deeper reddish shade than that of the violins and violas. Every instrument he made should be admired and venerated, and no eulogium can be exaggerated in favour of this man who gave such an everlasting stimulus to the art.
Labels in large Roman lettering, and never dated.
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Gasparo da Salo
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Gasparo da Salo, In Brescia
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August Riechers of Berlin states (in his book) that Gasparo coated the inside and outside with spirit varnish.
Noteworthy specimens:
1. Measurements etc. of a violin ascribed to the year 1580, given by Mckel of Berlin: Body length, 34.7 cm.; upper bouts, 16.2; middle, 11; lower, 20.2. From purfling near back to sound-hole notch, 185 mm. Very irregular fibres in belly wood. Breadth of edges, 3 mm. Height of ribs, originally 2.8 mm., subsequently increased by a repairer. Lower ribs of one piece. Thicknesses of the table - by the bridge, 2.8 to 3 mm.; between bridge and lower block, 2.8 mm.; between bridge and upper block, 3 mm.; upper cheeks, 2.1 mm.; lower cheeks 2.2 mm.; near the edge, 2.6 to 2.8 mm.; by the upper and lower curves of sound-holes, 3.1 to 3.4 mm.
Thicknesses of the back - at the middle, 4.3 mm.; by the sound-post, 4.1 mm.; between post and lower block, 3.4 mm.; upper part, 2.7 mm., lower, 2.7 mm.; near the edge, 2.5 mm. Tone of the table (with bass-bar) - the note f.
Tone of the back - quarter tone higher than f sharp.
Atmospheric tone - the note d.
Strong fibred pine of medium width in grain. Two-piece back with flames running downwards. Golden, brownish-red varnish, very transparent and full of fire. Wood primed with a shimmering golden-reddish yellow of great purity, and quite greasy. Sound-holes typically of the Brescian style with the upper curves as large as the lower. Large scroll, primitively carved, somewhat in the Maggini style. Tonal quality of great sweetness without the slightest roughness - G and D strings perhaps a little dull, but without hollowness; A string very clear and of persuasive mellowness; E string bright and silvery.
2. Violin owned by Elias Howe of Boston (U.S.A.):
Bought by him when in Venice, 1884. Seven-eighths in size. Back inlaid with fanciful scrolling as was customary on the flat-backed viols. Rich reddish-brown varnish. Table wood of very pronounced fibre, sensibly felt by the touch as well as observed by the eye. Wood of the back, ribs and scroll absolutely without curl or figure. Medium corners. Purfling does not travel clear to the extreme point as in later instruments. Neck not shaped like that of a more modern violin, but is very thick and ungainly at the shoulder. Fingerboard of pine, top and sides veneered with ebony, and ornamented at the edge of top bone inlay. Arching of medium height, commencing with an abrupt rise, and then quite flat to centre. Particularly interesting specimen from a collectors point of view as it has never been altered or repaired.
3. Violin repaired by William Moennig of Philadelphia, 1926. Belly consists of three pieces of wood, one of the joints being by the sound-post, and under the chin-side was a full grained cross-cut knot at least 2-1/2 inches in diameter. Another piece was joined on the upper left-hand bout with the fibres running at least twenty degrees. The back at least a 1/4 inch deeper than the belly. General construction rather elementary and crude, but covered with an oil varnish of wonderful lustre. Here is an instrument having radical departures from the customary methods of construction, yet possessing as fine a tone as anything could be.
4. The Treasury Violin:
Made to the command of Cardinal Aldobrandini (afterwards Pope Clement VIII), with a Caryatides head, also various ornamental inlays, sculptured by the celebrated Benvenuto Cellini. Presented by the Cardinal to the Museum at Innsbruck, and the instrument became known as the Schatzkammer-Geige. Stolen by a French soldier during the occupation of the Tyrol by Napoleons army, 1809. Acquired by a wealthy Pole named Rhehazek, who placed this unique gem in his remarkable collection of art treasures at his palatial estate near Vienna. Bequeathed it to Ole Bull (renowned and picturesque Norwegian violin virtuoso), 1842, who subsequently used it in preference to his other instruments by Amati and Guamerius on account of its remarkable breadth of tone. Originally had a fingerboard made of some light coloured wood and only eight inches long, but Ole Bull engaged Vuillaume to lengthen it to normal standard with the same material and without destroying its decorative inlay. Tail-piece also of light coloured material, and richly ornamented. Rich varnish of a paler colour than usual. Strangely small pegs seeming too small to stand the normal pull of the strings. Presented by Ole Bulls widow to the Museum at Bergen, Norway, (birthplace of the virtuoso), 1901, with the proviso that its tone shall not be tried under any circumstances. Though romantic associations and poetic memories cluster around this historic violin, many of Ole Bulls statements are doubted by experts, also that the instrument is not a Gasparo, and that its tone is practically worthless, etc. - and finally that it was not his solo instrument, but that he invented his various assertions as a publicity stunt.
5. Another Gasparo was owned by this violinist and purchased by him from a collector at Breslau, 1862, its appearance being quite ordinary.
6. Violin owned by Lord Amherst. G and D strings rather muffled; A and E strings very rich and pure. Plain wood, but very lovely varnish.
7. Two magnificent examples owned by Dr. Steward of Wolverhampton, 1870. Afterwards added to the John Adam Collection at Blackheath.
8. Violin belonging to Rodolphe Kreutzer (French violinist), but possibly not genuine as the label bears the date 1613, which is four years after the death of the maker.
9. Viola owned by Louis Bailly (famous French viola player and conductor), resident many years in New York. Purchased in Paris, 1907. Several names and dates scratched on the back showing that it was in Germany during the 18th century. Of very large proportions. dark varnish, long parallel sound-holes, and unsymmetrical curves. 10. Viola owned by Ottokar Novack (viola player in the Brodsky New York Quartet. 1900). Rich and noble quality of real tenor tone.
11.Viol-da-gamba. Formerly in the possession of Baron Claricini in Abbazia (an amateur cellist of undoubted talent). Acquired by Hill and Sons, of London, 1924.
12. Three-stringed double-bass owned by Dragonetti (Italian wizard noted for his extraordinary technical facility). Said to have refused 800 for it. Presented to him by the Convent of St. Marks at Venice, as a testimonial of the appreciation of his unusual skill. Was returned to the Convent after his death. Afterwards purchased by the Duke of Leinster for a large sum. Finally acquired by the Rev. Leigh Blake.
13. Three-stringed double-bass used by Bottesini (another famous virtuoso who astonished the world with his violin-like technique). Three-quarter size. Wonderful clarity of tone.
14. Four-stringed double-bass preserved in the Collection at the Paris Conservatoire.
15. Small bass-viol, also at the Conservatoire. Workmanship rather carelessly executed. Dark shade of varnish. Flat back and arched belly.
16. Double-bass presented to the Royal Artillery Band at Woolwich, by the Duke of Wellington. Supposed to have been taken from a Spanish Monastery during the Peninsular War. Had a fine tone in spite of the most dreadful usage. Reconstructed by John Acton of Forest Gate.
17. The Storch double-bass. Remained in an Italian Monastery for 150 years. Presented to Storch (Germanys greatest bassist, Professor at the Conservatorium at Leipzig, etc.), as he was a devout Catholic. Acquired by H. J. Butler (pupil of Storch), of the Boston Symphony Orchestra, 1876. Four-stringed, and with a flexible, round tone.
18. Double-bass owned by J. D. Hiltbrand (an American), 1927. Supposed to have been built in the year 1600. Of antique appearance, not particularly fine looking, and rather small in comparison with a modern instrument. When the bow is drawn across its strings the gathered music of ages pours forth in floods (owners statement). Three-quarter size, and the sole example yet passed over to the United States. Body length, 42 inches - three inches shorter than many present day basses. Width less than the modern, but ribs deeper. Fairly short sound-holes, narrow, stem of parallel sides, and not positioned at an angle but upright. Left-hand side larger and slightly more arched than the right. Left sound-hole longer and narrower than the right. Clumsy looking head, and made for wooden pegs. Pronounced arching of the back, extending from side to side and top to bottom. Belly wood of spruce, back and ribs of fine sycamore. Exceedingly line grain wood, cleanly cut slab-way. Edges not over-lapping, but more or less bevelled. Sloping shoulders. Middle curvatures short and deep, having no, joints at each extremity. Marvellously rich dark red-brown shade of varnish, apparently retaining the same tint as when first applied. Altogether an instrument very solidly constructed.
19. Double-bass owned by R. O. Stoole of Dundee. Rescued by David Laurie of Glasgow, from its seclusion in a monastery at Padua. Underwent much needed repairs at the hands of Gand and Bernardel. subsequently played on for several years by Bottesini; came again to Scotland, passed along to Sandy Wallace (Dundee player), who kept it until death - finally acquired by Stoole. Large pattern, fine outline, flat modelling, and double-purfled on back and breast. Sound-holes of a bold sweep, and very cleanly cut. Wondrously carved scroll. Dark-brown varnish. Height to head-top, 6 feet 2 inches; body length, 3ft. 10-1/2 inches; upper bouts, 22 inches; middle, 15; lower, 27-1/2; ribs, 10. Four-stringed, and of extraordinary tone. Bears a dated label, but too indistinct to be deciphered.
GSSLER
see GASLER.
GASTA, GAESTANO
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Gaetano Gasta
Cremona 1703
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GASTANO, ANTONIO
Worked at Messina (Sicily), 1880-1896.
GATES, FRANKLIN H.
Born 1888. Resident at Monteclair (New Jersey), 1940. Models more or less of experimental design, some constructed on the modern Mertzanoff scientific drawings. American and tropical woods used to achieve free tone emanation. Chestnut-brown oil varnish.
GATTI, ERNESTO
Worked at Nice, 1875. Modelling, workmanship and varnish quite attractive.
GATTI, GIORGIO
Worked at Turin, 1880-1915. Very flattish modelling on Stradivarian principles. Workmanship not especially felicitous; details generally without artistic character. Orange-red varnish - rather muddy, with too many shades in it. Also well-known for prettily designed guitars of Guadagnini traits.
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Giorgio Gatti
fece in Torino lanno 1899
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GATTO, ANDREA
Worked at Turin, 1665-1679. Viola owned by Count Cozio de Salabue, slightly long, high arching inartistically flat towards centre, purfling indifferently traced, large and long sound-holes, back without figure, and a fair tone.
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Andrea Gatto Torino 1669
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GAUD, PHILIPPE
Working in Paris, France, 1950.
GAUDR, NICOLAS
Bow maker at Mirecourt, until death 1784.
GAULARD
Born and trained at Mirecourt. Worked at Troyes (France), 1820-1835. Violins and cellos of ordinary modelling. Workmanship carried out in a courageous manner, but without especial and studious nicety. 15 (1930). His bows have worthier points for admiration.
GAULT, WILLIS M.
Born 1908. Resident at Washington (D.C.), 1930. Made first instrument in 14th year. Pupil of Struble. Built over 50 violins up to 1940 - all of a Guarneri pattern. Oil varnish, orange, brown, and red. Everything praiseworthy.
GAUTHIE, PIERRE
Born 1880. Worked at Mirecourt and Paris. Settled at Toulouse, 1912.
GAVALDA, GEORGES
Born at Montpellier, 1899. Won first prize for violin playing at the Conservatoire. Received advice in construction from Huetter. Established at Villefranche (near Nice), 1939. Member of the Monte Carlo orchestra. Old Italian models, careful workmanship, attractive woods, thickish and rich orange or reddish-orange varnish shaded to represent wear.
GAVANI, GIOVANNI
Worked at Spilamberto (Modena, Italy), 1860-1908. Violins, cellos, guitars and mandolines. 85, 1959.
GAVATELLI, ALCIDE
Born at Bergamo, 1874. Pupil of Antoniazzi. Established at Buenos Aires, 1918. Strad modelling, but with ribs less deep. Produced 100 violins, 15 violas, and 20 cellos up to year 1949. 85, 1959.
----------------------------------
Alcide Gavatelli
fece in Buenos Aires in. . .
----------------------------------
(with signature)
GAVELLI, GIACOMO
Worked at Perugia (Italy), 1730-1780. Violins and cellos of considerable merit.
GAVIGNY
Worked at Paris, 1750-1760. Attractive instruments similarly modelled to the Amati-Klotz. Workmanship very accurately done. Purfling minutely parallel. Scroll and sound-holes very graceful.
----------------------------
Fait par moy Gavigny
Maitre Luthier
Paris, 1758
----------------------------
(written)
GAVINIS, FRANOIS
Born at Bordeaux, 1683. Established at Paris, 1730. Died 1772. Some early instruments neither very agreeable to look at nor very gratifying to remember sometimes edges inlaid with ebony. Later, concentrated more thought on his work and produced instruments more in compliance with artistry. Nicely broad outline, and not much liberty taken with the arching. Stradivarian characteristics of the larger modelling. Occasionally one of medium size. Proportions lying well within the scope of precise calculation. Tonal quality promises considerable reward for the expenditure of 30. Geometry of scroll offers considerable obeisance to the laws and forces of grace. Generally prettily figured wood. Yellow-brown and reddish-brown varnish - opaque and flinty. Cellos (though not of a unique type of undeviating ideal beauty), greatly esteemed for tonal quality. Produced six-stringed viols. One, dated 1744, preserved in the Paris Conservatoire Colleclection. Also a finely toned double-bass with a head sculptured to represent King David. 70, 1959.
-----------------------------
Gavinis, rue
S. Thomas du Louvre,
Paris, 1770
-----------------------------
Name sometimes given as Gavignis and Gavanis. Some instruments branded with name.
GAVONI, ANTONIO
Worked at Modena, 1760. Specialised in cellos and double-basses. Good craftsmanship. 100, 1959.
GAY, WILFRED
Amateur. Resident at Bristol, 1905-1915. Pupil of Lye at Camerton. Well conceived designs, adroit workmanship, careful application of varnish, and agreeable tone.
GAYNKAR, AUGUSTIN
Worked at Cremona. Rather faithful copies of the Amati style. Long corners, but not inartistic. Deep red varnish applied with a certain amount of the picturesque. Structural details all scrupulously attended to. Good acoustical belly wood, and prettily figured material for back and ribs. Tonal quality quite pure though not brilliant. 150, 1959.
---------------------------
Augustinus Gaynkar
fecit Cremonen, 1746
---------------------------
GAZZLA, PROSDOCIMO
Worked at Crespano (Italy). Born 1822. Died 1885. Produced very few violins. Principally made double-basses. Modelling excellent.
GEARY, WILLIAM GEORGE
Born at Hackney (London). Brought up to follow the trade of a lithographic printer - his vocation for several years. Proficient at an early age in the use of tools, this qualification added to the keen interest he had for violins, became the fundamental impulse that gave effect to his desire to become a luthier. Indebted (for practical knowledge of the craft) to W. B. Prince of Tooting, under this excellent tutor he made important progress. Fashioned mostly on the Stradivarius and Guarnerius models. Decidedly bold scroll, well-thrown, striking and symmetrical, gracefully cut and well finished. Purfling neatly, firmly, and evenly laid. Well cut and graceful sound-holes. Wood of excellent quality and figure. Details of interior workmanship perfectly accurate. Several well-known players testified to the rather satisfactory tonal results. Used Millingtons golden-brown oil varnish, and shows splendid ideas in application.
-----------------------
Made by
William G. Geary
London. 1920
-----------------------
(written)
The high degree of excellence he attained, the art of bow making proclaims him a clever ex-pupil of L. T. Chappell of Forest Gate. For strength of spring, correctness of taper, balance, and general finish, his bows are the players desideratum, and the prices are such as to facilitate the ready acquisition. Made quite a good number of violins and bows, and hereby found his true vocation. To makers such as he attaches the distinction of adding to the lustre of Londons roll of honour in the annals of its violin constructors.
GEBHARDT, J. C.
Worked at Hamburg, 1810-1840. Not many violins or cellos, but a good number of double-basses.
---------------------------
J. C. Gebhardt
Instrumentenmacher
in Hamburg, 1837
--------------------------
GEDLER, JOHANN ANTON
Worked at Fssen (Bavaria), 1752-1801. Original model somewhat combining the Stainer and Albani. Arching much exaggerated and blown out, grace of contour has lost its harmonies, and a sense of proportion is strangely wanting. Nevertheless, no-one will gainsay that the workmanship has considerable precision which comes of knowledge. Very deep groove around the edges - outline flattened at top and bottom, assuredly giving a rather inartistic squarish appearance. Rather stiff looking, and long sound-holes. Not crudely cut, but certainly not happy in any particular because the upper and lower turns are not circular. He fell into the snare of giving unnecessary peculiar features to the middle bouts, at least one speciality exclusively his own, few moderns will copy it. Quality of varnish varies very considerably. Sometimes (on later dated instruments), a reddish-brown of fairly warm tint, others the converse of transparency being extremely sparse in application, thin, hard and brittle. Often a very thin tone though clear in some respects. Of slight use to the modern player. 25 (1930). Also made some instruments after 17th century favourite models with undulating sides. Tone occasionally of good quality, but more frequently thin and nasal. Name sometimes given as Gidl. 90, 1959.
------------------------------------------------
Joannes Antonius Gedler. F. de Fssen
Anno 1761
------------------------------------------------
Some bear his initials J.A.G., others have A.G. within a circle.
GEDLER, JOSEPH BENEDIKT
Born at Fssen, 1759. Worked and died there, 1830. Son and pupil of the preceding. Similar in style to that of father, which he naturally but unwisely imitated. Workmanship sometimes very mediocre but occasionally there are specimens whereon he worked with greater facility of execution. Often very beautifully flamed wood. Golden-yellow, golden-brown, and wine-red shades of varnish, sometimes transparent, but more often thin and hard. Clear tone with a certain mellowness, but without fullness or richness. 35 (1925). Some cellos of medium arching and somewhat Stradivarian outline. Orange-red varnish of fair texture.
---------------------------------
Joseph Benedictus Gedler
in Fssen 1796
---------------------------------
------------------------------
Joseph Benedikt Gedler
in Fssen 1812
------------------------------
GEDLER, NORBERT
Worked at Wrzburg (Bavaria), 1715-1723. Born at Fssen. Lute and violin maker to the Bavarian Court. Violas and cellos have the conscientious workmanship which we can scarcely deny to be genius. Varnish splendid. Very few violins known. Made several very finely worked viols. Name usually given in dictionaries as Bedler - an error owing to the mis-reading of a manuscript label.
------------------------------
Norbertus Gedler
Hochfurstl.
Hof-Lauten und Geigen
Macher in Wrztburg
im
Jahr 1722
-------------------------------
Label in a Viola-d-bordone preserved in the Paris Conservatoire Collection:
------------------------------------
Norbert Bedler
luthier de la Cour de Bavire
Wurtzbourg. 1723
------------------------------------
GEELOS, GEORG
Worked at Innsbruck (Tyrol), 1680-1690.
---------------------
Georg Geelos in
Insfprugg. 1685
---------------------
(German lettering)
GEEST
see VAN DER GEEST.
GEHRING, FRIEDRICH
Born 1854. Worked at Paris, North America (1884), and Basle (Switzerland), 1889. Died 1914. Chiefly an organ builder. Invented a shaped violin - belly connected directly with the back.
-----------------------------
Fritz Gehring
Instrumentenmacher
Basel 18. . Pat. No. . .
-----------------------------
GEIGER, JOSEPH
Born in Holmes County (Ohio), 1845. Gained knowledge from studying various books on violin construction. Made first instrument 1890. Worked at Canton (Ohio), 1908; and at Independence (Kansas), 1910. Removed to St. Joseph (Missouri) where in 1926 he was still turning out high grade violins. Produced about 400 instruments, all bearing evidence of unwearying zeal in following out the principles of Stradivarius. Workmanship of the highest class. Tone continually increasing its hold on many professional violinists who deservedly appreciate its clearness and fullness. Different shades of varnish, some light, others dark.
--------------------------
Jos. Geiger
St. Joseph. Missouri
Feb. 1913
--------------------------
(brown paper)
GEIPEL. HERMANN
Born 1862. Established at Brambach (Bohemia), 1885. Designs and workmanship much esteemed.
GEIPEL, OSWALD
Worked at Wohlhausen (Saxony), 1925. Bows of various grades.
GEIPEL, PAUL
Worked at Raun (Saxony), 1920.
GEISSENHOF, FRANZ
Born 1754. Worked at Vienna. Pupil and successor of Johann Georg Thir. Died 1821. Viewing the development of Viennese art, it must be admitted that he formed a certain epoch, became a kind of herald in stimulating other native makers to leave the Bohemian School in favour of the Cremonese, and rose to the exalted position of being the greatest Austrian craftsman. General diffusion of his style by his contemporaries and immediate successors, is not difficult to account for since there is always implanted in a persons heart a great aspiration after things pleasant to the eye as well as instinctive feeling for sympathetic tone, which is inherent in everybody. Geissenhof in adopting the Amati-Stradivarian style, extended the influence of his art, advanced his own progress, opened up a fruitful field for his future and left blossoming roses to posterity - many specimens being veritable gems of workmanship and tone. His violins are the shining ornaments of the Austrian school, inferior only to the earlier Cremonas; and he produced nothing undeserving of the title of the Viennese Stradivari bestowed upon him by his countrymen. As a relief he very occasionally emancipated himself from the above model to indulge in a few replicas of a Gasparo da Sal or Maggini, in which he embodied a little of his own imagination, and our surprise is that he did not do it more often since the characteristic peculiarities of each contour are most beautifully portrayed. Everything done with a remarkably free hand - also a richly brilliant varnish scarcely, if at all, unworthy of his great prototypes.None of his instruments have a particularly large tone, but there is a peculiar persuasiveness and clarity, together with remarkable evenness which recommends them to many Continental soloists. First period, (1780-1790) of medium arching with slight traces of Bohemian influences in the general conception. Varnish of dark shade, somewhat similar to that of his teacher, and quite satisfying to the eye. Flatter modelling appears in the second period, 1790-1800. Belly wood carefully chosen for its narrow grain. Backs seldom of prettily figured wood. Varnish more transparent and slightly lighter in shade. Broader modelling signalises the third period, 1800-1810. Workmanship altogether more refined, curves and arching harmonised flawlessly. Pattern somewhat reminding of the 1716 Stradivarius. Beautifully rounded edges, perfect corners, and matchless purfling. General appearance rather feminine than masculine. Scroll ideally positioned, finely rounded to the boss, and the facets between the fluting stands out very cleanly. Splendidly handsome wood, occasionally birds-eye maple for back and ribs. Finest acoustical belly wood and plentifully used, though with considerable discretion to create responsiveness. Sound-holes quite Stradivarian, with an especially fine and elegant contrast of the wings and curves. Brownish golden varnish with a tinge of red - sometimes quite noticeable, other times almost absent, in this latter instance the varnish seems slightly less supple.
Fourth period, 1810-1821; edges slightly moderated in thickness. Varnish always more brilliant, and more nearly approaching a pure golden shade, very sensitive and easily worn off. It is said that, before varnishing, he treated the wood with lime-water, also giving the plates a special glossy surface of some material known only to himself. Violas not many in number, have a quartet tonal quality. Few cellos bear his label, and are not greatly valued. Only one double-bass known.
----------------------------------
Franciscus Geissenhof fecit
Viennae. Anno 1805
----------------------------------
(some with plain border, others without any)
--------------------------------------
Neu Lackiert und Repariert
Franz Geissenhof, Wien, 1807
--------------------------------------
(written)
----------------------------------------------
Franciscus Geissenhof, fecit Viennae
Anno 1836
----------------------------------------------
(not genuine. Date entirely wrong)
Branded F.G. within a crosswise parallelogram of double lines on or near the button at foot of neck. Sometimes placed under the varnish. Name variously given as Geiffenhof, Geiffenhaff, and Geigenhof. Productivity comparatively small. Worked mostly without assistants, and had but few pupils - Schweizer being one.
Protagonists of the claims of the best Geissenhof violins need have no fear as to the sufficiency of their arguments; but it should not be necessary to talk about superiority, equality, or inferiority in comparison with other types, since they belong to a school entirely their own, and should be judged as such. 125, 1959.
GEISSENHOF, JOSEPH
One specimen known, preserved in a Viennese Museum.
------------------------------
Josephus Geissenhof
fecit Vienae Anno 1790
------------------------------
GEISSER, ERNST
Born at Munich, 1854. Worked at St. Petersburg, 1870-1920. Maker to the Imperial Conservatorium. Returned to Munich. Died 1929. Excellent modelling - Cremonese and Tyrolian. Attractive varnish.
GEISSER, NICOLAS
Born at St. Petersburg, 1884. Son and pupil of the aboye. Worked with Silvestre at Lyons. Joined father, 1907. Died 1912. Strad and Guarnerian modelling, also a superb one on original lines, all conspicuous for a particularly fine varnish.
GELATO, P.
Italian. Made violins during captivity at Dsseldorf, 1916.
GEMNDER, AUGUST MARTIN
Son of August Martin Ludwig. Born at New York, 1862. Entered fathers workshop, 1875. Made first instrument, 1877. Creator of the Gemunder Art Violins. Made a quartet of instruments for the Columbia Exposition, 1893, and received the highest award. Made according to the most reputed models of the old Italian makers in style, colouring, shading, and texture of varnish. Workmanship inferior however, graduations and other constructive elements strictly Gemnder ideas of producing uniform vibrations. Also claimed that these violins embodied a tonal quality of the same timbre as that producible from any of the instruments he made replicas from. The worlds most famous artists, from year to year, sent him remarkable laudatory testimonials concerning this tone. Instruments by note as well as by ear. Exact reproductions, but are the work of an artistthinker, one who gives each part of the interior its form and shape according to the acoustical function it has to perform, and not from any pattern left by this or that celebrated maker. Every change of this inside work wrought to give more power of tone, and with that great power there is no loss of refinement. Asserted that his instruments had the old Italian tone magnified by amplification and alteration of every part that tends to give an increase in the vibrating sounding board area, thereby increasing tonal volume. Great clarity too, due to special scientifically accurate graduations and arching that harmonise with each other. Wood always old, but not worn out or over seasoned, aged, but more resonant because of that. Tops of narrow, medium, and wide fibre. Backs cut in various ways.
Some instruments made from wood taken from some very old buildings near the approach to Brooklyh Bridge. Specially prepared varnish from own formula, named Vibrant. Does not penetrate the pores of the wood, but lies on the surface like a shect protecting the instrument. Always pliable, never flinty or sticky, and an abundance of colour to fascinate the eye. Each model distinguished by some fixed quality of tone, bright, silvery, sonorous, sympathetic, brilliant, or powerful.
(1) Maggini model. Tone large and decidedly noble, also without the veiled effect noticeable on the A and E strings of several of the original Magginis. Light brown varnish of remarkable delicacy and transparency, shaded or thinned down in imitation of wear.
(2) Hieronymus Amati model. One of his best from an acoustical viewpoint. Skill stands out conspicuously, not alone in beauty of form and grace of outline, but also and more so in beauty and grandeur of tone with fluency of response. Varnished in imitation of age and wear so far as the application is concerned, colour tints vary from golden-brown to a glowing garnet.
(3) Facsimile of a Stradivarius dated 1705. Fiery, gleaming varnish in keeping with the grandeur and brilliancy of tone.
(4) Facsimile of the second period Stradivarius, dated 1724. Represents the finest flight of the copyist. Workmanship delightful to the connoisseurs eye, also the woods used. Gleaming and glowing golden, or red varnish making an art-work of form and colour. Tonal quality warm and vibrant.
(5) and (6). Two Joseph Guarnerius models. Gemunders virtuosity of style as fully exemplified here as that of the originals. One large, the other small, equally happy in the varying form of line. Guarnerian varnish often exhibits a striking fiery brilliancy, a red-gold, melting to amber shades. Often termed sonnets in colour. Vibrant varnish here shows itself admirably in duplicating the colour effects, and where it is shaded off, to simulate great antiquity, retains its sheeny, filmy, diaphanous lustre even when thinned down to an almost imperceptible layer.
Arrived at the meridian of his lifes work, when he brought out the Gemunder model of 1905, a compromise between the deep Guarnerius and the lighter toned Stradivarius. A model possessing what he was pleased to term Gemunder Tone, a tone brilliant and deep, some mellowness and sympathy on every string, perfect equality throughout all the positions, and of sufficiency and plasticity to emotional and great area requirements, also emphasising two pertinent truths: (1) that a musical note is the result of a regular and periodic vibration of air particles acting on the ear; (2) that in order to cause this effect on the air particles, the vibration of the body whence the sound proceeds, must also be regular and periodic. Wonderfully fine varnish of various shades. Valued at 500 dollars.
Violas and cellos made on similar models.
----------------------------------------
Gemnder Art Violin New
August Gemnder & Sons 1920
York
----------------------------------------
(August Gemnder wirtten; with place and date between two drawn f holes)
Gemunder Art Bows made exclusive of pernambuco wood. Sticks thoroughly tested for elasticity and balance, eyed for suitability of fibre and grain - each proportioned, as nearly as its own characteristics will admit of, to the models of Tourte, Bausch, Vuillaume, and Lupot. As technical aids for the violinist they represent all the knowledge (theoretical and practical) of the bow-makers art. To his accomplishments as a maker must be added that of a fairly capable performer. Founded the Violin World, 1892, a journal offering erudite articles of violin interest. Died 1928. Inventor of Amplitone, 1925. Eight strips of pine wood disposed fan-wise and fastened to the pin block. Each is tuned to a note within the violin register, and sympathetically vibrate with the notes produced by the player, thus creating greater sonority and carrying power. An old principle put into new form,. early viols had two sets of strings, the lower set acting as vibrators.
GEMNDER, AUGUST. MARTIN LUDWIG
Son and pupil of Johann Georg Heinrich. Born at Ingelfingen, 1814. Went to America, 1846. Established first in Massachusetts, later at New York. Died there 1895. Achieved a very fine reputation. Violins possessing a clear, mellow, and even a singing quality of tone, which readily responds to the slightest stroke of the bow. Stands any amount of forcible playing, also quite superior to many of the older Italian instruments. Modelled after the celebrated old instruments of Cremona and Brescia. Highest knowledge of each model and perception of its particular characteristics, outside and inside, magnificently portrayed in grand workmanship. Though the bodily resemblance is splendidly rendered, there is also something especially individualistic. Also imparted much of the peculiar tonal qualities of each model. In 1828, when he was in his 14th year, his father received from Prince Hohenlohe a quartet of stringed instruments made by Stradivari, which needed adjusting and putting in suitable playing order. Thus the youth had a glorious opportunity of studying and learning some of the cardinal principles of that maker. After settling in the United States he soon gathered around him all the wealthy amateurs and virtuosi, and they confidently entrusted their valuable instruments to his restorative skill. Made exact reproductions of the favourite violins of Ole Bull, De Brit, Sarasate, and Wilhelmj, which made these artists doubt the superiority of the originals. A truly wonderful genius whose craftsmanship never ebbed.
GEMNDER, GEORGE (Senr.)
Brother of August Martin Ludwig. Born at Ingelfingen (Wrtemberg), 1816. Served several years in Vuillaumes workshop at Paris. Went to New York, 1847, and worked with brother. Established own workshop at Astoria (New York). Died 1899. Became noted as a faithful imitator of the Stradivarius and Guarnerius violins. Gained the title of Americas greatest maker. Experimented with various woods (including American pine) and claimed equality with the Cremonese in this respect. Marvellous examples of carefully worked-out modelling for a special silvery tonal quality - a tone that attracted all the virtuosi visiting America. Wilhelmj used one of these instruments for many years, and at different times preferred it to his Stradivarius. Gained the highest awards at the Centennial Exposition, Philadelphia, 1876, also carried off various gold medals at European Exhibitions. A maker of rare endowments, remarkable acoustical knowledge, and something quite superior in his method of varnishing. Nothing tempted him to build hastily for mere wealthy patronage, consequently he never violated his aesthetic conscience.
Noteworthy examples:
Dated 1868. Beautiful even grained spruce, backs and ribs of handsome curly maple, two-piece back, plentifully wooded, rich varnish shading from orange to deep red, full and resonant tonal quality. Sold by Friedrich (New York) for 400 dollars.
Dated 1856. Chosen by Wilhelmj for TheodoreThomas (violinist and founder of the Chicago Symphony Orchestra). Stradivarian model, two-piece back of flamed maple, top of wide-grain spruce, golden brown varnish, beautiful quality of tone. Catalogued by Lyon & Healy (Chicago) at 1500 dollars.
Dated 1873. The Wilhelmj. Made for the Vienna Exhibition. Large Stradivarian modelling, fine golden-red varnish, brilliant and powerful tone. Sold for 850 dollars.
Dated 1878. Made expressly for Theodore Thomas Who prized it highly for his quartet playing. Guamnerian model, two-piece back of handsome wood, medium grain spruce, penetrating, sweet tone. Catalogued at 1500 dollars.
Dated 1879. Particularly handsome specimen, ribs and back of a small close curl of wonderful beauty, deep red varnish. 500 dollars.
Dated 1886. Maggini model with the triple turn in the scroll, but only one row of purfling, two-piece back with Gemnders picture on it, full and rich tone. 400 dollars.
Dated 1890. Stradivarian model, reddish varnish. Sold by Harry Dykes for 45. A. E. Waldau (pupil of Spohr), resident at Colchester 1891, owned an early dated Guarnerian model Gemnder which had a remarkably mature tone. Gemnder was the author of Progress in Violin Making (1881), which was published as a glorification of his own work. Also contains interesting facts concerning the art and its critics in general, as well as authoritative information relating to the different or rival merits of old and new instruments.
Contradictions on the alleged discovery of the Lost Secret of the Cremona Violins claimed by Schradieck - a twenty-five page pamphlet of controversial matter arriving at no satisfactory solution of the problem.
GEMNDER, OSCAR A.
Boro 1873. Third son of August. Last member of the Firm. Produced many Cremonese and Maggini models, all fine imitations magnificently varnished. Also copied the Gemnder art model. Used same label as that of father, but signed them with his own name.
GEMNDER, RUDOLF
Born 1865. Second son of August. Member of the Firm.
GENNARO
see JANUARIUS.
GENIN, JOSEPH AND JOSEPH FILS
Bow makers at Mirecourt, 1765-1782.
GENOVA, GIOVANNI BATTISTA
Worked at Turin, 1760-1780. Pupil of Guidantus. Bisiach (Florence) owned a magnificent viola (body length, 43 cm.), Amatese model, all details cleverly worked, warm-looking yellowish varnish. 175, 1959.
----------------------------
Fecit Taurini Joarnnes
Baptista Genova 1770
----------------------------
GENOVESE, R.
Born 1883. Pupil of Fagnola. Worked at Lecco (Montiglio). Sturdily built violins with individualistic touches, scroll well outlined, stylistic sound-holes, fine textured varnish applied with assurance, brilliant tone yet possessing a tender quality.
----------------------------------
Riccardo Genovese - fecit
Lecco - Anno Domini R G
----------------------------------
-------------------------------------
Riccardo Genovese - fecit
Montigilo - anno Domini 19. .
-------------------------------------
Also signed on the upper right-hand corner block. 75, 1959.
GENTILE, MICHELE
Worked at Lucca, 1890.
GEORGE, CARL H.
Born at Hamburg, 1882. Taken to Chicago in 14th year. Apprenticed to Ferron. Subsequently established an important business known as Wagner and George. Died at Evanston, 1950. Made 400 violins and 30 cellos from 1899 to 1945. Original modelling of combined Strad and Guarnerian traits. Clever workmanship. Generally oil varnish of reddish golden shade conspicuous for its plasticity. Recipient of testimonials from famous soloists.
GERANI
Worked at Turin, 1740-1763. Good modelling, reddish-orange varnish.
GERANI, PAOLO
Worked at Cremona, 1610-1630. Violas converted from viol-damours, also viol-da-gambas.
GRARD
Worked at Mirecourt and Paris, 1850-1860. Violins and violas wholly in the Stradivarian style of Vuillaume for whom he worked. Inscription written with pale Indian ink in place of the usual label.
-----------------
Grard lve
de Vuillaume
-----------------
GERARDI, MARIO
Worked at Milan, 1920; went to Trieste, 1930; and to Novara, 1949.
GERARDIN
Worked at Bourges (France), 1800-1815. Completely Mirecourtian in general style, but exalted from the commonplace by careful workmanship. No want of solidity, arching harmoniously regulated with curvatures of the outline. Reddish varnish of a fairly mellow shade managed with considerable mastery. 20 (1925). Branded inside on the back. 60, 1959.
GERARDIN
Born at Mirecourt. Worked at Paris. Violins and violas having no better attributes than those abundant on all ordinary instruments. An advocate of art would seek refuge from these. Some instruments without purfling.
-----------------------------------
Gerardin, maitre luthier
prs de la limite des Italiens
Paris, 1772
-----------------------------------
GERBER, PIERRE
Born 1912. Pupil of Richard Meinel. Also worked for Millant-Deroux at Paris. Established at Lausanne, 1934. Repairer to the Conservatoire. Excellent instruments, generally Gagliano modelling. Splendidly textured reddish-brown varnish.
-------------------------------------
Pierre Gerber
Luthier
du Conservatoire de Musique
Lausanne
-------------------------------------
GERISCH, GUSTAV HERMANN
Born 1870. Worked at Markneukirchen and Auerbach (Saxony). Instruments generally esteemed as good representations in the category of commercials.
GERLE, CONRAD
Born 1460. Died 1521. Celebrated lute player and lute maker at Nrnberg. Lutes known as Lutz dAlemaigne were much sought after.
GERLE, GEORGE
Member of King Ferdinands orchestra at Innsbruck, 1568. Died 1590. Lutes (highly decorative) and viols.
GERLE, HANS
Born 1505. Died 1589. Lived at Nrnberg (Bavaria). Celebrated lute player, composer, and author. Also famed for his finely made lutes as early as 1523. Wrote Instruction Books for large and small viols and lutes, which are regarded as valuable curiosities. A few violins and violas labelled with his name have been seen, but if genuine, they must have been made by his son Hans (1570-1608).
GERLE, MELCHIOR
Son of George. Died 1618. Lute maker to the Archduke Ferdinand at Innsbruck.
GERMAIN, EMILE
Born at Paris, 1853. Sonof Joseph Louis. Apprenticed to the trade at Mirecourt, 1865. Succeeded to fathers business at Paris, 1870. Went into partnership with Dehommais until 1882. Worked alone, 1882. Died 1933. Produced about 50 instruments yearly entirely personal. Modelling and workmanship worthy of analysis and comparison with any French examples. At no point do we see any desire for eccentric distinction. 30 (1925). Dehommais was an amateur who experimented in varnish, this being laid on the inner side and practically served to merely alcoholise and impregnate the wood for premature ageing, etc. About 100 instruments were made during the partnership of ten years. Awarded Exhibition medals and diplomas. 80, 1959.
----------------------------------------
Dehommais et Germain, Paris
12 Rue Croix des Petits Champs
----------------------------------------
-----------------------------
Emile Germain, Paris
5 Faubourg Montmatre
-----------------------------
Also produced many truly excellent bows, considering that he priced them at the low figure of 2. Substantially built, rather too heavy for some players, but of accurate balance. Some sticks have a remarkable satiny appearance. Stamped E. Germain. Paris. 10, 1959.
GERMAIN, JOSEPH LOUIS
Born at Mirecourt, 1822. Worked in several local establishments. Went to Paris 1840; employed by C. F. Gand for five years; assisted Vuillaume, 1845-1850; principal workman for Gand fils, 1851. Opened own premises in the rue Saint-Denis, 1862. Retired 1870. Died the same year. Every part of his instruments modelled with scrupulous care. Varnish of attractive gradations of shade. Penetrating tonal quality. 75, l959.
--------------------------------------
Louis Joseph Germain, Luthier
A Paris, Anne 1867 L+J
G
--------------------------------------
(initials doublecircled)
--------------------------------------
Joseph Louis Germain, Paris
Anne 1869 J+G
+
--------------------------------------
GERMAIN, LOUIS
Born and trained at Mirecourt. Worked at Paris, 1756. Specialist in tenor violins. Bold modelling, well conceived.
-------------------
Louis Germain
Luthier. Paris
-------------------
GERMANO
Worked at Milan, 1906. Instruments largely circulated in England. Good workmanship and tone. 70, 1959.
GERMIEN
Label found in a Mirecourtian violin.
-----------------
Germien
Paris. 1823
-----------------
GERONI, DOMENICO
Worked at Ostia. Imitated celebrated old violins so cleverly that several dealers have removed his label and substituted those of more famous names and traded them as authenticated ancients. 35 (1927). 100, 1959.
---------------------------------
Domenico Ceroni Ostiano.
fecit anno 1822
---------------------------------
GEROSA, GIOVANNI
Born 1895. Worked at Morbegno (Sondrio). Strad and Guarnerian modelling, also one slightly individualistic. Well chosen woods, brown or golden-reddish-yellow spirit varnish. Splendidly clear tone on all strings.
-------------------------
Gerosa Giovanni
fece in Morbegno G
Giovanni Gerosa
-------------------------
(written, with initials in circle)
GERRITSZ, HUYBERT
Mentioned as a fiolemaker in Regulierswarsstraat, Amsterdam, 1680-1690.
GERVAIS, TREFFL R.
Born in Canada, 1863. French parentage. Worked at Boston (U.S.A.) for several makers, 1877. Made first instrument 1882. Conducted own workshop 1898, and from thence on his career was easy and prosperous. Produced true modelling on the lines of Stradivarius or Guarnerius. Each instrument bears the impress of thorough knowledge, and manifests neat exemplification of that knowledge. Tonal quality brilliantly strong, revealing his acoustical researches. Fond of using beautifully figured spotted maple. Yellow varnish of a fine darkish tint. 20 (1920).
--------------------
Treffl Gervais
Boston. Mass.
Made 1897
--------------------
(bearing design of a violin)
--------------------
No. Made by
Treffl Gervais
Violin Maker
18. . Boston
--------------------
(very small)
GERVEX, FELIX
Established at Paris, 1850. Controlled by son of same christian name, 1926. Makers of pianos, saxophones, jazz and eccentric instruments. Also Balalaikas, guitars, ukeleles, banjos, etc. Obtained several Diplomas of Honour at various Expositions. Some commonplace violins known.
GESAMAN, EZRA
Resident at Massillon (Ohio), 1920.
G. F.
brand of Gottfried Fischer.
GHERARDI, GIACOMO
Worked at Bologna 1653-1677. Excellent double-basses.
GHIDINI, CARLO
Worked at Parma, 1745-1773. Violins without much significance on account of a poor quality varnish.
GHIRARDI, JOANNES BAPTISTA
Worked at Venice, 1785-1795. Ordinary elementary skill in modelling. Details apparently worked up with greater patience than ability. Nothing particularly desirable about the tone.
------------------------------
Joannes Bapta: Ghirardi
fecit anno 1791 Venetijs
------------------------------
(written in imitation of printed italicised lettering)
GHISOLFI, ERCOLE
Born 1930. Won diploma at Cremona, 1949.
GIACHETTI, JOSEPH
Born at Rome, 1890. Pupil of Rodolfo Fredi. Also studied the violin at the Conservatorio. Worked at Paris, 1920; later at Montreuil (Seine). Various Italian models, oil varnish, nice tone. Several testimonials from professional violinists.
-------------------------
Giacchetti Giuseppe
fece in Roma
via Marsala 34
Lanno 19. .
-------------------------
Used same label later with fait Paris written.
GIACCO, ANTONIO
Worked at Osimo (Ancona). Specialist in guitars, but also constructed a few well conceived violins.
-----------------------------
Giacco Antonio Liutaio
Osimo, Marche, 1928
-----------------------------
GIACINTI, CELESTE
Factory for stringed instruments at Milan, 1900.
GIACOMETTI, GIAMBATTISTA
Worked at Rome, 1586. Known by the name of del violino. Principally made double-harps. Also a few accurately modelled and carefully varnished viols, large and small.
GIAMBERINI, CLAUDIO
Specimen sold in London (1930) for 12.
GIAMBERINI, SIMONE
Worked at Florence, 1770-1775. Modelling conceived in the somewhat free manner of the individualist. Tyrolian characteristics nicely associated with Italian traits. Good workmanship though not minutely finished. Golden-yellow varnish of excellent quality. Purfling unusually broad. Catalogued at 25 (1890) and at 70 (1906). Label sometimes written. 250 1959.
GIANMARINI, EMIDIO
Born 1865. Worked at Ascoli. Died 1915. Made many violins for dealers in the province of Pesaro, some were re-varnished and falsified by labels with well-known names, and disposed of as genuinely old. Specimens entirely free of this charlatanism are covered with a lustrous chestnut-brown varnish artistically applied. 100.
-------------------------
Gianmarini Emidio
Ascoli Picino, 1898
-------------------------
GIANNI, ALESSIO
Worked at Modena, 1770. Modelling verges towards the fantastic but the tone has agreeable sonority.
GIANNINI, FABRIZIO
Born at Arezzo, 1912. Made first instrument 1934. Worked at Viareggio. Made 100 violins and 40 other instruments up to the year 1949. Individualistic model, some highly ornamented with incrustations on back, ribs, and scroll. Golden-yellow varnish, oil and spirit. 75, 1959.
----------------------
Fabrizio Giannini
fece anno 1949
Viareggio
----------------------
(with signature across)
GIANOLA, DOMENICO
Worked at Milan, 1710. Amatese and Strad modelling. Considerable interest focussed on a certain specimen that realised 4,000 lire at Milan, 1929.
GIARONI, ELVIRO
Worked at Villa San Maurizio (Italy), 1925.
GIBBONS, ARTHUR WILLIAM
Born 1914. Resident at Skeyton, nr. Norwich. Commenced experimenting in violin structure in 1936, and shortly after the second world war, his work came to the notice of W. J. Piercy of Hanwell (who worked for Messrs. Hill & Sons, for eighteen years before establishing own business), and as a result received comprehensive instruction in the making and repairing of violins, etc. personally from W. J. Piercy. Violins made to several outlines. Thicknesses very carefully worked to system recommended by Piercy which, coupled with low archings (about 5/8in. rise), gives a free tone of very good quality and power. Well-built instruments of carefully chosen wood. Size most favoured: back length, l4in.; bottom bouts, 8-1/4in.; ribs, 1-1/4in.-1.3/16in. Violas are of modified Archinto Strad outline: body length, 16-1/2in.; ribs, 1-1/2-1-3/8in. Four violins completed up to March, 1959. Owing to fine tonal quality the instruments were sold as soon as completed. Oil varnish, usually golden-brown. Others finished in Winterarc spirit varnish - dark brown. Small output, about two to four instruments yearly. Very well-known locally for sound repairs.
-----------------------------------------
Made by
A. W. Gibbons Alumnus
Skeyton, W. J. Piercy
Norwich. Late of Hills.
Fecit 1958
Model Venitus No. 2
-----------------------------------------
(manuscript label)
GIBBS, G. W.
Resident at Hendon (London), 1920-1927; and at Wisbech, 1928.
GIBBS, JAMES
Worked in London, 1800-1845. Employed by J. Morrison, George Corsby and Samuel Gilkes. No instruments known, all of them passing under the labels of his employers.
GIBERTINI, ANTONIO
Name sometimes given as Gilbertini. Worked at Parma, 1820-1833, at Genoa 1834-1845, then returned to Parma. Died 1866. Occasionally employed by Paganini to repair and adjust. Received several medals at Milan and other cities for his supposed restoration of the lost art of Cremona. Ten page laudatory pamphlet written by Carlo Pancaldi (Advocate at Bologna) served to bring the violins into prominence after 1845. Fine flights of construction solidity personified, strongly Stradivarian, graceful without losing one jot of breadth or vigour, altogether fascinating to the eye. Also modelled a few after the Guarnerius style, impressing them with matchless grace and picturesque form. Remarkable conceptions, all technicalities tinged with aesthetical imagination. Curvatures of outline almost perfect. Arching shows that he was not restricted or governed by any antecedent procedure, yet avoided exaggeration entirely, and with the slightest grooving near the edge. Scroll almost imperiously ideal, masculine and not longish-looking, magnificent voluting. Gracefully drawn sound-holes positioned rather widely apart. Corners full and square. Occasionally indulged in making the middle bouts a trifle more shallow than usual with Stradivari, but no stiffness apparent. Woods of the finest growth, plentifully used, no staining or chemicalising, everything built to give the instrument a glorious and natural future. Purfling the least refined of his accomplishments. Often close, small figured maple for backs and ribs. Adopted a first varnish of yellow spirit medium over which he applied a rich oil varnish of reddish shade, sometimes having the tint of a brilliant deep orange, and at other times thicker and darker. Tonal quality strong, very even, and fascinatingly clear. 100 (1925). Productivity not particularly prolific. Also similarly modelled cellos. Sometimes covered with a brownish shade of varnish. Rich and flexible tonal quality. 150 (1925). Inventor of a mechanism for enhancing fullness of tone. 250, 1959.
--------------------------------------------------------
Restaur e coresse nell anno 1839 in Genova
Antonio Gibertini di Parma
Premiato pl volte in Milan con medaglia, etc.
--------------------------------------------------------
(small lettering)
--------------------------------
Antonio Gibertini
Parma 18. .
Gibertini Antonio
fece in Parma anno 1849
--------------------------------
(bearing a vignette)
GIBERTONI, GIUSEPPE
Amateur. Resident at Modena, 1825-1830. Sometimes called Paninino (Baker). Versatile experimentalist in several sciences. Skilful as a cabinet maker, dabbled in pyrotechnics, and brought some of his misplaced ingenuity into the violin realm. Instruments not accredited with estimable qualities, open to the imputation of eccentricity.
GIBL, LAURENZ
Worked at Prague, 1620. Lutes and viols which seem to have passed out of existence.
GIBLIN, E. G.
Worked at Blackheath (London), 1920. Golden amber coloured varnish. Nice models.
GIBOREAU, AUGUSTE
Worked at Lige, 1882. Little known.
GIBOREAU, DESIR-ALPHONSE-DIEUDONN Born at Lige, 1866. Apprenticed to Laberte-Humbert at Mirecourt. Establishments at Lige and Strassburg, 1928. Died 1933. Produced many violins, ccllos, double-basses, viol-damores and viol-da-gambas. Larger proportion of them fine examples of imitative art, and without any of the deficiencies usually accompanying such work. Other specimens have certain original modifications. Varnish of various tints according with the special model chosen for imitation. Lilliputian violin named Le Goliath preserved at Brussels Conservatoire.
------------------------------------
Alphonse Giboreau
Luthier Fabricant
4 Rue Chapelle-des-Cleres 4
Lige, le...................19..
------------------------------------
Date added in writing.
GIEFERT, G. W.
Worked at Berlin, 1909. Specimen realised 30 (1929).
GIEHRL, LORENZ
Born 1813. Worked at Amberg (Bavaria). Died 1892. Pupil of Thumhart. Supposed to be Amatese and Strad modelling but little fits in to its appropriate atmosphere. Some have lion heads. Commonplace trade efforts.
-----------------------------------------------
Lorenz Giehrl
Saiten-Instrunientenmacher in Amberg
1865
-----------------------------------------------
GIGLI, GIULIO CESARE
Worked at Rome, 1730-1762. Amatese modelling with middle bouts too narrow; having few indications of conscientious work. Outline and arching not particularly accurate. Scroll rather effectively shaped. Small sound-holes not deserving honourable mention. No medal can be awarded for the pronounced purfling which is near the edges. Sometimes a painted line. Pointed corners rather clumsily executed. Golden-yellow, dark red, or reddish yellow varnish, not of soft quality; often prettily figured wood. Cannot express content with tone Which is altogether small and has no recompensing warmth. 95 (1928). Cellos have better qualities in tone and workmanship, but cannot be classed very high. 125, 1959.
-----------------------------------
Julius Caesar Gigli Romanus
fecit Romae. anno 1761
-----------------------------------
GIL, JOS Established at Calatayud (Spain), 1925. Admirably adopted his ingenuity to producing truly artistic guitars. A few violins bear his label.
GILBERT, JEFFERY
Resident at New Romney (Kent), 1840-1870. Enthusiastic amateur violinist and cellist, also maker of good sounding violins and cellos.
GILBERT, JEFFERY JAMES
Born at New Romney, 1850. Son of above. Caught the mania of delving into the mysteries of violin construction in 20th year. Made first instrument entirely without the aid of father, who, strangely enough, made attempts to wholly sever his son from the art, but all efforts proved ineffectual. Produced a few more, and found that the mechanical difficulties could be somewhat easily surmounted. Submitted his work to various London authorities, including Charles Reade the novelist, George Hart, George Withers, and John Day, each offering tit-bits of advice which he amalgamated and profited by. Resided at Peterborough, 1875. Continued his experiments, and steadily developed into a first-class craftsman. Won silver medal at the Crystal Palace, London, 1884; another at the Inventors Exhibition, 1885, and a gold medal at Edinburgh, 1890. Engaged on his 350th violin in his 78th year, 1928. Always aimed at superlative workmanship, worked comfortably, hurried nothing, consistently disdained the employment of machinery, and every part arranged and grafted by hand tools. Varied modelling, each example furnishing some slight element of individualism, but with everything arranged rationally. Generally favoured large and flattish modelling. Outline of perfect curvatures. Body length, 14 inches; upper bouts, 6-5/8; middle, 4-1/2; lower, 8-1/8; ribs, 1.3/16 to 1-1/4.
Scrolls sometimes bulky and heavy-looking with an over-wide development at the bottom of the back part of the peg-box, but also many not less bold but more artistically proportioned in which the scalloping, voluting, edging and fluting are well-nigh perfect. Sound-holes also variable in design, though generally 3.1/16 inches in length, some quite Stradivarian in curves and wings but set at a slightly different angle, others seem too narrow to harmonise with contour of instrumemt, and occasionally the lower wing and curve are exaggerated as to disturb the complacence of the eye; but the notch is always most daintily executed. Plates finely bevelled, thicknesses very scientifically thought out, and especial attention given to the linings and the interspersed portions of material to prevent looseness and its resultant chatter. Purfling carefully laid and 1/16th of an inch wide. Finest acoustical and strong fibred belly wood. Backs, seldom of one piece, of sycamore from Czechoslovakia. Very meticulous in varnishing, made hundreds of experiments for at least 50 years, found himself continually baffled to produce a Cremonese varnish until quite late in life. Early instruments sometimes rather unsatisfactory in this matter (having a sort of murkiness in the shading) but later productions are treated to a particularly brilliant and transparent preparation, very successfully applied with superb definitions of gradation, comparing most favourably with the Italian subtleness and lustre, and brings up all the life of the woods.
Gilbert has not revealed his secret to the general public, but perhaps an enthusiastic disciple of his may acquire it.
Various shades, light golden, dark yellow, light and dark brown, light and very deep red, the latter being his favourite and probably the finest. Excellent tonal quality which has received praise from August Wilhelmj, Carrodus, and other virtuosi.
Produced about 40 violas. Measurements: body length, 18 inches; upper bouts, 7-5/8; middle, 5-1/8; lower, 9; ribs, 1-3/8 to 1-1/2.
Measurements of his few viola-altos, magnificently proportioned. Body length, 17; upper bouts, 8-1/8; middle, 5-3/8; lower, 9-1/2; length of sound-holes, 3-5/8. Also about 12 cellos, each felicitous in design, workmanship, varnish and tone.
Measurements: body length, 29-3/4 inches; upper bouts, 13-3/4; middle, 9-3/4; lower, 17-1/2; ribs, 4.9/16; length of sound-holes, 5.11/16.
---------------------------------------
Jeffery J. Gilbert, Peterborough
Fecit anno MDCCCCIV
---------------------------------------
(very large)
Autographed across the back inside.
------------------
J. J. Gilbert
Peterborough
1924
------------------
Number of instrument, 330, placed at the base of neck under the fingerboard, also on the upper block inside.
Made entirely by hand Lilliputian violins as ornamented curiosities, measuring four inches in length from scroll to bottom nut, weighing less than a quarter of an ounce, comprised of ninety-six separate parts, perfect outline and arching, tiny scroll, astonishing in its minuteness, gold-mounted pegs, and strings made of bow hair.
An artist to his finger-tips, an interesting and altogether too unassuming personality, a capable performer on both violin and viola, and the possessor of a mind full of violin lore erudition. Lived at Richmond (Surrey), 1938. Died 1942. 75, 1959.
GILBERT, JUSTIN
Born at Dowds (Iowa), 1866. Went to Victoria, B.C. (Canada), 1892. Court reporter of murder and other trials for fifty years. Competent violinist and played in local orchestras. Inventor of a fountain-pen and a typewriter. Died 1948. Author of Cremona Violin Technique, an interesting book which has had a wide circulation. His own violins, of Stradivarian design, show accomplished craftsmanship. Splendid freedom of tone, easily responsive and of considerable sweetness. Orange-red oil varnish of own formula.
------------------
Justin Gilbert
Victoria, B.C.
P.61 1929
------------------
(written)
GILBERT, L. P.
Worked at Indianapolis (Ind. U.S.A.), 1930.
GILBERT, SIMON
Born 1710. Member of the Cathedral Orchestra at Metz, 1745-1768. Made viols of various kinds, also a few Amatese violins of average workmanship.
-----------------------------------------
Simon Gilbert, Luthier. Musician
de la Cathedrale A Metz. 1756
-----------------------------------------
GILCHRIST, JAMES
Born at Rothesay (Scotland), 1832. Worked there, and at Glasgow. Died 1894. Called the Scottish Stradivari. Quite excellent modelling; first instrument dated 1880. Made 90 violins, violas and cellos - many valued at 30 in his lifetime. Customary good woods, yellowish oil varnish, strong and brilliant tone.
--------------------
James Gilchrist
Rothesay. 1886
--------------------
GILKES, SAMUEL
Born at Morton Pinkney (Northamptonshire), 1787. Apprenticed to Charles Harris in London. Worked for William Forster. Established own workshop, 1810, and used his own label for the first time. Died 1827. Made many delightful violins, particularly suitable for performances of Chamber music. Outline of his Nicola Amati copies is very fine indeed, and the tone is stronger than is generally expected, being remarkably flexible. Though he favoured that model he also paid tribute to the Stradivarian, and here again the upper bouts are perfectly proportioned to the lower. Both models adorned with beautifully finished workmanship in every detail which makes them of even greater interest and renders them the most charming of all our native productions.
It can always be said he touched nothing which he failed to adorn, and this particularly applies to the scroll. Sound-holes perhaps a little less perfect in contour, being cut rather more widely than his prototypes; but they are thoroughly well designed and seem to have a sort of impudent look without brusqueness.
Used very fine acoustical wood for breast, and handsomely figured material for back, ribs and scroll. No niggling narrowness about the purfling. Varnish either yellow-brown of the loveliest tint, and rich in quality, or, an abundantly applied dark red which closely resembles that used by Forster. Tone particularly responsive and round, satisfyingly penetrating though not large. These violins emanated from a man of genius, whose cogent authority has arranged the entire structure in a perfectly regular gradation, and 50 (the usual figure asked in 1930), was to our mind, too small for such splendid work and tone. If we would form an opinion of a violin, the first thing that offers attraction is the general appearance, and thereby we may sometimes guess a little at what the tone may be like. It must be confessed, however, that appearances are often deceitful, and promise more than we eventually obtain. If we know the makers name it may help us to conjecture at the quality of tone, and leave us to guess to what purpose the instrument is best suited. The general construction and particular model may further assist our judgment, and if the workmanship is neat and skilful, it will help us even more. However, the only certain way of knowing exactly, is to play rapid passages in a large hall, getting a critical friend to listen, he not knowing the maker, then solicit his unprejudiced opinion. In this way some strange results will accrue in the comparison of an English (if it is a Gilkes) and Italian instrument, and it is by no means assured that the former would take second place.
-------------------------
Samuel Gilkes
fecit London. 1815
-------------------------
--------------------------------------------
Gilkes
from Forsters
Violin and Violoncello maker
34 James Street. Buckingham Gate.
Westminster
---------------------------------------------
Name stamped inside and on bottom block.
Made various classes of instruments for country dealers. Varnish on these seems to be as if he had thinly rubbed a semi-opaque colour over another. Cellos are rather scarce, and valuable. 85. Cellos 150, 1959.
GILKES, WILLIAM
Son and pupil of the preceding. Born in Westminster, London, 1811. Died 1875. Rather prolific maker, and modelled after several Italians. Did not achieve the fine work or reputation of father, particularly with violins, but very successful with double basses now used by many of the best orchestral players. Maggini model violins accredited his finest productions. Upper bouts not so splendidly done as the middle and lower. Very long sound-holes, and double purfling Rich orange-brown oil varnish. Table wood frequently of one piece. Guarnerian models less satisfactory. Here again the upper part seems too broad to be harmonious to the lower. Usually fine reed wood for the table, and sometimes a two-piece back with the figure running downwards towards the joint, not conducive to ideal prettiness. Dull reddish-yellow varnish, often having the crackled Tyrolese character.
----------------------------
William Gilkes
Wandsworth, London
1857
----------------------------
-----------------
Gilkes
Westminster
London
-----------------
Often branded under the button. Name occasionally spelt Gilks. 50, 1959.
GILL, LOVETT G.
Architect by profession. Resident in London, 1920-1930. Made 30 instruments reaching a high level in design and workmanship. Some have a particularly bright tonal quality.
GILLASPY, RICHARD J.
Born 1868. Worked at Indianapolis. Died 1948.
GILLET, LOUIS
Born 1891. Pupil of Barb at Mirecourt. Worked at Nancy, 1925. and at Chlons-sur-Sane, 1927. First-class bows favoured by several French soloists. Stamped L. Gillet.
GILMORE, RICHARD
Resident at Melbourne (Australia) 1872-1894. Won exhibition medals. Good violins with a tone of somewhat unusual freedom for comparatively new instruments.
GIOMBINI, EGIO
Born 1907. Capable violinist, also a sculptor. Resident at Jesi (Ancona), 1936. Attractive modelling, reddish orange varnish oil and spirit.
-------------------
Giombini Egio
Jesi 1948
-------------------
(written)
GIORDANI, ENRICO
Resident at Genoa, 1920. Exhibited violins at Creniona, 1937.
GIORDANO, ALBERTA
Worked at Cremona, 1710-1748. Nice delineation of Italian modelling somewhat Stradivarian in character. Contour rather attractive on the whole; everything well proportioned. The diversity of line so essential to a well-posed scroll, is here naturally drawn. Fairly transparent yellow-brown or pale red varnish most effectively applied. Tonal quality round and pleasing with considerable flexibility. 30 (1925). Some connoisseurs assert that some of his violins are of the usual Bavarian type, but constructed and varnished to represent Cremona instruments. Superior cellos; one specimen dated 1737 realised 90 in London in the year 1928. Made pretty pocket fiddles, and used a beautiful rose-coloured varnish. 175, 1959.
-------------------------
Alto. Giordano fecit
Cremona. 1714
-------------------------
GIORGETTI, GIOVANNI ANTONIO
Worked at Barga (Italy), 1847. Modelling somewhat Stradivarian in outline, but no confidence expressed in the workmanship. Broad proportions and ungraceful arching. Scroll, sound-holes and purfling full of inexactitudes. Golden-orange varnish of a cloudy shade. Also had a son who made violins without achieving much more than the status of an ordinary amateur.
GIORGI, NICOLA
Worked at Turin, 1745-1790. It is not the happy destiny of many violinists to know much of this mans work. Productivity not very large. All examples absolutely splendid, not only in workmanship but also in tone. He thought extensively and deeply, seeking for tone at every turn, and had implicit belief in the precepts of his renowned predecessors. This tone is the one required by soloists as well as for Chamber music playing, at once so brilliant, yet persuasive, so pure yet large, lending itself to bravura passages, in fact it distributes fine responsiveness from bottom to top. Said to have worked with one of the Cappas. Fine flattish modelling either Stradivarian or Guarnerian-like, occasionally one influenced by J. B. Guadagnini. Lovely orange-red shade of varnish abundantly applied. Very pretty backs. Tops frequently of wide-grain material. With all their virtues these instruments are seldom catalogued beyond 60, though one conspicuously beautiful example dated 1757, brought 2,000 dollars in America, 1930.
---------------------------
Nicolaus Giorgis fecit
Taurini, anno 1745
---------------------------
------------------------------
Nicolaus Giorgi faciebat
Taurini, anno 1789
------------------------------
Name sometimes given as Georgi. 250, 1959.
GIORGIO, REMO DE
Born at Castions di Strada (Udine), 1894. First instrument dated 1926. Diplomas won at Padua and Cremona. Made several quartets. Constructed about 60 violins up to year 1948. Guarnerian, Strad, and personal models, everything most attractive. Yellow-brown varnish shaded with golden red.
------------------------
Remo de Giorgio
fecit
Castions di Strada
anno 1947
------------------------
(upright writing, artistically scrolled)
GIOVANNETTI, EUGENIO
Worked at Lucca, 1880.
GIOVANNETTI, LEONARDO
Born at Lucca, 1814. Died 1884. Received several Exhibition diplomas for superlative designs, workmanship, and especially varnish of own formula.
----------------------------------------
Leonardo Giovannetti Lucchese
Cosi mi construiva 1860
----------------------------------------
----------------------------
Leonardo Giovannetti
fece in Lucca Anno
1857
---------------------------
GIOVANNI, ANTONIO
Worked at Padua, 1725-1756. Several fine viol-damores.
--------------------------------
Giovanni Antonio Da
Padova Fecit Anno 1744
-------------------------------
(written)
GIRADOL
Worked at Barre (Vermont, U.S.A.), 1830-1846. Excellent instruments but only a few known.
GIRANIANI
Worked at Leghorn (Italy), 1827. Some instruments anti-dated 100 years. Nothing particularly impressive about the modelling. Yellow varnish.
GIRARDI
Worked at Vicenza (Italy), 1810-1820. Stradivarian modelling, but rather too broad to be altogether complacent to the eye. Coarse and wide-grained belly wood adds further harshness. Small scroll. Fairly graceful and nicely slanting sound-holes. Back and ribs of pretty material. Reddish-yellow Varnish.
------------------
Girardi
Anno da 1815
Vicenza
------------------
(with letters B. and P. encircled)
GIRARDI, MARIO
Worked at Trieste, 1920.
GIRARDIN (GERARDIN), PAUL
Worked at Mirecourt, 1740-1763. Branded ҈ la ville de Crmone triangular design.
GIROUDET
Frenchman resident in London, 1830-1860. Modelling indicates the exercise of imitative faculty to an interesting degree, and Stradivari is the prototype. Well carved, bold scroll. Prim looking sound-holes; strong fibred belly wood. Brownish yellow varnish of soft quality.
------------------
Fait Londres
par Giroudot
1856
------------------
(written)
-------------------
Giroudot
Violin Maker
London, 1836
-------------------
(written on the inner side of breast near right-hand foot of bridge)
GIRVAN, THOMAS
Born at Dalkeith (Scotland), 1847. Worked at Edinburgh, 1865-1900. Produced about 20 violins activated by enthusiasm for the art instead of a spirit of pecuniary profit. Stradivarian modelling. Early specimens covered with a yellow spirit varnish, later ones with an oil preparation of similar shade. Tonal quality infinitely below the requirements of professional players.
----------------------
Thomas Girvan
Edinburgh, 1868
----------------------
(written)
GISALBERTI, ANDREAS
Probably born at Pesaro. Violinist and ballet master in considerable demand in Northern Italy. Frequently termed Santo Ballarini (ballet Saint). Supposed to have been a pupil of Mariani in violin-making; ultimately worked at Cremona (where the subsequently famous Guarnerius del Gesu studied with him). Later, at Ancona, Bozzola, Parma, Rimini, Pesaro and Rome.
Early instruments often quite quaint and sometimes are regarded as curiosities. Shortish model, fully arched, the raised border and pronounced channelling further accentuating it. Distinctly unattractive curves to the corners which are not squared off. Waist-curves nicely conceived. Somewhat strangely posed and sometimes almost vertical sound-holes. Patchy, broad purfling. Very small and insignificant scroll. Brown varnish. Small but warm quality of tone. Later specimens, particularly those dated from Parma, Rimini and Bozzola, generally of Amatese outline and arching, though seldom two exactly alike. Fairly graceful sound-holes notwithstanding the slight leaning-back of the upper portion - seldom any having a continuous slant. Broadish border, narrow purfling, very unevenly inserted. No special adeptness in the shape or workmanship of the scroll. Generally superb varnish of a deep-yellow shade; occasionally one of darker hue. Fastidious critics may pounce on the rather unrefined workmanship, but they are charmed with the splendidly glowing, warm tone. Backs of the finest quality sycamore; belly wood varies in width of fibre. Some instruments known with double-purfling, but the model is not of the Maggini type. One viola, owned by a Birmingham player in 1900, with a three-piece back, each piece beautifully matching the other, almost certainly one of the idiosyncracies of the maker and not a repair. Noble and clear tone; beautiful varnish. A few cellos known of medium arching.
-------------------
Sante Ballarini
Fece
-------------------
----------------------------
Andreas Gisalberti
Cremonensis
fecit in Bozzolo, 1716
----------------------------
(written; fantastic lettering)
--------------------------
Io Andreas Gisalberti
in Rimini. 1717
--------------------------
(written; grotesque letters each separated from the other; 3-lined border with pen)
---------------------------------------
Andreas Gisalberti fecit Parmae
Anno salutis 1721
---------------------------------------
(printed; small lettering, decorative border)
-------------------
Sante Ballarino
Rimin, 1734
-------------------
(written, quaint separated lettering)
--------------------------
Sancte Ballarini Fece
Lann 1735 Rimini
--------------------------
----------------------------------
Fatto da me Santo Ballarini
per passaggio in Terni
el Anno 1741
----------------------------------
(sloping letters)
------------------------
Santo Ballarini
fece in Roma 1754
------------------------
GIUDICI, ANTONIO (1)
Born 1860. Son and pupil of G. Also a master wood-carver. Resident at Masnago (Varese). Died 1931. Made a good number of violins, violas and cellos.
GIUDICI, CARLO
Born 1894. Son of A. Made a guitar in his 13th year. Studied at Barcelona. Went to San Paulo (Brazil). Returned to Varese 1925. Made (in addition to many guitars), 36 violins, 16 violas, and 8 cellos, all consistent with artistry. Won diploma at Cremona, 1949.
----------------------------
Carolus Giudici
cui cognomen Mezet
Varisii fecit anno 1949
----------------------------
(signed Carlo Giudici)
Assisted by son, Antonio (2), born 1932.
GIUDICI, GIOVANNI
Born at Masnago, 1824. Called Mezet signifying in Lombardian dialect half-a-pint a word he used when calling for a glass of the local wine at a certain tavern he frequented. Died 1903. Specialised in producing good double-basses.
GIULANI, ALESANDRO
Pupil of Nicol Amati. Worked at Cremona and Saluzzo, 1650-1670. Small and graceful outline, completely Amatese, all details of refined workmanship, golden yellow varnish, and very suave tone.
--------------------------------
Alesandro Giulani fecit in
Cremonae, 1663
--------------------------------
(written)
GIULIETTI, ARMANDO
Born 1903. Worked at Milan, Specialised in making concert guitars; also esteemed for violins, violas and cellos. Refined workmanship; deep red spirit varnish.
-----------------------
Armando Giulietti
fece in Milano A
lanno G
-----------------------
(with signature)
-----------------------------------
Armando Giulietti
face in Milano Lanno 1948
-----------------------------------
(prettily scrolled with initials and signed A. Giulietti)
GIUSQUIANI, RAFFAELLO
Worked at Arezzo (1900), Terni and Perugia. Excellent modelling slightly individualistic. Good varnish artistically applied.
GLADSTONE, ROBERT
Resident at Newcastle-on-Tyne, 1870. Some violins carry his labels, but some experts say that they were really made at Mirecourt or factories in Saxony.
GLAESEL, ALEXIUS
Born 1875. Worked at Erlbach (Saxony), 1910. Neat workmanship of various classical models.
GLAESEL, AUGUST HERMANN
Born at Markneukirchen. Worked at New York, 1900-1927. Large and flat model, not outstandingly artistic, but established his merits as a good craftsman. Shows ability in catching points of delicacy in the sound-holes and scroll. Purfling very well finished. Top wood sometimes of very uneven grain. Red varnish, lurid, like a sunset. Nice appearance on the back but often blotchy on the front. Also other shades of varnish.
-----------------------------
A. Hermann Glaesel
New York. Anno 1907
-----------------------------
(A.H.G. under a Cross on right; decorative border)
GLAESEL, CARL WILHELM
Born at Markneukirchen 1770. Died there 1855. Worked with Thir at Vienna. Modelling and workmanship praiseworthy. Instruments have an air of graceful dignity, even of force. A look of thorough completeness and mastery about the scroll as though it belonged to an earlier and greater school altogether. Wood frequently prettier than that used by many of his native contemporaries. Dark brown varnish, not particularly rich. Violas with a remarkably fine depth of sonority.
-----------------------------------------
Carl Willhelm Glaesel
Violinmacher in Neukirchen bey
Adorf in Voigtladen
-----------------------------------------
-----------------------------
Carl Wilhelm Glsl
Violinmacher aus Wien
1812
-----------------------------
Early labels have Tyrol or Tier-hier as the place of origin.
GLAESEL, CONRAD
Born 1874. Worked at Leipzig, Berlin, Brussels, and Chemnitz (Saxony). Returned to the Belgium capital in 1937. Won gold medals at Brussels and Turin. Cremonese and Gagliano models. Splendid reddish-brown varnish applied on a yellow base.
-------------------------
Conrad Glaesel
(Brssler)
Chemitz Anno 19. .
-------------------------
(with designs of four medals)
Also branded:
-------------------------
J. Conrad-Glaesel
Bruxelles anno 19. .
-------------------------
GLAESEL, EDMOND
Born 1882. Son and pupil of Ludwig Jr. Worked at Markneukirchen, 1906. Assisted by son Theo. First-class modelling of Cremonese Neapolitan types.
Branded:
---------------
Edm Glsel
& Sohn
---------------
GLAESEL, EMMANUEL
Son of C.W. Worked at Markneukirchen, 1840-1881. Similar style to that of father. Won several Exhibition medals.
GLAESEL, ERNST
see GLAESEL & MSSNER.
GLAESEL, FRIEDRICH AUGUST
Born at Adorf. Worked at Markneukirchen, 17. . . Made violins and guitars. Style and model in a more or less degree similar to that of the Hopf family, but there is a distinguishing mark of superior workmanship. Considerable freedom of treatment about the scroll. Other details show conscientious care, although he received but slight remuneration for his labours.
Branded F.A.G.
GLAESSEL, GOTTLOB
Born 1872. Worked at Markneukirchen. Modelling and workmanship everything that can be desired for this particular class of trade violin.
GLAESEL, HEINRICH ADOLF
Pupil of Mckel. Established at Berlin, 1886. Died 1922. Strongly Stradivarian in conception; assured workmanship; rich oil varnish. Written label on parchment.
GLAESEL, JOACHIM OSCAR IMANUEL
Born 1909. Worked for Vedral at The Hague. Established at Markneukirchen, 1933.
------------------------------------------------
Joachim O. J. Glaesel
Geigenbaumeister Markneukirchen i Sa
------------------------------------------------
GLAESEL, JOHANN LUDWIG
Worked at Markneukirchen, 1860-1912. Specialised in double-basses.
GLAESEL, LUDWIG
Worked at Charlottenburg (Berlin) since 1899. Careful modelling. Arching splendidly modulated. Good varnish.
GLAESEL, LUDWIG (JNR.)
Born at Markneukirchen, 1842. Member of the Firm Glaesel and Herwig, 1867. Established own workshop about 1889. Several medals. Manufacturer of every class of stringed instrument of graduated prices, but specialised in fine quality violins, beautifully made imitations of Stradivarius models. Finest old wood, covered with a luminous pretty oil varnish, usually yellow. Inventor of a five-stringed double-bass, 1926. Died 1931. Written several intelligent brochures on violin making in Vogtland, German Cremona, or The Origination of Instrument Industry in Saxony, The International Violin Swindle of the 19th Century, New Discoveries, etc. Had the reputation of being the most dexterous maker in his town.
-----------------------
Ludwig Glaesel Jr.
Markneukirchen.
-----------------------
(for early instruments)
--------------------------------------
Ludwig Glaesel Jr.
Deutsch-Cremona. Anno 19. .
--------------------------------------
(since 1900)
Some violas of 1870 deviate from the orthodox form, and are rather guitar-shaped.
GLAESEL, MORITZ
Known as Glaesel-Wiener. Born at Markneukirchen, 1838. Died 1917. Invented a group of stringed instruments with wavy decks, advertised as Kymato-Geigen. Made guitars, violins, cellos, and double-basses. Medals at several Exhibitions, 1873-1905. The Firm M. Glaesel-Wiener was carried on by assistants and relatives and they manufactured the usual order of trade instruments.
GLAESEL. OSWALD
Bow maker at Wohlausen (Saxony), 1900.
GLAESEL, OTTO
Worked at Gelsenkirchen (Westphalia), 1890-1913. Violins of good tone, all structural demands correctly accomplished. Splendid varnish.
GLAESEL, PAUL R.
Worked at New York, 1925.
GLAESEL, PHILIPP IMANUEL
Born 1875. Head of a large factory at Markneukirchen. Stringed instruments of all kinds and grades.
---------------------------
l
Philipp Im- Glaesel
Markneukirchen i Sa.
--------------------------
GLAESEL AND HERWIG
Factory for the manufacture of stringed instruments at Markneukirchen, 1867-1886. Specialists in the superior type of trade violin. Also very cheap commercial affairs with heads of females and other figures.
GLAESEL AND MSSNER
Established at Markneukirchen, 1873. Died 1939.
Ernst Glaesel head of the firm. Large productivity of trade instruments for export throughout the world. Makers of the Artist, Conservatory, Grand-Concert, Grand-Solo, Imperial, Paganini and professional violins and cellos. All have shields (bearing the various names) on the back of the scroll. Violins, etc. of every conceivable variety from ten shillings to 10. New and old appearances, with fancifully carved heads, and portraits of celebrities on the backs. Trade bows stamped Tourte and other well-known names. Inventors of a patent sounding board for which an improvement in tone was claimed.
-------------------------------
Glasel & Mssner
Musikinstrumentenfabrik
-------------------------------
(bears designs of medals and the trade-mark G & M).
-------------------------------
Markneukirchen (Sachs).
Ernst Glsel
-------------------------------
(printed as though written)
GLAESSE, ANDREAS
Established at Hamburg, 1901. Instruments worthy of respect both for workmanship and tone.
GLAESSE, HANS
Born 1907. Son of Andreas and co-worker for many years. Very nice workmanship.
GLANDENBERG, HEINRICH WILHELM
Instruments very little known.
-------------------------------
Heinr. Wilh.Glandenberg
in Leipzig, 1740
-------------------------------
GLASS, CARL FRIEDRICH
Worked at Klingenthal (Saxony), 1791-1810. Early instruments of rather high arching, have some of the characteristics of the Hopf family. Some of them without linings and purfling. Fairly good workmanship. After travelling abroad to dispose of his instruments, he saw the advisability of reducing the arching and conforming more to the Stradivarius, leaving slight touches of his former personality on the general contour. These have a golden-brown varnish of good quality. Tone quite serviceable for ordinary purposes. Name or initials stamped - sometimes outside, other times inside.
GLASS, CHRISTIAN AUGUST
Worked at Brunndbra (Saxony), 1810-1816. Conscientious Saxon workmanship guided by fairly correct principles, but not particularly well finished.
-------------------------------------
Christian August Glass
Geigenmacher in Brunndbra
1813
-------------------------------------
GLASS, CHRISTIAN FRIEDRICH
Worked at Klingenthal, 1792-1823. Medium arched model of rather broad proportions. Workmanship very neat. Scroll and sound-holes not of that indiscriminating and slovenly type seen on some violins of the same period from Saxony. Purfling, however, is not so well carried out. Light golden brown varnish, nicely laid on. Top wood usually of fine grain at the centre, and wider near the edges; backs often of plain material. Rather a full tone, warm and even, but a little sleepy in penetration particularly in rapid passages. Also made inferior instruments, often unpurfled, and the plain backs have parallel lines painted across to wretchedly represent figured material.
------------------------------------
Christian Friedrich Glass
Geigenmacher in Klingenthal
1797
------------------------------------
Some branded C.F.G.
Made several very excellent bows. Branded Chr. F. Glass.
GLASS, ERNST WILHELM
Born 1860. Worked at Markneukirchen. Died 1944. Produced well-modelled Italian copies. Also made violins without sides for export to Russia.
GLASS, FRIEDRICH AUGUST (1)
Worked at Klingenthal, 1790. Modelling has a kind of simplicity combined with dignity, something nearer to the Amatese than to any other. Workmanship very good. Scroll and sound-holes treated rather well. Nice even grain material for the top; ordinary figured maple for backs and ribs. Thick red-brown varnish. Fairly strong tone, and of considerable mellowness, though not especially clear.
GLASS, FRIEDRICH AUGUST (2)
Worked at Klingenthal, 1830-1860. A man bent on improving the often imperfect types issuing from Saxonian hands. Gained a gold medal in London for excellent work. Violins that continue to improve as the years pass by. Outside the class known as commercial. Concentrated on producing the Stradivarian model, nevertheless it is a Tyrolised version. Workmanship not matchless but certainly quite good. Yellow brown varnish. Stainer models of higher arching seem curiously laboured.
-----------------------------------------
Fried.Aug. Glass
verfertigte nach
Antonius Stradivarius Fies
Faciebat in Cremona. Anno 1736
-----------------------------------------
---------------------------------------
Friedr.Aug.Glass verfertigt
nach Jacobus Stainer in Absam
prope Oenipontum 18. .
---------------------------------------
Sometimes branded F.A.G.
GLASS, FRIEDRICH A. (3)
Born at Klingenthal, 1866. Son of J. Traugott. Established at Altona, 1892. Died 1906. Beautiful violins, considerable originality, everything completely homogeneous. Arching moderately high, and of most delightful sweep to allow for the particularly wide and flattish grooving. Thicknesses of the wood, and the acoustical attunement of the back and belly most scientifically gauged. Various shades of finely textured oil varnish, yellow, red, and dark brown. Spirit varnish for the cheaper instruments.
GLASS, FRANZ JOHANN
see JOHANN GLASS.
GLASS, FRITZ
Born 1904. Son and pupil of Gustav. Worked at Markneukirchen, 1939. Estimable bows, extensively used in Europe and America.
GLASS, GUSTAV
Born 1867. Son and pupil of Heinrich. Worked at Markneukirchen. Died 1946. Bows of several grades, usually stamped G. Glass.
GLASS, HEINRICH
Born 1818. Died 1893. Son and pupil of Friedrich August (2). Worked at Brunndbra. Successfully copied the style of father. Did much commendable work which has had favourable reception.
GLASS, JOHANN (FRANZ JOHANN)
Son of J. Traugott. Born at Brunndbra, 1847. Established at Leipzig 1875, and worked there until 1927 when he celebrated his 80th birthday. Repairer to the Gewandhaus Symphony Orchestra, 1898-1912. Secured a lasting memorial for himself amidst a critical community of violinists and music loving amateurs. Violins built on large and broad Stradivarian principles. General style retains much of the Italian dignity. Also copied the Guarneri and other Cremona makers in various necessary details, and even varnished his instruments in imitation of the age and wear of the originals. However, his genius would not allow him to be absolutely subservient to those fine models, moreover he did not desire to hide his German ancestry, so we get really splendid modelling Germanised, under Italian influences. Wood always well matured. Oil varnish of own preparation, various shades, old golden yellow being his favourite. Fine, powerful tone, ideal for the first-class orchestral player. Specialised in producing violas somewhat after the principles and style of Maggini. Lovely slope of the shoulders, giving comfort to the player. Double purfling, and brownish yellow varnish. Body length, l7-5/8in.; upper bouts, 8-1/4; middle, 5-3/4; lower, 10-1/8; ribs, 1-3/4. Length from fingerboard nut to bridge, 15-3/4.
-----------------
Johann Glass
Leipzig
-----------------
-------------------------------
Johann Glass
Geigenmacher in Leipzig
-------------------------------
GLASS, JOHANN CHRISTOPH
Worked at Klingenthal, 1760-1786. Instruments very scarce.
------------------------------------
Johann Glass violin
macher in Klingenthal, 1767
------------------------------------
GLASS, JOHANN TRAUGOTT
Born 1819. Died 1895. Worked at Klingenthal all his life. Perhaps the most celebrated of the entire family. Created the Glass-Geigen modelled with a certain distinctive originality. Commercial violins which rivalled the Hopf Violins in popularity. Workmanship as neat as the model is elegant. Tone pleased the sensibilities of the particular class of players they were intended for.
----------------------------
Johann Traugott Glass
Klingenthal 1847
----------------------------
GLASS, OTTO KARL
Born 1876. Worked at Leipzig. Died 1947. Conscientious and efficient workmanship.
GLSSEL, ED
Born at Markneukirchen. Worked at Stuttgart, 1940.
-------------------------------------------------
Gebaut von Ed Glssel Mneukirchen
fr Hamma & Co. Stuttgart
Kunstgeigenbau und Alte Meisterwerke
Nummer 124. 1943
-------------------------------------------------
GLASSEL, EDMUND ARNOLD
Born 1882. Worked at Markneukirchen, 1906. Assisted by son Theo Hort. Very satisfactory modelling, varnish, and tone. Labelled and branded.
GLASSL, EGID
Established at Komotau (Bohemia), 1925. All varieties and grades of commercial, stringed instruments.
GLASSL, HERMANN
Born at Asch (Bohemia), 1889. Apprenticed to Andreas Glassl at Hamburg, 1903-1907. Studied the various methods of wood carving with Josef Nistler at Ermetsgrn and acquired the fullest knowledge of veneering and varnishing from Ernst Krmling at Steingrub. Worked for Zst at Zurich, 1909, employed by Vrint in London, and Wittmann at Vienna. Established at Munich, 1912; served in the war 1915-1918, returned to the Bavarian capital, 1919. Every lnstrumerit made entirely by hand, and without any assistance from workmen. First violin produced in 1907. Totalled about 100 up to the year 1925. Productivity practically ceased during the succeeding years owing to activities in repair work. Stradivarian and Guarnerian modelling, also one of original conception. Superb creations and superfine workmanship, artistry profusely spread, and (if viewed without prejudice) that pleasurable silent adoration experienced when looking at a Cremona. Scroll and sound-holes perfectly graceful. Yellow-red, rose-red, and brown-red shades of clear and velvety varnish. Minutely accurate work inside, compelling attention and inspection from experts. Tonal quality fully sonorous and brilliant. Also built replicas of some of the master violins of Amati, Stradivari, Guarnerius, Bergorizi, and Testore with the worn appearance and varnish etc., labelled with their respective names, but his own name also branded.
------------------------------------
Hermann Glassl
Nr. 63 Mnchen, anno 1919
------------------------------------
GLASSL, IGNAZ
Established at No. 509, Schnbach, 1925.
GLENDAY, JAMES
Amateur. Resident at Padanarum (Scotland), 1870. Made 20 Guarnerian model violins, several exaggerated and weak. Varnish of poor texture.
GLENISTER, WILLIAM
Born at Chenies (Bucks), 1850, Worked in London, 1887-1936. Produced about 70 instruments. Selected the points of certain models that especially appealed to him and then gave them a modest character of his own. Stradivarian, Guarnerian, and Amatese modelling. Arching sometimes exaggerated towards flatness. Sound-holes frequently nearer the edge than those of his prototypes. Marked avoidance of deep ribs. Masculine scroll. Capital workmanship. Golden brown and golden red shades of excellent oil varnish. Satisfactory tone, easily produced, and will undoubtedly be much appreciated in the far future. Made a splendid quartet, each instrument having the same model, woods, and shade of varnish, in the proud possession of Thomas Beecham (not the famous conductor), of Uxbridge Road, London, 1925, which justifies the general theme of transcendant praise from many connoisseurs.
--------------------
Wm. Glenister
23 Beak Street,
London.
1899.
-------------------
(written)
GLIDEWELL, S. R.
Resident at Wichita Falls (Texas), 1925. Made scientific discoveries, 1895. Usually took twelve months to complete one instrument. Oil varnish with a basis of Italian oil or spirit. Fairly penetrating tone offering confident anticipation of real mellowness in the future.
Branded S.R. Glidewells Steinway Violins.
GLIER, AUGUST CLEMENS
Established at Markneukirchen, 1925. Trade violins of nicely finished design. Also bows, having the advantage of non-warping material notwithstanding the small cost.
GLIER, AUGUST HERMANN
Born at Markneukirchen. Died at Zwickau, 1898. Specialist in double-basses.
GLIER, AUGUST WILHELM (1)
Worked at Markneukirchen. One of his instruments sold at Baltimore, 1896. Said to have been bought from a negro aged 92 years, who lived in Virginia, at the base of the Monticello mountains, and claimed that the violin was bequeathed to his father (one of Thomas Jeffersons slaves).
-----------------------
August Wilh: Glier
Violinmacher in
Neukirchen 1764
-----------------------
GLIER, AUGUST WILHELM (2)
Worked at Markneukirchen, 1890. Violins not worthy of much consideration. Everything commonplace and carelessly constructed.
------------------------
Aug: Wilhelm Glier
Neukirchen 1890
-----------------------
GLIER, JOHANN
Born at Markneukirchen, 1814. Worked in Russia and Poland, and ultimately opened a stringed instrument factory at Warsaw. Died 1895. Employed several workmen and was assisted by his brother Wilhelm. (Died 1903).
GLIER, JOHANN FRIEDRICH
Born 1730. Master in the Guild, 1752. Conventional Stainer modelling of the period.
--------------------------------------
Johann Friedrich Glier
Erfunden von Jacob Steiner in
Absam prope oenipontum
--------------------------------------
GLIER, JOHANN GEORG (1)
Worked at Markneukirchen, 1752. Died 1809. Stainer modelling. Top wood chemicalised.
GLIER, JOHANN GEORG (2)
Born 1762. Died 1845. Talented, prolific and versatile maker. Worked incessantly up to 85th year. Made a large number of instruments that do not steer clear of invective from many of us. Also had periods of decided yearning to produce his very best (though only with slight inducements held out), and these specimens are dictated by an appreciation of and skill in art. Designs exhibiting his full perception of beauty are especially well treated to a golden brown varnish.
-----------------------------------
Johann Georg Glier
in Neukirchen im Voigtlande
1812.
-----------------------------------
GLIER, JOHANN GEORG (3)
Son and pupil of J.G. (1). Born 1763. Worked some years at Markneukirchen. Wandered from town to town and died in a foreign country, 1810. Made many instruments generally rapidly constructed, and common.
GLIER, JOHANN GOTTLIEB
Born 1732. Died 1799. Probably the best of this numerous family. Properly considered and understood the differences of modes of manipulation, tried to make departures from the ordinary type of Saxonian work, and his productions are by no means insignificant. Tonal quality quite cultivated in warmth, though not powerful. Rather full arching, well graduated. Brownish yellow varnish of sober hue. 10 (1925).
-----------------------------------
Johann Gottlieb Glier
Fabrique in Neukirchen bey
Ador im Voigtlande.
-----------------------------------
GLIER, ROBERT
Born at Markneukirchen, 1855. Worked for Wurlitzer at Cincinnati, 1885-1900. Died 1924. Experimented with various woods (especially for bellies). Violins of ordinary workmanship. Succeeded by son Robert.
GLISRORYNSKI, KARIMIER
Worked at Bydgasser (Poland), 1938. Little known instruments.
GLOAG, JOHN
Born 1852. Amateur. Resident at Galston (Scotland). Stradivarian models showing considerable skill within a modest range. Nicely tinted varnish.
---------------
John Gloag
Galston
Jan. . 19. .
--------------
(written)
GLOSNER, LUDWIG
Born 1904. Studied at Mittenwald. Worked at Munich for Thumhart. Good class type of commercial instruments.
GLOSS, FRIEDRICH
Born 1882. Worked at Vienna. Killed in the war of 1915. Excellent models, discreet varnishing.
GLOZ, GEORG
Worked at Mittenwald, 1750-1780. Fairly nice workmanship, reddish brown varnish.
--------------------------------
Georg Gloz in Mittenwald
der Iser 17-
--------------------------------
GNATUK, K.
Worked at Sofia (Bulgaria) 1920. Chiefly native instruments (guitars and the like).
GOBETTI, FRANCESCO
Worked at Venice 1690-1749. So-called pupil of Stradivari, but we fail to see much adherence to his style, and at any rate, the supposed fact has been questioned by historical chroniclers. The Venetian born is always half-Cremonese, half-German, said the novelist Charles Reade. We think that Gobetti comes under this description, as some of his violins have a curious combination of Cremonese and German characteristics.
Two models - one, rather of the smaller pattern with one or two points akin to the first period Stradivarius, of which he apparently made only a few. Second model (known as the Gobetti type), of large Amatese outline but rather broader and heavier. Never really flat arching, most often medium, and occasionally higher, wherein he shows influences of certain Tyrolese types. This arching however, is transcended by a perfectly harmonious gradation in either of the three styles. Some violins bearing the label of Gobetti have quite inflated and bulgy-looking arching, but connoisseurs seem to know their real source was sprung in the Tyrol, also the ticketing. One noticeable trait is the deep cutting of the middle bouts. Often short stunted corner, but (please note), not always. Some very pretty. Lowset sound-holes, something like the early Amati type, certainly never Stradivarian, rather gaping in appearance, but always very cleanly worked. Signally failed to be consistently neat in the purfling. Some instruments have an inlay straight down the centre of the back. Enthusiasm dd not always lead him to do wondrous things with the scroll. Only occasionally does he astonish us with something really splendid in point of pose and dignified shape, although when he falls from the ideal his workmanship is always well finished. Scrolls do really vary with this maker, some seeming to have a broad yet false emphasis which strangely gives a weak appearance. Is it in the undeviating width to the first turn? Varnish always a feast for the eye no matter which shade, either a pale red as though under spread with something golden, or a deeper red, the former finely transparent, both quite lovely. Wood generally of exceptional beauty. Table wood of whatever width of grain, always, merits unqualified commendation.
Tone usually quite large, sonorously round, of flexible clarity, and a mellowness full of warmth. There should be no reservation placed on the above statement. Violinists who cannot afford a Strad, or a Joseph, or a Guadagnini, will do well to consider the claims of a Gobetti. One remarkable example, dated 1727, was acquired by Lyon & Healy of Chicago in 1929. Formerly the solo instrument of Kenneth Rose (well-known in America), who purchased it from a wealthy collector. Marvellously splendid one-piece back of magnificently broad figure, and well covered with dark red varnish. Catalogued at 5,000 dollars.
Average measurements of a Gobetti - body length 13-13/16 inches, upper bouts 6-9/16; lower 8-1/16; ribs about 1-1/4.
Produced several fine toned chamber music violas. Measurements - body length 15-13/16 inches; upper bouts 7-5/8; lower 9-7/8.
------------------------
Franciscus Gobetti
fecit Venetiis, 1705
------------------------
------------------------
Francesco Gobetti
fecit Venetia. 1700
------------------------
------------------------------
Franciscus Gobettus
Venetijs Fecit. Anno 17-
------------------------------
-----------------------
Francesco Gobetti
in Venezia, 1702.
------------------------
Name sometimes given as Gobit. 800, 1959.
GBLER, JOHANN GASPAR
Worked at Breslau, 1750. Fairly good instruments, dark red varnish.
GODAR, E. A.
Norwegian. Hardanger violin (primitive dance fiddles), preserved in the Copenhagen Museum.
--------------------
Engel A. Godar
Norge. 1897
--------------------
GOEPFART, CARL EDOUARD
Born at Weimar 1859. Composer and pianist. Visited the U.S.A., 1875, as conductor of symphony orchestras. Resident at Potsdam, 1890. Made several violins in leisure hours, much appreciated by German orchestral players.
GOERLICH, JOHANN
Worked at Neisse (Silesia), 1840-1861. No failure in devotion to Stainer modelling, in outline, arching and sound-holes, but stepped considerable strides away when shaping the scroll. Reddish brown varnish. Tone regarded as of little value.
GOETHEL
see GTHEL.
GOETZ
see GTZ.
GOFFRILLER, ANTONIO
Worked at Venice. Very little known of this maker, other than his instruments are not particularly praiseworthy.
----------------------------
Antonio Gofriller
fece in Venezia. 1730.
----------------------------
GOFFRILLER, FRANCESCO
Worked at Venice, 1696-1720; and at Udine, 1724, then again at Venice, 1730-1755. Assistant to, and brother of Matteo. Instruments not conspicuous for giving particular delight.
To give more than 80 would ultimately prove an unhappy experiment in our opinion, although one specimen dated 1754 realised 125 (1928). Unquestionably attained no high standard as a perfectionist, and aspired to no distinction in workmanship. Scroll and sound-holes carry no conviction of artistry; purfling cannot be admired even with mildly critical eyes. Ugliness truly emblematical of the yellow brown or reddish brown varnish. Thin tone, with little sweetness and, of course, no brilliancy whatsoever. Scarce instruments, frequently unlabelled.
GOFFRILLER, MATTEO
Worked at Venice, 1670-1742. Probably born at Lajen in the Tyrol. Had remarkable ability, even flashes of genius and grace all his own. Yet, one cannot be surprised. The history of violin making in fact, when its incidents and antecedents are filled in, has really few surprises, every phenomenon is found to have had its anterior causes sufficient to bring about the final result. Chose certain features of the instruments of predecessors and contemporaries, then blended them in his modelling, with altogether original ideas. But, in his enthusiasm, never exposed himself to the great danger of over individuality. Outline has the character of dignity toned down by delicacy. Every curve tells, and everything is well directed. Happily hits the middle manner between the long and broad outlines of some Cremona types. Some productions bear the labels of Bergonzi, Stradivarius, or Andreas Guarnerius, but it was an absurd procedure on the part of vendors who promulgated the spuriousness, because, almost in every detail Goffrillers violins offer little resemblance to substantiate such deception. Outline may be slightly Amatese, particularly the upper part which is a little restricted and looks rather narrow. This gives a wider appearance to the middle bouts than is actually the case by mathematical measurements, moreover they are longer than Stradivari ever conceived. Arching done with more emphasis than that of Stradivari or Guarnerius, and the character of its medium graduation is certainly more Tyrolese than Italian. Proportions too, entirely dissimilar from anything likely to be associated with the the above three masters.
Sound-holes seem nearer to the Strad type, but even here, there is greater length and width. Perplexities in scrolling (which timid hands often boggle over), were to him points for triumph in deep cutting and sweep of the volute. Purfling has that precision, firmness, and neatness which no magnifying glass can flaw. Inclined to be somewhat averse to choosing wood of uniform grain or figure. Many backs of very plain material, but others quite beautiful, practically always of one piece. Mostly a beautifully transparent, deep orange varnish with golden flashes here and there. Also a dark cherry red artfully shaded. Occasionally a brownish red, sometimes found crackled. Considerably powerful tone with perfect evenness, a tonal quality particularly appealing to the violinist of fine poetic temperament. Notwithstanding the lofty conception of these instruments, so seraphically pure in character and rather ideally faultless in workmanship, they fell into comparative neglect for at least 120 years after his death; then began a steady rise until present day value has reached about 1,000 to 1250, 1959.
One specimen, dated 1691, realised 2,000 dollars in America in 1931. Another, also dated 1691 (owned by Dr. Khne, chemist and collector at Lindau, 1750), also bears crest of Count Esterhzy on back. General measurements - body length 13-7/8 inches; upper bouts 6-5/16; middle 4-5/16; lower 7-3/4.
A few violas known generally of 16 inch body length.
Cellos generally correspond to, and finely illustrate his peculiar individuality, but there is a more decided resemblance to the Stradivarius than the violins show. Scroll and sound-holes however, belong to a type distinctively their own, the latter often placed slightly nearer to the edge than is customary.
Several cellos have backs made of poplar tree wood. Several specimens have a 30-1/2 inch body length. Instrument owned by Pablo Casals was for many years attributed to Bergonzi.
Measurement of a cello dated 1726 - body length 29-1/2 inches; upper bouts 13-7/8; middle 9-3/8; lower 17-13/16.
Specimen dated 1720 (wine red varnish plentifully applied) - body length 29-3/4 inches; upper bouts l4-1/2; middle 10; lower 17-5/8. 1,250 to 2,000, 1959.
-------------------------
Mattheus Goffriller
Venetus, anno 1735
-------------------------
------------------------------------
Mattio Gofrilleri in Venetia
al Insigna di Cremona. 1695
------------------------------------
----------------------------
Mattio Goffriler Fece
in Venezia. Anno 1709
----------------------------
---------------------------
Mattio Goffriller Fece
in Venetia. 1721.
---------------------------
---------------------------
Matteo Goffriller fecit
Venetijis. anno 1724
---------------------------
-----------------------------
Mattio Goffriler Fece in
Venezia. Anno 1714
-----------------------------
(smaller type and ornate border)
GOFTON, ROBERT
Resident at Whitby (Yorks), 1854-1890. Made 30 violins, generally good workmanship except for scrolls which have a sharpness on the approach to the boss. Tone much appreciated.
GOLAY, EDOUARD
Musician. Resident at Neuchtel. Worked in collaboration with L. Kurz (violin maker), 1870.
GOLDSMITH, WILLIAM
Resident at Chelmsford, Essex. Fine maker and repairer of violins.
GOLDT, JACOB HEINRICH
Born 1708. Son of Samuel. Worked at Hamburg. Died 1775.
Lutes and viols, often very decorative. Also a few violins of ordinary modelling, Guarnerian sound-holes, remarkably brilliant varnish.
--------------------------------
Jacobus Heinr. Goldt
Fecit Hamburg. . . . 1767
--------------------------------
--------------------------
Jacob. H. Goldt fecit
17-
--------------------------
GOLDT, JACOB SAMUEL
Son of above. Worked at Werden, 1770.
GOLDT, SAMUEL
Born 1673. Worked at Lbeck. Died 1740.
---------------------
Samuel Goldt
in Lbeck, 1718
---------------------
GOLL, KAREL
Bom at Vienna, 1876. Worked at Brnn (Moravia), 1903.
Italian models more or less imitated; exemplary workmanship, pretty backs firmly traversed by a nicely tinted spirit varnish.
----------------------------------------
Karll Goll
Musik-Instrumenten-Erzeugung
Brnn, Schwertgasse 6
Anno 19. .
----------------------------------------
GOLLBERG, JOHANN
Worked at Danzig, 1726-1759. Celebrated for lutes, completely artistic and with very prettily worked inlay. Not very many violins known. Broad and flat modelling, a kind of dilettante Stradivarism emasculating its purism. Frequently one piece backs, not especially attractive material. Brown varnish with just a smattering of taste in its application. Rather a free tone but not altogether pleasing. 20 (1930). Violas decidedly superior to violins. Tonal quality rather sweet and tempered with clarity. Also good cellos, with a tonal quality rather synchronous with what we desire in chamber music performances. Some have a flat back whilst belly is slightly arched. Several good guitars in the form of lutes, much valued by collectors.
------------------------------------------------------
Johann Gollberg. Lauten und Geigenmacher
in Dantz. An. 1747
------------------------------------------------------
Name sometimes given as Goldberg and Goltberg.
GOMBAKIS, J.
Worked at Athens, 1920. Very good workmanship.
GOMOLSKI (GOMULSKI), SAMUEL
Worked at Posen (Poland), 1870-1893.
--------------------------
Gomolski.
fecit in Posen, 1882.
-------------------------
GONTENOYRE, F.
Worked at Lyons. Violins suggestive of a Guersan. High arching, orange yellow varnish, fair workmanship.
--------------------------
Franois Gontenoyre
Lyon 1715
--------------------------
GONZA, JOS Born 1892. Amateur at Podvinec-Ptuj (Serbia). Strad modelling, reddish yellow or brownish red spirit varnish.
GONZALEZ, AURELIO
Born at Cittaducale, 1908. Newphew and pupil of Aurelio.
Apprenticed to Bertucci. Received silver medal for a cello at Rome, 1930. Produced 40 violins, 2 violas, 3 cellos and a double bass (with swollen back) up to year 1949. Quite a unique series of instruments, built for future generations. Various classical models. Rich spirit varnish. One beautiful specimen acquired by Princess Jeanne of Savoy.
-----------------------------------------
Gonzalez Aurelio
in Cittaducale
Nipoti de allievo di Aureli Aurelio
Fecit in Roma nellanno 1924
-----------------------------------------
(written)
--------------------------------------------------------
Aurelio Gonzales
Premiato con medaglia dArgento
diploma donore al Concorso Nazionale Liutai
fece in Roma lanno 1930
--------------------------------------------------------
(printed)
Also signed on the interior upper corner block.
GONZALEZ, SOLAR FERNANDU
Born at Bravia (Asturia Isles), 1921. Won medal in 17th year, also at Oviedo two years later. Established at Madrid, 1943. Strad modelling, golden yellow varnish.
-------------------------------------
Fernandu Solar Gonzalez No.
Hecho en Madrid Ano 19-
-------------------------------------
(oblong lettering, small design in right-hand corner)
GOODMAN, GEORGE G.
Born at Chicago, 1869. Worked for Wurlitzer at San Francisco, 1909; later at Santa Monica (California). All the sapient features of a Stradivarius or Guarnerius, high marks awarded to scrolls, estimable workmanship in purfling and sound-holes, varnish of various shades from red to orange-yellow, very evenly marked belly wood, no deficeincy jn freedom of tone.
--------------------------------------
Geo. G. Goodman
Santa Monica, California 1929
--------------------------------------
GOODWIN, B.
Born at Canterbury (England). Worked at Rochester (New York), 1903. Stradivarian and Guarnerian modelling, full of character, neat scroll, sound-holes well set, practically unblemished workmanship. Brownish red varnish quite lustrous. Made over 200 instruments and proved highly renumerative.
---------------------------------------
Made by
Bert Goodwin
Rochester, N.Y., U.S.A., 1928
---------------------------------------
GORAM, CHRISTIAN FRIEDRICH
Worked at Klingenthal, 1807-1842.
GORDON, HUGH
Born at Stoneyford. Worked at Belfast, 1825. Died 1854.
Commonplace workmanship, pervades the entire, essential knowledge of varnishing not attained. Gordon branded below button. Dated in ink on the interior.
GORDON, M. E.
Born 1910. Lived and worked in Plymouth (England). Physician and surgeon by profession; amateur maker, repairer and collector by hobby. Made fourteen instruments up to 1958, winning the first National Prize at the Doctors Hobbies Exhibition, London, 1958. First President of the British Amateur Violin Makers Association. Probably finest Amateur Maker in England today.
Models based on Strad. Red, gold and golden brown varnish. Careful and neat workmanship. Name branded on button, peg box and top block. Powerful and clear tone. 100. Also connoisseur and export.
Violins - body length 14 inches; upper bouts 6-3/4; middle 4-1/2; lower 8-1/4; ribs 1-1/4, tapering to 1-1/8 inches at neck. Violas - body length 16-5/8 inches.
----------------------------
Made by
DR. M. E. GORDON
PLYMOUTH, 1956
---------------------------
(written)
--------------------------------
Made by
DR. M. E. GORDON
1 TRAFALGAR VILLAS
STOKE, PLYMOUTH.
1958
--------------------------------
(stamped)
GORGUI, CAMIL
Born in Syria, 1894. Established at Cairo, 1906. Specialist in constructing oriental instruments, especially Egyptian, Syrian and Turkish lutes. Also 3-stringed violins (rebecs) of Eastern type.
GORI, PIETRO
Worked at Rimini, 1810-1850. Instruments of slight interest.
GORP
see VAN GORP.
GORRIE, JAMES
Worked at Glasgow, 1880-1900. Amateurish modelling of the Guarnerian type. Whitelaws yellow or red oil varnish.
------------------
James Gorrie
Glasgow 1886
------------------
GOSS, EDWARD L.
Born 1866. Pupil of Ignaz Lutz (San Francisco). Excellent violinist. Worked at Waterloo (Iowa), 1900. Cremonese model, various shades of varnish. Fine workmanship.
GOSS, PHILIPP
Worked at Plymouth, 1860-1895. Ordinary violins.
GOSSELIN, JEAN
Born at Bordeaux. Amateur. Early years spent in Paris, gained much experience in the workshop of Koliker. Had own establishment, 1813-1852. Splendid outline somewhat on broad Stradivarian lines. Arching arranged with the most conscientious precision and grace, unmarred by any affections of originality which is so frequently to be found in French violins of his period. Handsome scroll, wholly without exaggeration, a bold and loyal emulation of the highest art in carving. Rather elongated sound-holes though based on the Stradivarian and here he is again felicitous.
Neat purfling delicately imparting interest to the entire physiognomy. Beautiful material for the breast. Often speckled maple for backs and ribs which has a peculiar but picturesque effect - the figure ascending diagonally, and at such an acute angle as to meet the edge of the instrument at the shoulder instead of somewhere at the sides. Rich quality varnish, either red (sometimes dark, similarto that of a Lupot) or yellow. Notwithstanding the beautiful correctness of workmanship, he failed to build up a particularly fine reputation in the matter of tone. The unaccountable absence of real brightness, the very thing that French makers prided themselves on, puts these instruments in the category of second class. They have as little affinity with a Lupot as with a Pique or Chanot. But the same canon of criticism cannot be directed against the sonority of tone, a tone uncompromisingly warm, and never too loud. Also made cellos and violas.
-------------------------------
fait par Gofselin amateur
Paris Anne 1821
-------------------------------
(slanting lettering)
------------------------------
Fait par Gosselin, luthier
Paris anne. 1830
------------------------------
--------------------
Gosselin Paris
1851
--------------------
---------------------------------
Repar par Gofselin, Paris
1827
---------------------------------
Some instruments are numbered.
GOSSET, NICOLAS
Worked at Rheims, 1752-1780. Strad modelling of Mirecourtian style, good woods, yellow brown varnish.
GOTFREDSEN, JESPER
Worked at Copenhagen, 1751-1769. Worked on the traditions of the Tyrolean school. Outline and arching expressed in a very agreeable manner. Choice of wood sometimes perilously neat to indifference. Workmanship not of transcendant neatness, but certainly without serious blemishes. Made every conceivable form of pocket fiddle, some with crescent sound-holes. Tenor viola preserved in the Golpin Collection at Hatfield.
---------------------------------------
Jesper Gotfredesen
Fiolinmager i Kibenhavn, 1766
---------------------------------------
GOTH, WENZEL
Worked at Schnbach, 1880. Died 1909.
GOTHARD, F.
Resident at Huddersfield, 1860-1895. Ordinary workmanship.
GTHEL, GOTTFRIED (1)
Born 1716. Died 1781. Worked at Borstendorf (Saxony).
Violas and viol-da-gambas of very serviceable tone. External appearance rather undistinguished. Workmanship not particularly commendable. Wood generally unattractive though apparently good acoustically. Varnish entirely lustreless.
---------------------
Gottfried Gthel
in Borstendorf
---------------------
(German lettering)
GTHEL, GOTTFRIED
Worked at Borstendorf (Saxony), 1750-1780. Very tame reminiscences of the Stainer model. Scroll very diminutive in imagination. Unhealthy and bulgy arching, also ugly sound-holes. Very indifferent wood in quality and figure. Weak looking varnish of very poor texture. Tonal quality better than the appearance suggests.
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Gottfried Goethel Violinmacher
in Porstendorf Anno 1755
---------------------------------------
GOTHEL, JOHANN CHRISTIAN
Born 1728. Died 1775. Brother of the preceding. Violins of slight value. Similar to those of brother.
GOTTFRIED, JOHANN
Worked at Graslitz (Bohemia), 1655. Modelling verging on the commonplace brown varnish.
GOTTFRIED, WENZEL
Worked at Pressburg (Hungary), 1885. Fairly good workmanship.
GOTTI, EMILIANO
Probably born in Southern Tyrol. Worked at Ancona (Italy), 1765-1774. Modelling derived from the Stainer-Albani school rather than the Italian. High arching of that model admirably represented. Deep grooving around the edge, picturesque and exceedingly regular. Small and pretty corners harmonising with the delicate edging. Sound-holes less strikingly graceful, being rather short and so perpendicular as to have the appearance of falling. Scroll firmly worked out, and of attractive sweep. Usually very glowing material for backs. Yellow brown varnish somewhat meagrely applied, but of excellent quality.
------------------------------
AEmilian Gotti, Ancona
1770
------------------------------
GOTTI, ANSELMO
Born at Pieve di Cento, 1902. Studied violin playing in youthful years. Went to Ferrara to learn violin construction from Soffritti, 1922, and settled at that town. Splendid copies of Strad and Guarnerius, also one slightly individualistic. Superfine workmanship. Oil varnish of reddish tinge, not especially transparent. Constructed a quintet and quartet for a noble family at Ferrara, with finely sculptured coat-of-arms and other designs on the back.
----------------
A. Gotti
Ferrara 1948
----------------
(with unique scroll)
----------------------------------
A. Gotti
Alunno di Ettore Soffritti
fece in Ferrara lanno 1929
----------------------------------
GOTTI, ORSOLO
Born at Pieve di Cento (Ferrara), 1867. Pupil of Carletti and Pollastri at Bologna. Died 1922. Splendidly elegant designs with an assemblage of neatly worked details, very transparent yellowish brown varnish; warm and brilliant tone, clearly responding to the scintillating bravurities of a soloist. Many specimens (being beautiful replicas of Gagliano, Strad, Amati, Cerutti or Montagnana) have been relabelled and traded as genuinely old.
--------------------------
Gotti Orsolo
Pieve di Cento 1920
(Ferrara)
--------------------------
GOTTMANNSHAUSEN, HANS
Worked at Erfurt (Saxony), 1660-1678. Several bass viols known, six-stringed and crescent sound-holes.
-----------------------------
Hans Gottmannshausen
in Erffurdt Anno 1670
-----------------------------
GTZ, ALBERT
Bow maker at Wohlhausen (Saxony), 1925.
GTZ, ALBERT
Born 1874. Worked for Nrnberger and Piegendorfer at Augsburg. Established at Markneukirchen, 1900. Several grades of trade instruments.
GTZ, C. A., Junior
Worked at Wernitzgrn (Saxony), 1880. Later at Markneukirchen. Commercial instruments of all kinds, also bows and strings.
GTZ, FRANZ
Worked at Graslitz (Bohemia), 1918.
GTZ, JOHANN MICHEL
Born 1735. Died 1813. Initiated by his father in wood carving, etc. Worked at Markneukirchen, and never suspended energetic activities up to his 78th year. Built a large number of instruments of sensible design and acceptable workmanship. Used good wood, but often made the plates too thin. Always one-piece tables and backs. Brown varnish not especially luminous. Smooth tonal quality, but impoverished in strength.
---------------------------------------------------------
Johann Michael Gtz. Lauten - (generally on the rib)
und Violinmacher in Neukirchen im Voigtlande
---------------------------------------------------------
Sometimes Geigenmacher instead of Violinmacher.
GTZ, JOHANN RICHARD
Worked at Markneukirchen. Examples of mediocrity - dull brown varnish.
GTZ, JOSEF
Established at Fleissen and Bad Brambach, 1922. Violins, cellos, basses, guitars, bows, etc. Good commercial instruments at cheap prices.
GTZ, MORITZ (MAURICE)
Born 1901. Pupil of Paul Didier. Amateur at Metz. Made good violins, generally yellow varnish applied to represent wear.
GTZ, RUDOLPH
Born 1882. Worked at Chemitz and Stuttgart. Established at Wernitzgrn, 1907, and at Saxony, 1923. Fairly nice examples. 40 (1954).
GTZ, WILLY PAUL
Born 1874. Worked at Augsburg and Berlin. Established at Markneukirchen, 1903. Well modelled violins, cellos and guitars.
GOUDOT, F.
Worked with Mangin at Mirecourt, 1800-1830. Violins of no special excellence, though not by any means mediocre. Frequently double-purfled. Golden red or brownish red varnish.
--------------------------
F...xx Goudot et
Mangin: A Mirecourt
--------------------------
(branded)
GOUGH, JOHN
Resident at Thornbury, 1845-1870. Violins visually rather attractive, but of very poor tone.
GOUGH, WALTER
Resident at Leeds, 1820-1840. Ordinary amateur workmanship - reddish yellow varnish rather thickly applied.
GOULD, JOHN ALFRED
Born at Windermere (England), 1866. Worked at Liverpool with W. F. Archer. Went to Hamilton (Canada), 1884. Won the first diploma granted to a violin maker in Canada, at the Hamilton Industrial Exhibition, 1884. Employed by Orin Weeman at Boston, U.S.A., 1885. Established own workshop, 1889. Died 1944.
Instruments (dated up to 1905) modelled on the various styles of the Cremonese. Everything accomplished with that true insight of the originals which is not always the distinctive point of some modern copyists. Conceived own model, 1905 - certain touches of this forcibly reminds of a Peter Guarnerius. American woods entirely (the maker having great belief in their superior acoustical properties). Oil varnish of various shades, orange to reddish brown, fully brilliant and trarsparent. Instruments circulated through the United States. Occasionally a few reach England. Publisher of Fiddle Shop Talks. Four sons connected with the firm (now known as J. A. Gould & Sons).
Label - bearing the crest of a lion rampant under which is the Latin motto Probitate et Labor (probity and labour).
------------------
John A. Gould
Boston, Mass.
------------------
GOULDING
Dealer in London, 1785-1812. Traded with French and Saxony firms. Violins and cellos made for him. Name branded under button. Good class instruments, generally golden red varnish. Some violins have realised 30 and 40 in modern times. Cellos 50 to 70.
GOUVERNARI, ANTONIO
Worked at Cremona, 1601-1633. Long modelling with medium arching. Contour of artistic purpose and grace, having a harmonious subjection of the smaller details to the principal ones. Sound-holes perhaps suggest Amati influence, but longer and of fuller sweep. Sharply angular scroll, not altogether fine, but with character. Workmanship always to be respected. Olive yellow varnish thinly applied, but no mere haphazard dabbing of its peculiar tint. Tonal quality fairly large and responsive, but not mellow or rich. 250, 1959.
-----------------------------------------
Antonius Gouvernari
Cremonensis faciebat Anno 1609
-----------------------------------------
Some instruments dated 1694-1711. Indubitably made by ingenious imitators, and the similarity misleads the uninitiated, but connoisseurs detect one or two minute differences.
GOVONI, GUGLIELMO
Born 1911. Amateur at Pieve di Cento. Strad and Gagliano modelling. Varnish of own formula.
-----------------------
Guglielmo Govoni
Fece in
Pieve di Cento
Anno 1949
----------------------
GOWERTH, JOHN
Enthusiastic amateur. Customary Klotz modelling. Yellow brown varnish, well applied.
----------------------
Made at Oxford
1740
by John Gowerth
----------------------
GOZZO, MICHAEL
Born in Bagni Canicattini (Italy), 1892. Established at Hartford (Conn.), 1930. Three models - his own, Stradivarian and Guarnerian. Own formula of Italian style varnish, reddish brown and brown. Produced over 100 violins, and twelve violas, also cellos.
GRABAN, PAUL
Worked at Gardelegen (Saxony), 1860. Splendid modelling inspired by the Cremonese school.
GRAEFE, A.
Bow maker at Raun (Saxony), 1925.
GRAGNANI, ANTONIO
Worked at Leghorn (English for Livorno), 1740-1794.
Modelling shows influence of the Stradivarius, but is modified by an Amati outline, and a slight touch of the Gagliano is perhaps discernable. Sometimes a trifle longer and narrower than what is understood to be the typical Amati. Usual body length 14 inches. Depth of ribs 1-3/16, bare to full. Arching not always flat but never high. Experts invariably take exception to the sometimes careless and unfinished workmanship, but this does not detract greatly, as the excellence of the tone is never disputed. There are, of course, a few specimens in which he has not contravened the majesty of artistry, and on which he concentrated his best energies, but they are very scarce indeed. Upper bouts measure 6-9/16 inches across; the lower 8-1/16. Sound-holes, though of no unique design and work, unquestionably fit the general contour of the instrument. Purfling has the oft-repeated misdemeanour of carelessness, and never attains the assurance of a clever hand. He does not come out of his incautious style in the carving of the scroll, most of them being altogether unworthy of the Italian school. Some seem to be formed from an oval standing upright generally having a disturbing pinched appearance. Occasionally he was bolder, and the result more prepossessing. Wood for breast always acoustically splendid and usually fine-grained, but the backs generally of poor figure. Here again there are a few specimens having pretty curl and considerably handsome. Varnish varies, sometimes a golden yellow, or golden brown, tinged with red, also a dark brown all more or less of inferior quality. The golden brown has the best appearance and might surprise the eye with its nearer approach to brightness than the other two. This makers aspirations certainly assume more consummate expression in the kind of kaleidoscopic tone he obtained, a tone having brilliancy in a fair degree, sonority, and silvery fullness Consequently, players are willing to overlook the workmanship (and rightly so) in favour of the tonal side, and the large sum of 120 was cheerfully paid in 1925, but only for one of fine preservation. One specimen, dated 1781, realised 2,500 dollars in the United States, 1924.
-----------------------------
Antonius Gragnani fecit
Liburni Anno 1783
-----------------------------
(printed and written)
Sometimes a monogram in form of a globe underneath or containing a cross fivestringed viol, exhibited at South Kensington Museum, labelled -
-----------------------
Antonius Gragnani
fecit anno 1741
-----------------------
Initials A.G. branded over the end pin sustaining the tailpicce, and on the button at the back. 300, 1959.
GRAGNANI, GENNARO
Worked at Leghorn, 1730. Possibly father of Antonio. 200, 1959.
------------------------------
Januarius Gragnani, fec.
Lib. Anno 17-
------------------------------
GRAGNANI, JACOPO
Worked at Leghorn, 1743.
GRAGNANI, ONORATO
Worked at Leghorn, 1770-1799. Son and pupil of Antonio.
Very similar in style to that of fathers work, and as conspicuous in faults of certain minor details. There are a few instruments that received more generous attention from him, and sometimes valued almost as much as those of Antonio. Amati outline and arching. Body length 35.9 cm. Small sound-holes bearing no especial mark of merit. Stereotyped scroll, amateurish carving. Frequently whalebone purfling. An astonishingly clear and liquid quality of tone. Often close and evengrained spruce, and handsomely marked maple for back and sides. Rich golden red varnish. 250, 1959.
-----------------------------
Onorato Gragnani
Figlio dAntonio
Fatto in Livorno il 1799
-----------------------------
(ornamentally bordered)
-----------------------
Onorato Gragnani
filius Antonio
Livorne, 1786
-----------------------
(sometimes written labels)
GRAHAM, R.
Born at Brompton (Cumberland). Pupil of Meek at Carlisle. Worked at Cadoxton up to 1914. Admirable designs and workmanship. Few specimens.
GRAHAM, W. E.
Born 1893. Amateur. Resident at Beaver Falls. No departure from normal Stradivarian modelling, everything having essential clean cutting. Brownish red oil varnish very lightly applied.
----------------------
Made by
Wm. E. Graham
Beaver Falls, Pa.
A.D. 1924
----------------------
(monogram on left)
GRAINGEOT
Worked at Mirecourt, 1840-1880. A maker who must have taken many peeps at the peculiar strength of the Nicolas violins, and became much impressed thereby. Large, broad, and flattish modelling, wide waisted. Workmanship of the ordinary kind, handsome wood. Heavy looking scroll, with an aspect of lonely austerity. Sound-holes somewhat near to the edge. Brownish yellow varnish, hard and not clear. Strong orchestral tone. 15 (1925). Name branded inside, but occasionally labelled-
------------------------
Graingeot Luthier Mirecourt, 1859
------------------------
GRAMINO, GIOVANNI
Worked at Milan, 1715-1725. Possibly the same as Gramino G.
----------------------------------
Giov. Gramino in Contrada
larga di Milano, 1722
----------------------------------
GRAMMONT
Ordinary Mirecourtian style, brownish varnish.
-------------------------------------
Violon Grammont
brevete par la
Duchesse de Milcour en 18. .
------------------------------------
GRANCINO, ANDREA
Worked at Milan, 1646. Possibly father of Paolo. Instruments quite scarce. In a comparative estimate of tone (according to either its degree of power or quality), those who have seen examples unhesitatingly place them in the category of second class, and far below anything produced by other members of the family. Outline and arching rather good. Workmanship, sound-holes and scroll, wholly unworthy of the Milanese school. Varnishing was evidently a branch of art whereof he required to learn the elements.
-------------------------------------
Andrea Grancino in Contrada
Larga in Milano al Segno
della Corona, 1646
-------------------------------------
GRANCINO, FRANCESCO AND GIOVANNI BATTISTA (2)
Brothers. Sons of Giovanni (2). Worked together at Milan, 1686-1746.
Giovanni Battista was the elder, and died about 1720, Francesco then worked alone until 1746. Neither of them had any new creative force in violin construction. We may not go so far as to say that the workmanship is rough, but it certainly cannot be called neat. Unevenly laid purfling altogether deserving dis-approbation. Some good intentions about the scroll though not always guided by a sense of pure artistry. Sound-holes fair. Wood invariably void of handsome figure, though the material for top is acoustically excellent. Generally clear, yellow spirit varnish of unattractive tint, now darkened with age makes little appeal to the artistic eye. Fairly powerful and sympathetic tone, but not of exceptional flexibility. Best energies exercised on cellos and double basses, and the previously mentioned blemishes are here in mitigated and innocuous form. Tone very healthy and full of vitality.
--------------------------------------------
Gio e Francesco fratelli de Grancini
in Contrada larga di Milano, 17-
--------------------------------------------
-------------------------------------------------
Giov. Battista e Francesco fra. Grancino
in contrada largo di Milano. 17-
-------------------------------------------------
Each made a few instruments in which are inserted their own one-name label. Early dated violins of Giovanni Battista rather superior to those in which he collaborated with brother. Deeper and a more flexible mellow tone. Shade of varnish darker, nearly approaching a reddish tint. Wood (though plain) of exceptional acoustical properties. Time has, of course, given them an antique appearance, but the maker also contributed a little to it, a practice not very general in those days.
----------------------------------------
Gia. Bapt. Grancino in Contrada
Largha di Milano, anno 1699
----------------------------------------
Francesco favoured the model of an Amati, modified but slightly. Small tone, but has a delightful silvery quality. 500, 1959.
-------------------------------------
Francesco Grancino figlio
Giovanni fecit Mediolani, 17-
-------------------------------------
GRANCINO, GIOVANNI (1)
Worked at Milan, 1645-1682. Probably brother of Andrea.
Label indicates he worked at Cremona, but was evidently a business ruse to impress prospective purchasers. Said to be a pupil of Amati, but his style seems more akin to the old Tyrolese than to any real similarity with that of his supposed teacher. Shop sign- al segno delle due corona (sign of two crowns).
-----------------------
Giovan Grancino
Di Cremona, 1682
-----------------------
GRANCINO, GIOVANNI (2)
Son and pupil of Paolo. Worked at Milan, 1670-1735. Made many excellent instruments, quite possibly surpassing (in a few instances) those of father. Early dated instruments follow the Amati outline with medium arching. straightish sound-holes, and of slightly broader build than the early work of Paolo. Usually widish but straight grain wood of good quality, well chosen acoustically, and plentifully used. Handsomely figured material for backs. Very smooth varnish, sometimes red-brown or golden, but more often a very pale yellow, not of the finest quality. Moderately penetrating tone of a rather liquid and velvety quality. Later violins somewhat depart from the Amatese features of earlier ones. This mature period dates from about 1709. Arching slightly reduced, generally a pattern of fairly broad proportions. though the length is invariably under 14 inches. Sound-holes more bold than previous efforts, treated with sharper points and positioned more obliquely. Some connoisseurs have lamented that he thought fit to deviate from the elegant proportions of the Amati type, but this is merely a trifling matter of opinion after all. Usually non-robust scrolls coming within measurable distance of being termed pretty. Workmanship on the whole, has splendid individuality, but is never superlatively refined. Yellow brown varnish, sometimes having an attractive orange tint. Tone often rather powerful and penetrating, but occasionally somewhat nasal, but there is an absence of that ideal quality associated with Italian fiddles. Measurements of one dated 1688 - body length 14 inches; upper bouts 6-1/2; lower 8-1/8; middle 4-1/2. Measurements of a 1714 example - body length 13-7/8 inches; upper bouts 6-1/2; lower 8-1/8; ribs 1-1/8. Violas and cellos mostly after the large flat pattern. Measurements of a viola dated 1718 - body length 16-1/4 inches; upper bouts 8; middle 5-1/2; lower 9-3/4; corner to corner 4-1/4; bottom of sound-hole to lower edge 6; top of sound-hole to upper edge 6-7/8. Frequently of quite magnificent tone, and much sought for. Cellos usually of beautifully straight grained wood for the top, but back and sides frequently of singularly poor figured or quite plain material. Length of back generally about 29-3/8 inches. Instances known where a Testore label has been found under one of Grancinos.
-----------------------------------------------
Gio. Grancino al Segno della Corona
in Contrada larga di Milano, fece 1699
-----------------------------------------------
---------------------------------------
Giovanni Grancino in Contrada
largha di Milano al segno
della Corona 1721
----------------------------------------
Sometimes christian name given as Giovan. 650, 1959.
----------------------------
Joannes Grancino fecit
Mediolani an 1697
---------------------------
GRANCINO, GIOVANNI BATTISTA (1)
Worked first in Milan with brother Giovanni (2). Lived a few years at Ferrara. Subsequently returned to Milan and established own workshop. Period 1680-1710. Rather flat model - altogether almost a replica of brothers work. Workmanship very little different. Always prettily figured wood. Deep yellow or orange red varnish. Rather large tone, and very clear. Handsome prices have been realised for best specimens - 1,800 dollars in America. 500, 1959.
--------------------------------
Gio. Bapt. Grancino Filius
Paoli, fecit in Ferrara 16-
--------------------------------
Brothels inserted the following label
------------------------------------
Fratelli Grancini in Contrada
larga di Milano al Segno della
Corona. 16-
------------------------------------
GRANCINO, GIOVANNI BATT. (3)
Worked at Mantua, 1727. Only a few instruments, and they do not invite minute scrutiny. It is not too much to say that the tone is a failure. Long model and bulgy arching, both showing that the maker had not that wise reticence in restricting himself to sober and orthodox principles. Very wide purfling and very indifferently inlaid. Distinctly ungraceful sound-holes, totally outside Italian style. Originality evident in the scroll though not meriting great admiration. Rather nicely drawn in having non-prominent boss, but the right side is flatter than the left. Chestnut brown varnish which gives little reason for discontent. The violin is rather a vast domain, and proud must be the maker who successfully compasses its entire territories, but this member of the Grancino family can scarcely lay claim to even a small paddock - at any rate he is not entitled to its freehold.
GRANCINO, (GRANZINO) GRAMINO
Worked at Milan, 1710-1727. Interesting outline with medium arching. Scroll splendidly posed, and of broad design. Yellow varnish on the back, yellow brown on the front. Rich quality of tone and rather full.
--------------------------------
Gramino Granzino in
contrada Larga di Milano
1722
--------------------------------
GRANCINO, PAOLO
Worked at Milan, 1640-1690. Pupil of Nicol Amati, and that genius considered him to be one of the most gifted in his workshop. During his stay in Cremona he, of course, copied his masters style, but when finally settled at Milan he thought out a new model and style for himself. In time, he gave to the outline and arching some characteristics almost against every principle of Amati. General workmanship not always uniform, he being at times in too great a hurry to finish an instrument for one of his patrons, so that he could toddle off and spend more hours in his favourite wine shop. We, therefore, get great diversity of good, bad or indifferent work on viewing several specimens. When we take up a really fine example, the first thing that attracts the eye, is the scroll. Here we get that consummate power and pose which immediately arrests the attention. Then we take up another, and we find ourselves as disappointed as previously pleased, for now we notice careless and unpardonably rough cutting. This scroll is a little larger than the Amati. Made instruments also of rather large proportioned outline, slightly arched and quite swaggering (using the term in its artistic sense). Sometimes the corners are an eyesore to sensitive connoisseurs. Very seldom is the purfling really well done. Large sound-holes widely opened. His choice of wood (barring that of a few of the more valued violins) shows he was not particularly critical. Sides and backs frequently of poplar tree wood, a very poor material indeed. Two varnishes, a light yellow, rather spiritless in comparison with the Cremonese, and a rather effectively shaded golden yellow. Tone not so pure as an Amati, but sometimes fuller. Notwithstanding the several improprieties from real beauty of workmanship, high prices are often realised. Some early violins so similar to an Amati that unscrupulous dealers have inserted the label of the Cremonese and defrauded the public. Violas and cellos also greatly appreciated. It is worth observing that although the methods of this family were much alike, there is just enough difference in workmanship to suggest and easily detect individuality. 650, 1959.
GRAND, FRANCOIS
Worked at Mirecourt and Paris, 1780-1810. Guarnerian modelling and wide purfling. Red varnish on yellow ground. Branded F. Grand below button.
GRAN, GENO
Violins known with this strange name - obviously fictitious. Flattish modelling and under sized scroll. Sound-holes ungainly and widely cut. Light brown varnish of old appearance. Wood not especially good or pretty.
---------------------------
Gran Geno
Cremona. Anno 1711
---------------------------
GRANDADAM
see ADAM.
GRAND-GRARD, JEAN BAPTISTE
Worked at Mirecourt, 1775-1820. Followed the prevalent practice of giving Paris as the place of origin, in order to more impress the easily gulled public. Large, and generally uncomfortable model (usually 14-1/8 inches long), medium, flat, and of rather commonplace appearance, though the outline and arching are correctly delineated. Gothic sound-holes - often a small scroll. Ordinary quality of wood, more or less of straight grain or pretty figure, according to luck, but mostly plain. Lustreless yellow or yellow brown varnish. Breast sometimes of one piece and the back of two. Loud tone, often coarse and hard to produce.
20 (1930). Branded Grand grard or Grand Grard Paris. Seldom labelled and always undated. 60, 1959.
GRANDI, LUIGI
Worked at Pisa (Italy), 1874. Medium class, look factory made. Also half-guinea bows, stamped Grandi.
GRANDINI, GERONIMO
Violins and violas made at the factory of J. Thibouville-Lamy, Mirecourt, 1920. First-class modelling, workmanship and material. Various shades of red varnish. Various grades from five to seventeen pounds.
--------------------------------
Geronimo Grandini, Senr.
Paris. J.T.L.
--------------------------------
Also bearing the trade mark Virtuose. Label of those made by his sons -
-------------------------
Le Petit Fils de
Geronimo Grandini
Paris. J.T.L.
-------------------------
GRANDJON, JULES. (GRANDJON FILS)
Son of Prosper Grard. Born at Mirecourt, 1824. Worked in several of the best workshops at Paris - also at Amsterdam, 1847-1850. Established a factory at Mirecourt, and produced violins, violas, and cellos by steam power. Exported them to all parts of the globe. Awarded medals at Paris and London Exhibitions. Greatly in vogue 1880-1895. Made various experiments in models, fancifully decorated designs and otherwise. His most prevalent model belongs to the very large proportioned type. Style and workmanship of a rather superior factory order. Brilliant red varnish. Strong tone, but no persuasive quality of sympathy.
---------------------------------------------------------
Brevete J. Grandjon Paris J.G.
S.G.D.G. Fabrique de Mirecourt (Vosges)
103 Boulevard Sebastopol et Rue Reaumur 74
---------------------------------------------------------
(with harp design over initials)
GRANDJON, L.
Worked at Mirecourt, 1830-1840. Outline and arching denote considerable thought for producing favourable glances. Flat modelling of really good style. Effective orange shade of varnish.
GRANDJON, PROSPER GRARD (GRANDJON PRE)
Worked at Mirecourt, 1820-1867. Very dexterous and produced instruments rapidly. Workmanship oscillates between ordinary and refined according to the type and class he was engaged upon. Versatile modelling - Stradivarian, Guarnerian and Amati. Generally avoided the broad model so much associated with Mirecourt. Very often slightly under normal full size. Neat scrolls, sometimes with the boss rather protruding. Sound-holes of each type always well shaped. Peg box occasionally ornamented with ivory. Good acoustical top wood, and pretty material for backs and ribs. Orange yellow dark brown and other shades of varnish. Instruments that step away from the usual commercial path originating at Mirecourt. 15 to 25.
Produced very saleable imitations of the J. B. Vuillaume style. Sometimes labelled as though emanating from Paris. Never dated. Also often unlabelled.
GRAND RAPIDS VIOLIN COMPANY
Manufacturers of stringed instruments, established at Grand Rapids (U.S.A.), 1920-1923.
GRANIER, ANDR (FRANOIS ANDR)
Born at Marseilles, 1881. Son and successor of Edmond. Studied violin and bow making at Mirecourt with Brugre and Louis Bazin respectively. Returned to native place, and in association with brother Martin Dennis, established in 1922 the firm known as Granier Luthier. Died 1924. Modelling inspired by the ltalian but emphasised with French characteristics. Splendidly built instruments, fit vehicles for the modern player, who, if he has the wisdom, should contemplate them with approbation. Varnish of various shades, oily, transparent, but inclined to thickness. For instruments made by their own hands -
---------------------------------
Granier, Luthier
14 Rue Paradis - Marseille
Fait en Avril 1928. No. 58
---------------------------------
Also branded Granier on belly, under nut by tailpiece, at foot of neck, on the ribs and peg-box. For instruments made under their direction -
-----------------------------
Granier, Luthier
Marseille. Anne 1923.
-----------------------------
GRANIER, EDMOND
Born 1851. Worked with Daniel at Marseilles. Partner with Barbet 1877. (Label under this name). Worked alone 1910. Later ceded the business to his son Andre. Made good instruments in early days highly esteemed in later years for clean repairing.
GRANIER, MARTIN DENNIS
Born at Marseilles 1891. Trained at Mirecourt by Brugre and Bazin. Head of the Granier firm, 1924. Italian models - thick varnish of various shades.
---------------------------------
Granier, Luthier
14 Rue Paradis - Marseille
fait en Avril 1928. No. 57
---------------------------------
----------------------------
Granier, Luthier
Marseille. Anne 1931
----------------------------
---------------------------------------
Granier, luthier, anno 1930
per fecit Massilia
auctoris opere ipsuis proe sente.
---------------------------------------
GRANLOW, ERIK GUSTAF
Born 1902. Amateur at Kramfors (Sweden).
GRANLUND, CARL O. A.
Born 1873. Amateur at Stockholm.
GRANTHAM, W. A.
Resident at Marshall (Texas). Self-taught amateur. Made first instrument 1933. Stradivarian modelling. Frasers varnish. Nice workmanship and tone.
GRAPPELLO, GIOVANNI MARCO
Worked at Ferrara, 1566. Six-stringed viol-da-gamba (probably made by him) preserved at the Milan Conservatorio.
--------------------
Joannes Marcus
--------------------
Splendid outline and unusually fine corners for that early period. Deep yellow shade of varnish.
GRAS, CHARLES
Successor to A. Vion. Established at Paris, 1919-1925. Manufacturer of all instruments for the trade. Useful lines in violins and bows.
GRASECK, GUSTAV
Born at Neuenstein (Wrtemberg), 1881. Studied and worked with premier makers in several German cities. Produced first violin, 1910. Settled, soon after the great war, at Munich. Died 1942.
Productivity restricted to about four instruments yearly. Propriety of structural union fully emphasised in Stradivarian and Guarnerian modelling. Dignity and grace imparted to the scroll. Remarkably fine varnish (own preparation) in shades of red or golden yellow, with very handsome wood. Whole design picturesquely enriched by artistic portrayal of sound-holes, the neatest purfling, and flawless workmanship. Tonal quality brilliantly sonorous, effecting absolute satisfaction to the soloist when exercising bravura feats. Received highest praise for a quartet at Munich Exhibition, 1922.
-----------------------------------
Gustav Graseck
Geigenbauer. Mnchen 19. .
-----------------------------------
(brown tinted paper, with central design bearing his monogram)
---------------------------------------------
Gustav Graseck, Geigenbauer
Werkstatte fr reparatur und neubau
Mnchen. Neuturmstrasse 2.
1925.
---------------------------------------------
(decorative border)
GRASSO, ARTURO
Born 1893. Worked at Catania. Gagliano, Amati and Guarnerian models. Brought out a series of plucked instruments named Rapisarda (mothers name). Assisted by Giuseppe (brother).
--------------------------------
Arturo Grasso
fece in Catania anno 1930
--------------------------------
GRATER, THOMAS
Born at Tiverton, Devon, 1843. Apprenticed to the joinery trade, migrated to Hull, 1863 to seek further improvement, thence to Liverpool and eventually Birmingham. Passionately fond (in boyhood) of the violin, learned to play airs and dances and ultimately conceived the notion of building own instrument. Persevered from time to time, purchased all the books on the subject, and by assiduous study (together with the mathematical knowledge acquired in his trade) managed to effect fair success with first attempts. Had lessons in violin playing from a theatre conductor at Birmingham, became enraptured with the instrument as progress developed, increased his enthusiasm for making, and opened (1874) a small shop in Ryland Street, where he was still working in 80th year, 1923. Produced many violins and cellos, priced at the very modest amount of 10 and 15. Design and workmanship not of the highest order, but everything pretty accurately answering to the idea we usually form of good ordinary accomplishment. Many of the fiddle seeking community have faddy prejudices to productions of Englishmen, but they labour under a great delusion when favouring artificial continental importations, particularly when the cost hovers around 20. Excellent instruments such as these of Grater unquestionably deserve a higher interest than customarily accorded to them, and we think it quite consistent with sound criticism when we appeal to players to be animated by a more generous spirit towards native creations.
-------------------------------------------------
T. Grater, maker, Antonius Stradivarius
Modum Cremona faciebat, Annon 1897
--------------------------------------------------
-------------------------------------------
T. Grater, Maker, Anno 1905
Copy of
Antonius & Hieronymus Fr. Amati
Cremonen Andreae fil F. 1635
-------------------------------------------
Others with the name of Guadagnini, Stainer, etc. Prepared own varnish, golden brown colour.
GRATIANI, JOSEPH
Worked at Genoa, 1762-1793. Violins which anticipate several of the defects of the later Italian school. Rather untidy workmanship not compensated for by any finely proportioned design. 20.
----------------------
Joseph Gratiani
Fecit Genue 1762
----------------------
(written in imitation of print)
GRAY, CHARLES B.
Amateur. Resident at Philadelphia, 1900-1941. Violins, violas and cellos, all made as scientific experiments (particularly relating to bass-bar). Claimed he could arrive at fine tonal quality entirely eliminating the customary fluctuations. Also developed charts for makers. Made extensive researches in varnish, and stated that he had secured the same materials as used in 16th century when no dyes were used for colouring. Light to dark shades, brilliantly transparent, and positively proof against the sun.
GRAY, CHARLES W.
Resident at Brisben (New York), pupil of Sewell Boyce at Norwich (N.Y.). Dolphin-Strad model with modified arching. Achieved excellent results in varnishing by means of a composition of gums and spirit as a filler and applying two coats of wax gum solution, followed by three coats of thin oil varnish of a golden brown shade, which remains alive and flexible from the sub-base of wax and gum. Many players in the surrounding country have unhesitatingly added testimony to the bright responsive tone.
-------------------------
Charles W. Gray
Brisben, New York.
No. 1930.
-------------------------
GRAY, J.
Worked in London, 1813-1826. Violins which show progress towards perfection. Modelling reminiscent of a Nicolas Gagliano. Workmanship commensurate with the earnestness and extent of a sincere idealist. Orange brown shade of varnish. No immature or unsatisfactory elements in the rather abundant tonal quality.
---------------------
J. Gray
51 South Street,
London, 1822
--------------------
GRAY, JOHN
Amateur at Fochabers (Scotland), 1860-1875. Well-modelled Strad designs. Yellow-red spirit varnish.
GRAY, JOHN
Born at Birdhope (Northumberland), 1862. Resident at Sunderland. Died 1950. Commenced making violins in his eighteenth year, no especial training but gleaned enlightenment from the book of Heron Allen. Ultimately became a professional maker and enjoyed ample patronage as a restorer. Strad modelling. About 20 violins and a few violas. Red, dark orange and brown shades of splendid varnish. Found a ready sale for his productions in 1927, owing to excellent tonal quality, although he always strove to create something superior.
GREEN, ADOLF O.
Born 1876. Amateur at Sdra Vi (Sweden).
GREEN, JAMES F.
Born 1890. Amateur. Resident at Wichita Falls (U.S.A.) Made first instrument, 1916. Some specimens constructed on somewhat novel ideas relating to the sound-holes and shape of middle bouts. Also some as experiments with native woods (mesquite, mahogany, redwood, lin, and walnut), instead of usual pine and sycamore. Oil varnish of various shades.
GREEN, WYMAN R.
Born 1881. Amateur. Resident at Madison (New Jersey). Began experiments 1911. Excellent workmanship on a slightly original model. Silka spruce for top, hard maple for back. Also delved into varnish problems, and produced one that seemed to ameliorate tonal quality.
GREENWOOD, G. W.
Born at Rochdale (Lancashire), 1885. Studied five years with Hesketh at Manchester. Established own premises, 1912. Stradivarian and Guarnerian modelling. Designs worked out with the greatest care. Perfection of finished workmanship pervades the entire structure. Scroll and sound-holes splendidly executed. Golden brown and red-brown shades of supple and transparent varnish. Tonal quality responsive and pleasantly strong, inviting the artist to exert his bowing skill.
-----------------------------------
George William Greenwood
Rochdale. 1924
----------------------------------
Initials double-circled.
GREEN MOUNTAIN VIOLIN CORPORATION
Established at Stowe (Vermont), 1920-1925. Head workmar - A. W. Christianson. Art-craft violins guaranteed to be hand-made. Claimed that their method of finishing and the special quality of varnish resulted in superior tonal sonority. Well selected old spruce and maple. Yellow, golden, orange and walnut shades of oil varnish. Various grades from ten to one hundred dollars.
GREGORI, AUGUSTO DE
Worked at Rome, 1890. Originally prepared wood for several makers in different countries. First instrument produced in 1896. Subsequent ones (Gagliano) style, found considerable favour in Russia. Died 1910.
-------------------------
Augusto de Gregori
fece in Roma 1907
-------------------------
(curious characters)
GREGORI, LUIGI
Born at Spilamberto. Worked at Bologna, 1790-1812. Very flat modelling, altogether splendid outline. Compared with any of his contemporaries, the work manship will stand any test, and the instruments should never be without considerable patronage from players. Flat arching which practically bespeaks fine penetrating tone, and age has given it considerable mellowness. If we look carefully at the sound-holes, purfling, or scroll, we shall find very little indeed to take exception to. Belly frequently of wide grain spruce, back and sides of maple showing a curly grain of small figure. Fine golden brown, or pale red varnish. 80 (1930). Also produced several excellent violas, usually 15-1/2 inches body length.
------------------------------------------
Luigi Gregori da Spilamberto fece
in Bologna lanno 1795
------------------------------------------
(with monogram)
------------------------------------
Luigi Gregori fece in Bologna
Anno 1808
------------------------------------
GREGSON, ROBERT
Born at Blackburn (Lancashire), 1871. Worked at Montreal (Canada), 1894. Returned to native place, 1896. Made about 100 instruments generally of Stradivarian principles. Those dated after 1905 may be appreciated for that kind of sober workmanship which has very few blemishes.
---------------------
Arte et Labore
Robert Gregson
Blackburn
Anno 1913
---------------------
Recognised as a capable violinist.
CREIFF, GEORG
Worked at Fssen, 1530-1560. Lute preserved in the Darmstadt Museum.
-------------------
Georgius Greif
A Fiessen
Me fecit, 15. .
------------------
GREIL, OSKAR ALBIN
Born 1875. Worked at Sahlig, 1898.
GRVY, FRANCOIS
Worked at Paris, 1804-1830. Ordinary French modelling suggestive of the Mirecourt school. Nothing of any particular merit in workmanship except being quite satisfactory. Managed to get rather superb spruce for tops, often pretty one-piece backs. Ruby red varnish covering the entire surface. Tone rather powerful but without sympathy. 20.
Made many cheap commercial violins with various inlays of coloured woods.
--------------------
Franois Grvy
Paris
--------------------
GREY, GEORGE and ANDREW
Father and son. Resident at Dundee, 1910-1920.
GRIEFENDORF, I.
Vienna, 1775. Mis-spelling of Geissenhof, or a faked label to mislead buyers into thinking they have a Geissenhof.
GRICE, JOHN
English maker, early 18th century. Worked at Edinburgh (Scotland). Stradivarian model. Always very handsomely figured wood. Excellent tone. Usually golden brown varnish.
--------------------------
Made by
John Grice
in Edinburgh
from London, 1737
-------------------------
(written)
GRIENBERGER, JOSEPH
Worked at Urfahr, near Linz (Austria), 1820-1865. Instruments not having much circulation. Had a predilection for modelling after Storioni, afterwards changing to the Stradivarian - outline and arching beautifully conceived. Sound-holes have all the desirable qualities of gracefulness, and are particularly well positioned. Atomic details of scroll should silence any hostile criticism that connoisseurs sometimes throw at the Austrian school. Also conscientiously chose good material for tops, and did not overlook handsomely figured wood for backs and ribs. Golden brown or dark brown varnish, the whole resulting in a really serviceable violin with a moderately strong tone and reasonable mellowness.
---------------------------------
Josephus Grienberger fecit
Urfahr-Linz anno 1842
--------------------------------
GRIESSER, MATHIAS
Born at Fussen (Bavaria), 1702. Worked at Innsbruck, 1725. Died 1784. Model not always very attractive. Workmanship, although he passed through a diligent apprenticeship, not to be greatly admired. Influenced by the fame of the Italians he conceived a sort of Gragnani type of instrument, but did not altogether succeed in eliminating his Bavarian training. Brown spirit varnish of fair quality. Quite a nice free tone considering that the value seldom exceeds 15. Made lutes. viols, and guitars. In the collection of the Lyceo Filarmonico at Bologna is a viola damore with seven strings for bowing, and twelve harmonic strings, of which the nineteen pegs are all in the very long head.
-------------------------------------------------------
Mathias Griesser, Lauten und Geigenmacher
in Innsprugg. anno 1729.
-------------------------------------------------------
Lutes with an astonishing fullness of tone; body of nine strips of ordinary maple, top plate of hazel pine of beautiful pattern; pretty rosette of twining work; body length 46 cm; maximum width 29.5 cm; string length 69.5 cm; five double strings, and a single first string.
GRIFFIN, GUY AUBREY
Born at Birmingham (England), 1878. Worked at Sydney (Australia), 1924. Chief repairer at A. E. Smiths music warehouse. Produced several instruments of first-class workmanship. Sound-holes and middle bouts typically Guarnerian. Fine reddish orange varnish of own preparation. Splendid orchestral tone, highly appreciated by Australian players.
----------------------------
Guy Aubrey Griffin
Made in Sydney 1925
---------------------------
(written)
GRIFFIN, WILLIAM REID
Born at Macon (Ga.), 1911. Pupil of C. L. Williams (Chicago), and F. Z. Makett (New York). First instrument made in 14th year. Produced about 100 since. Mostly all copies of a Januarius Gagliano (with a one-piece back) owned by him Golden brown to reddish brown varnish.
GRIFFIN, WILLIAM
Born at North Taunton (Devonshire). Resident at Blackheath, London, 1924. Made violins as a hobby. Believed the wonderful secret of the old masters was entirely in the much discussed varnish question. Made several experimental attempts to successfully delineate the characteristics of the Sainton Guarnerius. Ventured on a model of his own in 1925. Yellow or reddish varnish.
---------------
The Griffin
Blackheath
---------------
GRILLI, JOSEPH
Worked at Arezzo (Italy), 1742-1751. Workmanship indicates the inexperience of a promising young aspirant. Nice tint of varnish which has not obtained the advantage of being thoroughly applied.
------------------
Josephus Grilli
Aretii 1742
------------------
(printed)
--------------------------
Joseph Grilli Aretei
Fecit anno 1743 No3
--------------------------
(written)
GRIMALDI, CARLO
Worked at Messina (Sicily), 1675-1682. Pupil of Paolo Albani. Good Amatese (grand pattern) modelling, excellent brownish red varnish.
GRIME, HAROLD
Worked at Accrington (Lancashire), 1900-1920. Ordinary workmanship.
GRIMES
Worked at Sherborne (Dorset), 18. . . Of little consequence either in workmanship or tone.
GRIMM, ADAM FRIEDRICH
Worked at Klingenthal, 1784. An aspirant with whom the practice of violin making should only have been by-play. Modelling and varnishing typically Saxonian in shape and colour. Workmanship altogether wretched. Often without purfling. Impoverished tonal quality worth about one guinea. The thud of a hammer would not (to some of us) sound unmusical if employed in the demolition of such absurdities.
---------------------------------
Adam Friedrich Grimm
Violin Macher. Klingenthal
---------------------------------
(written)
GRIMM, CARL
Born 1794. Died 1855. Versatile musician. Trumpet virtuoso. Established at Berlin as instrument maker to the Court. Became interested in building violins purely from the point of view of curiosity. Unexpectedly found he had talent for the art. Entered more seriously into its pursuit and made many experiments with woods and varnishes. Studied and compared various models. Ultimately opened an establishment at Berlin, and soon was duly recognised as possessing considerable merit. Produced about 30 instruments every year. Grappled manfully with the never solved problem of tonal quality and eventually received confirmatory proof of a certain measure of success by the fact that several soloists publicly used his instruments. Modelling generally planned on Stradivarian lines, but with a few very slight modifications. Tried to elevate the characters of the German made violin, and devoted absolute attention to perfect internal construction and beautiful varnishing. After death, the business was carried on by his son, Carl Constantin Ludwig (harpist at the Court Chapel), and his son-in-law Hellmig. The former did not interest himself in the making, therefore the latter was the practical head of the firm. Exhibited a quartet of instruments in London, 1862, and received the usual praises on the rich quality of tone, etc.
GRIMM, KARL
Born 1811. Died 1877. Capable musician as well as violin maker. Established at Saaz (Bohemia). Here we get no masterly modelling, no precision about the scroll, and little artistry in the sound-holes. Varnish has greater pretension towards the excellent. Tonal quality surprisingly responsive.
------------------
Karl Grimm
in Saatz. 1842
------------------
------------------------------------
Karl Grimm
Instrumentenmacher in Saaz
------------------------------------
(design of Lyre in centre
GRINAGER, LARS P.
Worked at Brandb (Hadeland, Norway), 1880-1892. Won medals at Paris, 1886, at Christiania, 1887, and at Barcelona, 1888. Instruments fully deserving of greater recognition. Beauty of curve upheld in the outline, scroll, and sound-holes. Arching beautifully graduated. Fine woods and resplendent varnish. Tonal quality not unlike the Italian.
GRINCOURT
Cellist, resident at Paris, 1819-1826. Essayed a few happy excursions into the land of cello-making.
GRISERI, FILIPPO
Worked at Florence, 1640-1647. Fair workmanship, scroll often unduly large. Tyrolean modelling. Soft brownish varnish subdued in appearance by the harmonious blending of yellow.
GRITTI, CORRADO
Born 1925. Nephew and pupil of Cesare Candi. Resident at Genoa, 1947. Fine Strad and Guarnerian modelling, impeccably neat workmanship, transparent golden red varnish.
----------------------------------------
No. 6.
Corrado Gritti-Candi
Nipote e allievo di Cesare Candi
fece in Genova - Anno 1948.
----------------------------------------
GRIWALSKI, F.
Worked at Poznn (Poland), 1738-1746. Especially beautiful viol damours. Designs created at the bidding of a genius mind. In addition to superfine workmanship, there are lines which indicate feeling - a mysterious something giving life and elegance. Golden brown varnish as pellucid and supple as the Cremonese. Same refinement fully carried out in the Amatese modelled violins. Tonal quality as bright and eager as youth, yet having the poetical depth of maturity.
--------------------------
Franciszek Griwalski
w Poznaniu. 1741
--------------------------
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A.M.D.C.B.M.V.
1743 d 30 Xbris
Francszek Griwalski W. Poznaniu
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GROB, ANDREAS
Born 1826. Worked at Straubing (Bavaria). Died 1909.
Violins which do not stand as specially superior. All rules of design scrupulously attended to, but there is an absence of those higher principles which cannot be reduced to rule.
Better reputation for guitars, mandolines, and zithers.
----------------------------------
Andreas Joseph Grob
Saiten-Instrumentenmacher
in Straubing 1895.
----------------------------------
GRBER, GEORG
Worked at Innsbruck (Tyrol), 1816. Produced organs, and stringed instruments of all species.
GROBERT
Born 1794. Worked at Mirecourt. Died 1869. Maker of the guitar bearing the signatures of Paganini and Berlioz preserved at the Paris Conservatoire. Instrument upon which Paganini performed certain works composed for him by Berlioz. Violins branded Grobert, Aine.
GROBITZ, A.
Born in Germany. Worked at Warsaw, 1750-1756. Influenced by the symmetry of the Stainer modelling, but creative faculty not particularly quickened. Workmanship without any idealisation beyond ordinary skill, perhaps excepting the scrolls of his cellos, which are consistently dignified and very nearly magnificent. Dullish brown varnish. Some violins catalogued at 10 have the appearance associated with the good-class factory emanation. Tonal quality of cellos nicely clear, but not full or deep.
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A. Grobitz
Warsaw 1753
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GROBLICZ, MARCIN (MARTIN) (1)
Worked at Cracow (Poland), 1601-1635. Gained considerable experience in the workshops of Northern Italy. Violins (only a few) having Maggini characteristics truly well sustained, though arching is slightly more elevated. Golden varnish deepened by a brownish tint. Viols treated with all the resources of art, and not infrequently of highly elaborated decorations. Viol-da-gamba preserved at Cracow, labelled -
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Na chwale Boza ukonczyl
Marcin Groblicz roku panskiego 1602
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Translation: Reverential to God, consummated by Marcin Groblicz in the year of our Lord, 1602.
Several viol-da-gambas have been re-arranged to ordinary cellos, and are considerably valuable.
GROBLICZ, MARCIN (2)
Worked at Warsaw, 1705-1750. Generally of Stainer type - also a few specimens of double purfling, and sometimes modelling more akin to the Amatese. Workmanship fairly good. Sometimes instruments have fancy inlays which are however perfectly free from any gaudiness. Often lion heads in lieu of ordinary scrolls. Splendidly and prettily wooded. Reputation built up by the violinist Lhlein (virtuoso, resident at Leipzig and Danzig, and author of an extensive Method).
------------------------
Marcin Groblicz
Z Warszawie 1710
------------------------
Name found in violins of more modern times, commonplace affairs, edges flush with the sides instead of overlapping them - attempts to gull the public with socalled Russian instruments.
GROH, HEINRICH MORITZ
Born at Erlbach (Saxony), 1869. Worked at Markneukirchen, 1900-1939.
GROLL, MATHEUS
Worked at Meeran (Tyrol), 1780-1800. Quiet and graceful model, well formed scroll and sound-holes. Varnish of no great brilliancy. Pleasing tone.
GRONAU, JOHANN BENJAMIN
Worked at Danzig, 1785-1806. Violins and viol damores.
---------------------------------
Joh.Benj. Gronau
Geigen-Macher in Dantzig
1798.
---------------------------------
GROSJEAN, JOHN FREDERICK
Maker of harp-guitars. Worked in London, 1830-1840. Did not make violins but was one of the numerous cranks seeking to improve tone of stringed instruments. Patented, in 1837, his notion of coating the surface of violins with glue and powdered glass. Subsequent opinion has allowed this preposterous innovation to have full sway only in its proper province - that of oblivion.
GROSSELET, JOSEPH
Born 1740. Worked at Mirecourt up to 1789. Long and narrow design. Workmanship very commendable. Clear yellow-brown varnish.
Branded Grosselet under button.
GROSSET, PAUL FRANCOIS
Worked at Paris, 1746-1761. Pupil of Claude Pierray whose excellent instruments he failed to emulate. Did not produce many instruments. Model too high and proportions altogether faulty. Workmanship quite praiseworthy, and gives cause for regret that he did not bring his intellect to bear on his dexterity, instead of committing himself to works of labour opposing the natural laws of violin construction, only to finally realise the utter failure to obtain a soft quality of tone. Brilliant spirit varnish, orange-yellow or brown. Also made five-stringed viols, and cellos.
----------------------------------------
P.F. Grosset Au dieu Appollon
rue de la Verrerie, Paris, 1757
----------------------------------------
(written in Roman characters)
Au dieu Appollon (At the God Appollo) - shop-sign. Some labels have P.J. Grosset. Grillet (French writer) gives his name as Pierre.
GROSSE, GIUSEPPE
Worked at Bologna, 1792-1812. Perhaps not wholly of mediocre design, but certainly semi-careless workmanship. Scroll a little botched, and varnish not of a healthy clear complexion. Tonal quality of fair power but of no purity. Violas usually 16-1/4 inches body length.
---------------------
Giuseppe Grossi
Bologne. 1804
---------------------
GROSSMANN, MAX
Born at Jastrow, 1856. Physician at Berlin. Devoted twenty or more years to the study of acoustics. Evolved a new system of attuning violin backs and breasts, 1904. Brought out (with the assistance of Otto Seifert the violin-maker), the New Cremona Violins with the announcement that they were equal in responsiveness of tone etc. to the old Cremonas. Certainly highly satisfactory products enjoying many years of considerable vogue, and profusely flattered by very laudatory attestations from the principal virtuosi. Catalogued at 50. Also violas and cellos.
Author of Theory of harmoniously attuning the resonance plates - Secrets of the old Cremonese makers (Leipzig). Critical Observations on the various new systems of violin building (Berlin - published yearly from 1904).
GROVES, A. W.
Born 1871, Resident at Fort Worth (Texas). Teacher of manual training and physics. Also a violinist. Died 1947. Claimed to have discovered the method of Stradivari of producing a perfect outline by square and compass as taught by Galileo. Produced tone by scientific methods tested in a physical laboratory. Always worked on the theory that note-quality depends on number of overtones being in harmony with fundamental tone. Produced 25 violins up to the year 1940. Oil varnish of golden brown shade, or natural old wood colour.
GRUENBERGER, JOSEPH
Worked at Linz (Austria), 1810-1832. Specimen dated 1826 realised 15 at Liverpool, 1929.
GRUENBERGER, L.
Worked at Linz (Austria), 1864. Guarnerian modelling well replicated. Workmanship tolerably smooth, except the scroll which has several unaccountable shortcomings. Golden varnish with red shading, and applied as though old and worn.
GRUHIER, C. P. Mirecourtian trade violins of exceptional merits. Splendid design and finished in every detail. Finely figured material, and deep reddish-brown oil varnish. 20 (1925).
--------------------------------
C. Pierre Gruhier Luthier
No. Anno 19. .
--------------------------------
GRULLI, PIETRO
Worked at Cremona, 1870. Died 1898. Grand-Amati modelling, but contrasting strangely with the elegancies of the original. No especial refinement in workmanship. Varnish fairly agreeable with some warmth. 50 (1929).
GRUMET, ALPHONSE
Violins made at Mirecourt factory 1890-1920.
-----------------------
A.Grumet Luthier
Paris
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-------------
A.Grumet
Paris
-------------
GRUNDITZ, CARL REINHOLD
Born 1866. Amateur at Trans (Sweden). Made 12 violins, also mandolines and lutes. Won silver medal for the latter, 1938.
GRZYWIENSKI, ALOJZY
Worked at Przemysl (Galicia), 1842-1848.
GSCHIEL, ANDREAS JOHANN
Worked at Budapest, 1760-1770. Modelling strikingly reminiscent of a Matthias Thir. Design and workmanship well nigh reaching the heights of artistry. Excellent wood, unfortunately treated to a meagre opaque and dark varnish.
---------------------------------
Andreas Johann Gschiel
Lauten und Geigenmacher
in Pest, 1768
---------------------------------
GSCHIEL, JOSEPH MICHAEL
Worked at Budapest, 1772-1810. Similar modelling to the above, but much superior varnish.
GSCHWENTER, H. JOSEPH
Born 1838. Apprenticed at Mittenwald. Established at Innsbruck 1859. Died 1894. Won medal at Vienna for a quartet 1873.
GUADAGNINI, ANTONIO (GWAR-DE-NE-NE)
Born 1831. Son of Gaetano (2). Died 1881. Worked at Turin and Pesaro. Prolific maker.
Whatever views the connoisseur and the violinist may hold concerning semimodern violins, they must, in all honesty, admit that this maker has done his work in an uncommonly neat manner.
Well varnished, generally rather reddish. Logical in all the various thicknesses of wood. Always a flat model, sturdily built on Stradivarian lines. Age will pass its opinion on the tone, and put up the price accordingly. In 1927, this tone was of fair responsiveness and useful power.
Best period from 1860 to 1867. General dimensions: body-length 14.1/16 inches; upper bouts, 6-5/8; lower, 8-1/4.
----------------------------------
Antonio Guadagnini fece X
Torino, anno 1851 A. G.
T.
----------------------------------
Cellos also built on Stradivarian lines. Length of back, 29.13/16 inches; string length, 27-3/4. Orange red varnish. Very responsive tone, particularly rich on lower strings.
GUADAGNINI, FELICE (1)
Worked at Turin, 1834-1837.
Flat modelling, and characteristically keeps to the family traditions in every detail Designated himself as Nepos Joan Bapt, and is frequently confounded with Felice (2).
GUADAGNINI, FELICE (2)
Son and pupil of Carlo. Worked at Turin, 1825-1838.
Had good notions of what workmanship should be - based on a very excellent pattern, but somehow or other he missed that something which is necessary for a violin to have a truly responsive tone. Perhaps the varnish (which is brittle and freezy-looking) helped towards this condemnatory state. Either red-brown or yellow-brown shade. Beautifully shaped scroll.
GUADAGNINI, FRANCESCO
Son and pupil of Antonio. Worked at Turin, 1889-1935. Particularly clever craftsman.
Modelling somewhat similar to that of Joannes Baptista (2). Varnish, of flaming reddish hue, claimed to be identical with that used by predecessors, only necessitating age to give it the same mellow appearance. Violins with an assemblage of real niceties. Tonal quality highly satisfactory and bespeaks splendid future enhancement. Known for magnificent guitars.
----------------------------------------
FrancescoGuadagnini fu Antonio
fece in Torino anno 1910 F.G.
T
----------------------------------------
--------------------------------------
Francesco Guadagnini fece
in Torino nellanno 1927 F.G.
T
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-----------------------------------------
Casa fondata nel 1690
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Francesco Guadagnini fu Antonio
Fece Torino anno 1912
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(unique design - Turin coat-of-arms on top)
GUADAGNINI, GAETANO (1)
Son of Joannes Baptista (2). Worked at Turin, 1765-1810.
Here is a remarkable instance of the caprice of human judgment and the revolution of taste. in his day his then new violins were almost idolised by the violin-world prophets, who predicted for them a fame that could only be topped by those of his father. Yet now they are most undeservedly neglected. These instruments (he only made a few as he was in great demand as a repairer) really abound with much first-class workmanship, and should not fail to find enthusiasts who will bring them out of obscurity.
Copied fathers style with the greatest fidelity of delineation. Moments of delight accrue from the superb accuracy of the scroll and sound-holes. Attractive yellow-brown varnish on prettily-figured wood. Tone becoming richly fertilised with playing and age. 150 (1925).
---------------------------
Gatano Guadagnini
J.B. Guadagnini Filius
Taurini fecit 1775
---------------------------
Several instruments bear fathers labels. 300. 1959.
GUADAGNINI, GAETANO (2)
Worked at Turin, 1835-1852. Eldest son of Carlo. Not very well known.
Few have a better right to be termed Stradivarian, though some minor details (in purfling and sound-holes) show individuality. Workmanship of a character not to be summarily dismissed. Other points interesting too, which should appeal 10 players as well as connoisseurs, and the principal magnet is a finely-responsive tone of great clarity. Generally two-piece backs of handsome material. Excellently cut and boldly-designed scroll. Warm tint of light orange varnish - fairly thick and of fine quality. 200 (1925). 400, 1959.
-------------------------------
Gaetano Guadagnini fece
in Torino nellanno 1852
in plazza S. Carlo.
-------------------------------
(G.G.T. accoladed)
-----------------------------------
corretto da Gaetano
Guadagnini. In Torino 1852.
-----------------------------------
GUADAGNINI, GIOACCHINO
Brother of above. Supposed to have worked at Paris.
GUADAGNINI, GIUSEPPE (1)
Called Soldate. Second son of J.B. Born 1736. Died 1805 Worked first with father at Turin 1751; then on own account at Milan; moved to Parma 1760; worked in the Contrada di Porta at Como 1763; returned to Parma 1767; again in Milan 1779; and at Pavia 1790.
Made a large number of Stradivarian and Guarnerian modelled instruments of broad proportions - body-length, 36.2 cm. Frequently censured as being of somewhat unrefined workmanship with inelegant scrolls. It does not seem credible that he (the son of so famous a master) should have neglected those graces of style which were ever before him.
Of course the quality of tone suffers in consequence of carelessness or ineptitude though rather powerful. Fairly broad and robust sound-holes, occasionally very Guarnerius-like, and sometimes with a very straight stem. Varnish shows hurriedness on the appliers part rather than lack of knowledge - generally of red-orange shade. Wood often hard and plain - bellies sometimes of one piece. Sometimes had a fancy for double-purfling. Some instruments occasionally fetch really good prices on account of the sometimes really fine sonorous tonal-quality.
Possibly the uneven and wide-grain belly-wood he usually favoured, appealed to him as having resonant tone properties. Frequently used fathers label.
Violas and cellos follow the Stradivarian model.
--------------------------------------
Josef Guadagnini Cremonensis
fecit Papiae. anno 1803.
--------------------------------------
----------------------------------------
Giuseppe Guadagnini fil.
Joannes Baptista. Parmae, 1768.
----------------------------------------
---------------------------
Giuseppe Guadagnini
figlio di Giov. Battista
---------------------------
Also inside will be found S.G.F. ss.s.g.g. F.P. 500 to 650, 1959.
GUADAGNINI, GIUSEPPE (2)
Second son of Carlo. Worked at Rome and Turin, 1884-1900.
Workmanship quite fulfils its intention of worthily following in the footsteps of predecessors. Completeness and maturity about it proclaim the maker to have been a man of much thought and did not shirk assiduity of labour.
Violins and cellos.
GUADAGNINI, GIUSEPPE (3)
Son of Antonio. Brother and associate of Francesco. Worked at Turin, 1885-1903.
GUADAGNINI, GIUSEPPE
Worked at Brescia.
Reddish brown varnish, handsome back, high ribs, large but artistic scroll, wonderfully deep and full tone.
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Giuseppe Guadagnini fecit Brescia 1697
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GUADAGNINI, JOANNES ANTONIO
Worked at Turin, 1750.
-----------------------------
Joannes Antonij
Guadagnini Allevius
Straduarij fecit Taurini
1750.
-----------------------------
GUADAGNINI, JOANNES BAPTISTA (1). V. M.
Italian christian names are Giovanni Battista. Born at Piacenza, 1683. Died 1770. Brother of Lorenzo.
Some recent writers assert that there were not two makers bearing the names of J.B., and that the mistake has arisen through the one individual having frequently changed his abode. There are many labels of a J.B. dated from 1695 to 1703, which could not have been inserted by J.B. (2) as he was not born until 1711. How can the rather unnecessary path of controversial leafage make this coincide? We think it safer to believe in the older writers, and this vantage ground we can clearly see that the distinctive features of the violins of the elder J.B. are so absolutely decided from those of the younger, as to affix the conclusive sign that the workmanship was not executed by the one man. Firstly, this mans labels are dated from Piacenza and Milan, whereas the other worked at Parma and Turin. Secondly, work is less refined. Thirdly, majority of instruments built to a slightly smaller model, either Stradivarian or Amatese. Fourthly, arching more elevated. Fifthly, sound-holes really longer than usual. Sixthly, edges stronger, and corners rather long and thick. Seventhly (according to repairers who have taken them asunder), the various thicknesses of wood not always ideally proportioned. Eighthly, darker varnish of reddish brown shade, thickly put on, brilliant and nighly transparent, but quite different from the especially grand quality and texture that the younger used. There are, however, a few examples whereon he applied a golden shade of varnish. Lastly, the tone, though mellow and even, has not the same carrying power.
Belly wood sometimes of narrow grain near edges and wider towards centre - ribs often of plain material. One specimen dated 1745 at Milan realised 500 (1925).
----------------------------------------
Joannes Baptista Guadagnini Pla
centinus fecit Mediolani 1703
----------------------------------------
With G.B.G. and a P underneath, placed within a large, dark circular stamp.
-------------------------------
Joannes Guadagnini fecit
Placentiae, anno 1747
-------------------------------
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Questo corretto e fatto al Convento
da me
Giam Battista Guadagnini Piacentino
in Milano
----------------------------------------------
GUADAGNINI, JOANNES BAPTISTA (2)
Italian christian name Giambattista. Born at Cremona 1711. Died 1786. Son and pupil of Lorenzo. Also worked with Stradivari. Established at Parma, 1729. Eventually obtained the lucrative position of instrument maker to the Duke of that city. In 1772, the Duke discontinued the pensions to the various persons in his service, so Guadagnini removed his working materials to Turin, where he assiduously produced instruments until death. It has been stated that Count Cozio di Salabue (Italian nobleman and cosmopolitan art collector), patronised and saved him from pecuniary destitution.
For many years there was a large amount of obloquy and contumely thrown upon his instruments, as they were often confounded with the inferior ones of his uncle, but the passing years, bringing forth increased knowledge and lucidating facts, have decisively and victoriously combated all these early prejudices, now absolutely subsided.
If the claims of these instruments be thoroughly examined, they will be found largely based on the royal and irreproachable principles inculated from Stradivari. They encourage the soloist to produce his best, and promote his finest gifts of expressiveness. The tone is not only of a peculiarly rich sweetness, but has a remarkable penetrative quality, which makes these violins of extensive utility to either drawing room players or to vigorous virtuosi who occasionally punish his instruments to cope with the demands of much modern music. And this appears to be now thoroughly understood and traded upon by dealers, who have been steadily advancing the prices until even as much as 800 was realised as far as 1920, and now reaching into four figures. Yes, Guadagnini violins have shot their fame to the east, west, north and south of Europe; the billows of the western ocean have carried it to the land of Washington, as well as to the Canadian towns on the banks of the St. Laurence; and we have many fine specimens in our own sea-girt country.
Early dated violins have all the weaknesses (though slight) of fathers productions; but did not long intend to rob himself of his due meed and future fame by these filial attempts. So he set about flattening the model to that essence of boldness so characteristic of some Strads, further emblazoned it by using wood of the finest quality, did not stint the quantity, and had a rare eye for pretty marking, also the tremulous sensibility of genius, without any of its eccentricities, all its pride, and all its spirit.
Wood (in later dated violins) seems to be of softer texture - backs mostly two-piece with very regular flame. Powerful scrolls - nearly always show the aid used in drawing. The middle line and the start of the first ring usually show the pricks from the transfer of the pattern laid over it. As the model was too small, he allowed the pricks to remain, so as not to obtain whorls which were too small - marks usually visible on right side. Flat surfaces on the whorls are broad - second turn often so deeply cut, that the deepest cut at this part is the same height as the wall of the upper part of peg box. Looked at from above, the middle line is not straight - right and left parts tend to go upwards slightly.
The scrolls occasionally come in for a few severe attacks of detraction from some connoisseurs who, with their magnifying glasses, are on the look out for any microscopic defects. Such men, possessed as they are, of strong powers and acute perception (but sometimes of ill-qualities no less than good) in a superior degree, require a little chastisement to correct their inopportune enormities of unjust criticism, and teach them to act more rationally and consistently. For our part we see very little to cavil at in the Guadagnini scrolls - perhaps not so boldly designed as the general contour of the instrument, but the maker is entitled to his own ideas of beauty, and we are sure that professional violinists and wealthy amateurs are perfectly satisfied with the form and symmetry that adorns the head. Sound-holes show rather a pronounced sweep in both the upper and lower turns - peculiar cutting (notches usually low) seems to give them a rather long appearance without actually being so.
Varnish slightly varies between a rich looking orange shade of golden red, and a brownish yellow - the latter not of such outstanding lustrous quality as the former (generally considered a speciality of a Guadagnini), excessively fiery and transparent, and shows he deeply delved into the so-called secret of Cremonese varnish. Best instruments dated from Turin.
-----------------------------------------
Joannes Baptista Guadagnini
Cremonensis, fecit Parmae, 1730
-----------------------------------------
------------------------------------
Joannes Baptista Guadagnini
fecit Parmae serviens
C.S.R. 1741
------------------------------------
(initials G.B.G. under P a small maltese cross in a circle of black background)
-----------------------------------
Joannes Baptista Guadagnini
Cremonensis fecit Parmae
C.S.R. 1765
-----------------------------------
(with same initials)
----------------------------------------------------
Joannes Baptista Guadagnini Cremonensis
fecit Taurini, 1772.
----------------------------------------------------
--------------------------------------------
Joannes Baptista Guadagnini +
Cremonensis Fecit Taurini G.B.G.
Alumnus Antoni Stradivarius, 1780. T
--------------------------------------------
These labels (particularly No. 1) are largely copied for purposes of sale, and usually put into violins of large build and rather flat arching.
Very fine example was in the collection of D. J. Partello (American art collector). Brilliant orange red varnish, with an undercoat of light yellow. Medium grain spruce, back and ribs of curly maple. A black line outlines the scroll. Very flat arching and Stradivarius outline. Massive model.
----------------------------------------------
Jo: Bap: Guadagnini. Cremonen: fecit
Taurini diritione D.I.A. corti typis
Antonii Stradivari 1775
----------------------------------------------
Spohr owned an excellent specimen which was offered for sale in 1884 at Stettin for 300.
One dated Parma 1769 - body length 13-15/16; upper bouts 6-9/16; middle 4-1/2; lower 8 full; ribs 1-3/16 to 1-1/4. Dark red brown varnish which has become shaded through wear and age.
One dated Turin 1782 - wonderful appearance - varnish of a lovely red colour (limited number of this particular shade - offered for sale at Chicago (1929) at 12,000 dollars.
One dated Turin 1763 - top of fine grained spruce slightly wider at edges - two-piece back of beautifully figured curly maple - plum red varnish - scroll having a slightly lighter red - 5,000 dollars at New York, 1924.
Another dated Turin 1781 - broad model and medium arching - one-piece back of brilliant maple - ribs of plainer material - scroll also of plain maple - warm red brown varnish - purfiing set slightly further from the edge than usual - 6,500 dollars at New York, 1923.
David Popper (renowned cello virtuoso) played on one for 29 years of his concert touring. 1,500, 1959.
GUADAGNINI, JOSEF
see GIUSEPPE GUADAGNINI.
GUADAGNINI, LORENZO (1)
Born at Piacenza 1675. Lived several years at Cremona, where he was a pupil of Stradivari. Worked at Milan, 1730. Returned to Piacenza and worked there until death, 1760.
Whetber proceeding from lack of ingenuity, or from different views, it is certain that his productions do not greatly emulate those of his teacher. Some people have indeed attempted to point a resemblance in the wild enthusiasm of an irregular imagination. Other writers have taken the view that he never studied with Stradivari at all, though the fact is printed on his labels. This latter assertion we are unable to refute. In any case it does not very much matter whether he was taught by Stradivari or not, for after all we are only concerned with his violins.
These are generally built on a smaller (though somewhat bold) pattern than those of Joannes Baptista. Declivity of arching very slight, and shows the predominance of good sense and exact reasoning. Breadth of design commands admiration, all the proportions show a methodical plan - the result of thought and reflection. Outline has not that absolutely complete grace which may be combined with vigour. Wood invariably of distinguishing excellence. Scroll is not so praiseworthy, and seems to shrink away from the better-attended-to body. It has none of the delicate traits of the Stradivarian, but there is decisive marks of originality, and for this we should be thankful. Waist curves particularly attractive, though not Strad-like. Purfling rather far short of perfection, fully showing he had not the complete assuredness of an accomplished craftsman. Corners heavy looking - a pity he did not restrain his irregularities of fancy in this comparatively small matter.
Sound-holes vary - some fairly graceful and somewhat retaining the grand symmetry of the Stradivarian, others rather slanting and more pointed, bringing the Guarnerius type into view. Generally chose better (at least prettier) wood than some of the other members of the family. Age has given luxuriance and maturity to the naturally genial warmth of the exquisite golden red varnish which, in our judgment, surpasses that of any of his relatives. Tone beautifully rich, but not evenly penetrating - lower strings sound slightly dull after the brilliance of the E string.
Nevertheless, they are eagerly bought up, and realise very high figures. Perhaps their scarcity adds considerably to the commercial value.
Also occasionally produced Maggini model violins, with double purfling.
Very fine specimen, dated 1743, played on for many years by Efram Zimbalist (famous virtuoso). 800, 1959.
-----------------------------------
Laurentius Guadagnini Pater
& alumnus Antoni Stradivari
fecit Placentiae. Anno 1743
-----------------------------------
-----------------------------------------------
Laurentius Guadagnini Cremonae
Alumnus Stradivari fecit, anno Domini
17-
-----------------------------------------------
GUADAGNINI, LORENZO (2)
Son and pupil of Joannes Baptista (2). Worked at Turin, 1790-1793.
Admirable outline and arching, conceived with thorough knowledge of shape and its effect on tone. Sound-holes and purfling have received ample justice. Very prettily carved scroll. Splendid transparent golden yellow varnish. The kind of tone that the bravura player greatly needs.
-----------------------------------
Lorenzo Guadagnini figlio di
Giovanni Battista
fecit in Torino an. 1793.
-----------------------------------
Sometimes two-lined labels - same wording.
GUADAGNINI, PAOLO
Born 1908. Son and pupil of Francesco. Worked at Turin. Lost his life in the war, 1942. Produced about 20 violins. Ernest Doring of Chicago (most reputable expert in America) has compiled a very detailed account of the Guadagnini family - 335 pages, with many reproductions of violins.
GUARINI, J.
see MENNESSON.
GUARMANDI, FILIPPO
Worked at Bologna, 1775-1796. Lutes and Violins. Seldom seen.
GUARNERIUS, ANDREA
Founder of this historic family. Born at Cremona, 1626. Descendant of an ancient and noble Cremonese family. First worked with Antonio and Girolamo Amati. Later, 1641, fellow apprentice with Stradivari in the workshop of Nicola Amati. Died 1698. Buried in the Church of San Domenico.
Most violin books have furnished us with accounts truly panegyric. The hero of thesc writers, like the lover in a romance, is adorned with every good quality. Not content to judge his violins with impartiality, they extenuate what is culpable, and exaggerate all the points which admit of commendation. Doubtless a few of these men have written from the real and natural fondness they have for Italian instruments, but sometimes we cannot suppress the thought that they have the less laudable motive of promoting the circulation of Andreas name because they were and are interested in the sale of his instruments, and therefore speak too highly, even of those specimens they know to merit only moderate approbation.
But, after all, there is nothing to be surprised at if the trader represents his own merchandise as the best in the market. Nevertheless, we disagree with all their flowery eloquence when they compare the tone to the gentle and majestic beauty of a Stradivarius; neither can we admit their reasoning when they assert that few makers have shown more superior character of elegance and correctness of workmanship.
First instruments of Andrea were designed on the somewhat large pattern promulgated by his first instructors, but later, the great arbiter of taste stripped him of this predilection. tIe flattened the model more in accordance with the Nicol Amati - gave a more harmonious character to the former dis-proportioned and rugged scrolls, and arrived at greater artistry by cutting them deeper. Altered the shape and bestowed greater attention on the sound-holes by making them a little less straight. lt seems then that he was trying to keep pace with the more illuminating genius of Stradivari.
There arc one or two distinctive traits (though he had no great exuberance of invention) by which his instruments are recognised - firstly, the sound-holes - secondly, a certain originality in the arching, difficult to describe - and thirdly, the low sides. Outline quite a good one - waist curves usually long. Purfling (usually close to the edge) lacks inspiration. General workmanship not especially refined. Invariably well marked wood, - several instruments having a broad curly maple one-piece back. Varnish varies greatly in colour from a beautiful orange golden brown to a deep red brown. These shades sometimes have considerable body but also not quite exempt from hardness and not always transparent.
The general tenor of our admonitions on the writers previously mentioned applies more particularly to the tone, which has a certain semi-brilliance, but is neither wonderfully rich, full or perfectly responsive. Its carrying power is too limited for the concert soloist, and its purity not sufficiently mellow for the ideal quartet.
Measurements of one dated 1670, listed in America (1924) at 3,000 dollars: body length 35.5 cm; upper bouts 16.7; middle 11.4; lower 20.6; from lowest line of purfling up to notch of sound-hole, 19 cm; breadth of margins 4 mm; height of ribs, upper 27 mm; middle 29; lower 30. Top wood of one-piece hazel pine - fibre being very slightly broader over the bass bar part. Maple for back, very exactly cut, flame sloping downwards. Thinly fine brown varnish of great luminosity. Wood primed with a warm and greasy brown yellow of great purity. Somewhat deep grooving near edges, but in such a way that the edges do not seem unduly prominent. Plates, with sound-post, attuned to C sharp. Clear tone, not very large, but of rich appealing quality, and rather responsive in the higher positions. Sarasate used one in his early concert years - body length 36 cm; lovely dark brown varnish, wonderful human tonal quality.
Kenneth Rose (principal violin professor at Nashville, U.S.A., 1929) had a fine specimen dated 1684. Golden brown varnish of a particularly rich quality. Formerly the property of the Duke of Edinburgh, and was acquired by Mr. Partello (wealthy American art collector).
David Laurie (Scottish connoisseur of note) possessed one dated 1661, which ultimately came into the hands of Miss Ethel Griffith (solo violinist at Sheffield). Arching fairly prominent - purfling close to the edge - yellow brown varnish - lower hole of sound-hole not so large as usual - broad fibred pine - plain sides - and two-piece back.
Violas (in size and contour) quite Maggini like.
Cellos (generally plain wooded) have a singularly fine tone of mellowness, often quite brilliant, and varnished orange colour. Two sizes - customary practice in his day.
Adelina Patti (famous prima-donna) owned one, dated 1679, of medium arching. She presented it to Anton Hegner (cello virtuoso). Later found its way to America, and was in New York, 1928. Had a weak back and a small bass bar, but received strengthening treatment, and is now pronounced the finest toned cello in the States of this maker.
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Andreas Guarnerius Cremonae sub
titulo Sanctae Teresiae. 1694
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Andreas Guarnerius fecit Cremonen sub
titulo Sanctae Teresiae, 1670.
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Sub disciplina, Andreae Guarnerii in ejus
oflicina sub titulo S. Teresiae Cremonae, 1676.
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Sometimes called Pietro Andrea, but very seldom. Worked at the Sign of Saint Theresa in the Piazza San Domenico, now renamed Piazza Roma. 1,250, 1959.
GUARNERIUS, ANTONIUS
Instruments exist bearing the date 1722, but generally assumed to be of doubtful authenticity.
GUARNERIUS, CATERINA
Daughter of Andrea. Born 1674.
Some authorities state she worked with her father and brothers, participated in their ambitions, and became tinctured by their principles. Violins have been seen which bear the sub-joined manuscript label, but the delusive media of uncertainty has caused a diversity of opinion as to their genuineness.
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Katarina Guarneria Fecit +
Cremone Anno 1749. I.H.S.
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GUARNERIUS, HIERONYMI (JEROME)
Newphew of Joseph - worked at Cremona, 1740-1790.
GUARNERIUS, JOSEPH
Full name Giuseppe Giovan Battista. Born 1666. Second son and pupil of Andrea. Worked at Cremona. Died 1739.
In choosing to improve on the model of fathers instruments, he substantiates full claim to the appellation of an original thinker. Had great skill - workmanship synonymous with the word splendid. Instead of pursuing the track of his respected parent, he boldly traversed the road set up by Stradivari, and later branched off into the similarly verdant one of his cousin Giuseppe del Jes. But often made several original detours from these two with a confidence that anticipated success. These instruments, therefore, have been well received by all connoisseurs and obtained a not inconspicuously exalted place in the scale of violin making honours. The unbecoming garb of careless workmanship never disfigures in the smallest details. 1685 seems to be his first year of production.
Rather small pattern of systematic precision, and has charms to detain onlookers. Narrow waist and rapid widening of the lower and upper bouts neither detracting from the general complacency of whole outline. His experimental philosophy carried him to placing the sound-holes slightly lower and nearer the edge than usual - also widely opened about the middle, but there is never any impropriety of taste. At the same time, we think that, in this department, he falls a trifle short of the family standard.
Margins not so wide as is usual in the Cremona school. Purfling often narrow but always neat. Scrolls vary. Earlier ones have much of the Amati character, though often more vigorously cut. Later there is a change - also there are some in which the peg box is somewhat cut in at the throat. Generally handsomely figured wood for backs, and straight, narrow grain for tops - both of such fine acoustical properties as to be thoroughly adequate to the masterly shaping he subjected them to. Rich harvest of brilliant golden red (also occasionally red brown) varnish of great depth and texture. In some instances, so plentifully used as to cause it to clot in certain places, nevertheless its splendid qualities are by no means lessened. To complete the picture it only remains to remark on flexibly resonant tone, which has the essence of sweetness, not over powerful, but finely penetrating on all the strings. The above description accurately delineates his principal pattern, but he could not withstand the attraction of variation. Flatter modelled specimens accounted the most valuable. Several instruments have been labelled as made by Giuseppe del Jes, while his Stradivarian copies have been the means of considerable unscrupulous trading.
Measurements of some specimens - body length 13-7/8 inches; upper bouts 6-1/2; lower 7-7/8. Others, body length l4-l/16; upper bouts 6-5/8; lower 8-1/16. Also produced a few much-sought for violas - flat modelling, curves above and below centre bouts rather straighter than usual - sometimes warm yellow varnish.
Scarce cellos - highly valued for fine tonal qualities. Workmanship frequently unaccountably careless, although the sound-holes are superbly fashioned and beautifully positioned. Also, the wood, in marked contrast to the violins, often quite plain. Some have a rich red or golden brown varnish of magnificent transparency, and give him the title (in which many connoisseurs concur) of being the King of varnishers. Scroll (with its elongated axis) altogether splendid.
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Joseph Guarnerius filius Andreae fecit
Cremonae, sub titulo S. Teresiae, 1706
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Some earlier dated labels are three-lined but with same wording. 1,500, 1959.
GUARNERIUS, JOSEPH
The outstanding genius of the family. His father, Gian Battista, younger brother of Andrea, was not a violin maker. Joseph was born at Cremona, 1686. Died there, 1745 or 1746. 1683 has frequently been given as the year of his birth, but the parish registers of San Donato at Cremona record the year 1687. His name appears in various other archives until 1702, after which it strangely disappears, although we know by his labels that he was working at Cremona for many years beyond this date.
The experience of every man who is a genius, evinces the truth of the remark, that there are times when the faculties, however impelled by inclination, or urged by necessity, are incapable of submitting to any routine or sameness of application or production. The cleverest hands and the strongest intellects are at times bewildered in uncertainty, incapability, dullness, carelessness, nervousness and stupidity; yet at other times the mind will forcibly impell them to transcendental flights of real greatness. There are, in consequence of this unequal power of exertion which the mind experiences, inequalities of excellence in every clever man.
Guarnerius was a typical instance of this inconsistency, and more obviously pronounced than in any other violin makers, whether ancient or modern. Many of his instruments have some parts in which not only little merit is visible, but which abound in faults; and it can neither be supposed that these failures arose from inherent ability or that they were voluntary. His acknowledged fine art, in the glorious gems we have seen and read of, will not admit the former; and his solicitude for the success of his name (since he was ambitious of rivalling the other Cremonese makers) must exclude the latter supposition. Such an effect can therefore be attributed to no cause other than the inequalities of the finest genius, at different hours and in different situations.
Look at the numerous train of his violins which have been the solo instruments of Ole Bull, Spohr, Paganini, Sainton, Vieuxtemps, Pott, Mayseder, Carrodus and Auer - productions absolutely crowning the highest standard of perfection. Yet we have seen others, infallibly authenticated as his workmanship, which are deformed by traits utterly unworthy of him. It is hardly creditable that such diversity of excellence and turpitude could emanate from one man.
Known as Joseph del Jes because of the mark of a cross with the letters I.H.S. beneath, which characterises all his labels. These three letters mean Jesus hominum Salvator (Jesus, the saviour of mankind). By using this pious motto he became known in Italy as Del Jesu. It is stated that he learned his profession in the workshop of Stradivari; but since none of his violins show but little affinity, even in the smaller details, to those of his supposed teacher, we have to conclude that the above is erroneous. Moreover, the labels state that he was a pupil of Gisalberti.
Principal authorities agree in placing his greatly varied productions under four periods. Those of first period (1710-1721) do not show any specific sign of originality unless in a certain indifference to beauty of structure and neatness - repeatedly altered the form, and scarcely two violins alike.
If he had a distinctive type in his head to which he showed favouritism, it was a Gasparo da Salo, with its bold and rugged outline and a kind of masterly carelessness. Aimed not at the perfection of style and form. Did not bother over the geometrical curves and studied principles of either Amati or Stradivari. Sometimes he seems as though impressed with the model of his cousin Joseph, then again we find him modelling after that of a Maggini. In nearly every instance we notice indifference to classic art work in workmanship. Wood (in many instances) unhappily chosen, and points to the fact that he exercised his talent on any material that first came to hand, whether acoustically good or otherwise. Yet (so much does luck find its way into everything) many of these early vagaries have a remarkably powerful and sonorous tone though only yielding to a strong and vigorous bowist. Cut the wood at the shoulder. Arching invariably approaches close to the purfling; middle bouts semi-circular - corners rather short. Purfling wretchedly traced. Long sound-holes nearly straight and angular - frequently somewhat offensive to artistic sensibilities. Mean looking scrolls. Varnish (sometimes very golden like a summers day sunset), generally appears to have been hurriedly and unevenly put on, though its ingredients belong to what we understand to be the Cremonese speciality.
Old Bulls instrument, of which he was very proud, belonged to this first period - dated 1714.
Second period dates from 1722 to 1728. Instruments of smaller pattern. Outline more happily designed; and the arching has a more graceful and gradual slope to sides. Rather drawn out centre bouts, somewhat narrow waist, both showing that he was not entirely oblivious to the Stradivarian idea. Backs principally cut on the quarter. Workmanship exhibits the exercise of more care and pride. More boldly cut scrolls, though still belonging to the plebian order. Usually very uneven in cut - some even slightly grotesque in their whole arrangement. All show that this department of violin structure was an uncomfortable job for him. In his haste to solve new tone problems, this is quite understandable to connoisseurs. Many have supposed that the maker (contrary to Strad or Amati) first of all finished one half of a scroll, then went on to the shaping of another. Throughout his career they are very diverse - some of well proportioned lines, others massive as well as being of peculiarly short length. Purfling more sensitively and accurately traced. Sound-holes generally considerably curved (yet there are a few shorter, more angular or more slanting) and cut with more appreciation of natural symmetry. Very transparent and elastic varnish of a rich golden brown or brownish red shade.
It is evident he was going on more positive principles to guide his footsteps up the temple of fame, and the endless variety of his work, in size, cutting of sound-holes, and choice of wood, seems to indicate the devious ways he traversed in seeking it. But though he saw the necessity of submitting to some process of rigorous analysis by means of all the consultive aids at his disposal in that metropolis of violins (Cremona), he could not resist an occasional departure from their scholastic principles by varying the thicknesses of wood. In several instances his energetic experimenting went too far, for he increased the thickness so much towards the centre (particularly in the backs) as to impede the elasticity of the vibratory elements and to rob the tone of a natural brilliancy.
Thus several of the instruments belonging to this second period lack force and carrying power, and we can only regard these isolated specimens as stepping stones across the river where he perhaps could see (in his imagination) the sheen palace of career and activity.
1725. sold by Guarnerius to the leader of the Scala Orchestra, Milan. Purchased in 1868 by Hart (Wardour Street, London). Sold in 1888 to Mr. Marshall (renowned connoisseur and collector) of Leicester for 500 guineas.
1726. Carl Tollefsen (American violinist) had this unique specimen. Stolen during one of his tours in the United States, 1920.
Third, and golden period, covers the years 1729 to 1743. About 1709 he became possessor of a wonderful piece of pine of vast size (rather as a stroke of luck rather than through any sedulous searching on his part). This wide grained wood proved to be most astouding in its acoustical properties, and the tables of his finest violins of this period were all made from it. It was his mascot. lt gave him the necessary push to his ambition. This great block of wood (which he regarded as a mine of wealth) had a stain or sap mark running through it, and those persons who have had the pleasurable opportunity of viewing these miraculous creations of Guarnerius have seen this characteristic feature running parallel with the fingerboard on either side - sometimes very faint but plainly noticeable.
During this prolific period he did not curb his propensity for variety of designing outlines, differentiating the rise of the arching, and other matters of lesser importance, as well as his apparently inexhaustible store of ideas concerning the cutting of the sound-holes. But the big pattern instruments satisfied his critical acumen the best, and have since stamped his name with that massive individualism we invariably associate with a Guarnerius. The reason he did not make more of this type, was perhaps less from caprice than the fact that he was perforced (from pecuniary motives) to please his clients who seem to have preferred the easier responsive tone of the smaller built instruments.
These flat, broad, and originally outlined specimens measure slightly under 14 inches from top to bottom of body. Breadth of upper bouts - close on 7 inches. Lower bouts - at least 8 inches - sometimes a trifle in excess of that. Broad waist, slightly over 4-1/2 inches. Long waist curve, but very elegant. These proportions being so frequent, it has practically become a recognised size for a Guarnerius, and those specimens of completely full size are the most valuable.
Arching particularly lovely in its very low and gentle rise from the purfling to the apex of the curving, in the centre of upper table. We have to admire this leastpossible chanelling procedure. But when comparing this mans violins we must always anticipate surprises.
Ribs often unusually deep - measurement generally 1-1/8 inches at the top and at the end-pin, and 1 3/16 at the corners. Bold and perhaps a shade heavy looking edges at once show his wonted independence of conception - so absolutely free from any preconceived rules of predecessors or contemporaries. Mathematical niceness of the various thicknesses of wood beautifully proportioned, and the combination of his pet pine wood with very fine old sycamore for backs (a plenitude of both), give that tone which is now unsurpassed (even by a Stradivarius) for grandeur of penetrative brilliancy and rich full sonority.
Sound-holes too greatly help towards this magnificence, for they are long and nearly perpendicular, not so pointed as those of the earlier dated violins, rather open at the middle, and the lower and upper circles being a degree larger (the upper looking like a small arch of Gothic construction) - everything done with such dexterity of manipulation as not to lose its charming gracefulness - a truly individualistic display of strength of character - a kind of etherialised conception of the Gasparo da Sal type.
Grand easy sweep of embedded purfling meeting to a fine point across the corners, shows that he could be the essence of neatness when he chose. Scrolls especially characteristic of his originality. On such broadly-constructed violins one would expect to see an equally broad and huge scroll; but no, he chooses to surprise us by a peculiar roundness which perfectly balances the rest of the instrument by being a shade longer than usual, thus giving it a noble healthy character of supreme robustness, like the athlete who keeps his figure lithe and supple yet strong.
Varnish (often calling up the spontaneous ejaculation Why it seems all alive) either of rich amber or deep orange red, gorgeous in its elastic fineness and plentifully put on. Here he shows no haphazard experiment, for such prismatic colouring cannot emanate from mere momentary inspiration but rather from years of deep thinking. Notice how the vivid (almost fiery) hues bring out the handsome curls (sometimes broad and sometimes close) of the sycamore, presenting the wondrous aspect of having been bathed in liquid transparent gold.
The finest fiddles in the whole world. This is the cry that rouses all of us; this is the music swept from the harp of prophecy of the renowned violinists of the past to gladden the hearts of the present; and this is the great truth around which other truths cluster concerning the different merits of a Guarnerius.
These instruments have greater life-force than a Stradivarius, and will have more far-reaching significance in the future. They diffuse a joy unspeakable, and it is a pity the maker cannot spring from his grave and witness the glorious immortality of his genius - a name encircled with a divine halo brighter than noonday. The modern artist considers a great master-thought example of this third period as King of all instruments. He reverences the strong right hand and the far-seeing brain of the maker. The rose fertility of the varnish lights up the countenance of the player, and the manifold and priceless tone is part of his soul and emotions. No devising of dealers in praise of a Stradivarius, and no theories or arguments will pull down a Guarnerius to second place.
1729. Fine example owned by Duloup (well-known concert violinist). Large model; something similar to the Sainton Guarnerius.
1729. The Pixis - perhaps the best of this period, and in wonderfully preserved condition. Close grained table, sides and one-piece back of broad-curl maple, and the well-worn varnish is of the typical red shade. Sound-holes have but the slightest slant, bottom curve having an amazingly large sweep which makes the upper curve (though just as gracefully round) appear smaller than actually. This specimen of superb tone found its way to America.
1730. In the possession of Mario Corti (professor at the Conservatorio, Rome), 1928.
1730. The Baron Vitta. Owned by the above nobleman resident at Marseilles. Purchased by Remo Bolognini (Italian virtuoso of New York) 1930. Two-piece back of beautiful wood. Unusually rich brilliant varnish.
1730. A rugged but interesting specimen owned by Baron Leigh. Passed into the hands of a wealthy American. Subsequently used by the talented violinist Franklin Holding on all his tours through the United States. Rich dark red shade of varnish. Sound-holes similar to the Pixis.
1731. The Mayseder. Formerly the property of the celebrated Viennese violinist. Passed through many hands until purchased by Mr. Crawford (wealthy amateur of Edinburgh). Then Maude Powell (American virtuoso) secured it, and for several years used it at all her triumphant successes. Sold in 1916 to a Mr. Schley of Colorado (collector of violins and other works of art). Placed, in 1919, with Lyon and Healy of Chicago, who offered it to the public at the somewhat astounding sum of 8,500 dollars. In a splendid state of preservation, possesses a tone of rare beauty and unusual power. One-piece back of exquisite curly maple, with the fairly broad figure extending right across its width with a slight gradient from left to right. Straight and even grained table, handsome sides, and an especially fine scroll. Beautifully shaded orange varnish, not thickly put on, and looks for all the world as though Stradivarius had done it. Sound-holes too have a remarkably artistic curve without any undue widening at the centre. Waist-curves of very bold and magnificent sweep.
1732. The Gillot, bought by Hart, 1872. Owned by Lord Dunmore.
1732. Owned by Raoul Rettberg (Boston, U.S.A.), 1921, valued at 7,000 dollars.
1732. The Ex Ferni. Thus titled because it belonged to Carolina Ferni (celebrated violinist who toured the world with her sister, also a violinist). Formerly in the possession of Count Cessoli at Nice, who generously presented it to Carolina. Sold to Gand of Paris 1874, purchased by Hill & Sons 1898, bought by Sachsa Colbertson (virtuoso) 1909. Exceptionally beautiful; two-piece back of handsome wood; and broad grain for table. Extraordinary pretty sides, scroll of plainer material. Long, straight, and somewhat pointed sound-holes. Lustrous deep red varnish. Length of body, 13-7/8 inches.
1732. The Armingaud (famous French violinist). Purchased for 30,000 dollars at Paris 1900, by Fernandez Blanco (wealthy collector at Beunos Alres). Preserved in the citys museum 1748.
1733. The Consolo. Belonged for more than 30 years to the eminent Italian violinist Consolo. Passed into the hands of Arve Arvesen of Oslo. Purchased by Mke1 of Berlin who in 1926 sold it to Bronislaw Hubermann for 2,000. Length of body 35.2 cm; upper bouts 16.5; middle 11.2; lower 20.6. Belly and sound-post attuned to a quarter-tone higher than F, the back to G. One-piece back of moderately-broad flame maple. Golden yellow varnish, more reddish tinge on scroll.
1733. Owned by a collector on the Pacific Coast of America, 1928. Yellow under-coat of varnish, the reddish top-coat well worn off. Magnificent one-piece back with flame ascending from left to right.
1733. Henry Verbrugghen, of America, owned (1926) a fine smaller model, of robust tone. Golden red varnish rather much worn. Extremely graceful outline and arching. One-piece back with flame going upwards towards the right.
1734. Le Violon du Diable. Thus nicknamed because it was the instrument used in an opera of that name.
1734. The Pig Guarnerius. Received this corrupt epithet on account of the ugly, long, slanting, and widely opened in the centre sound-holes. Sharply-pointed wings, the left sound-hole being placed a trifle higher than the right. Solo instrument of Prosper Sainton (French virtuoso).
1735. Gayford Yost (American violinist-composer) had one for which he paid 18,000 dollars in 1928. Covered with a wine red lustrous varnish which looks as if it might have been applied recently. One-piece back of handsomely-figured maple, top of the choicest spruce. Said to be one of the finest specimens extant.
1735. Fine specimen owned by Joseph Hummel (violinist at Stuttgart). Red varnish, and a somewhat roughly-cut scroll.
1735. The Viotti Joseph. Formerly the solo-instrument of the celebrated violinist Viotti. Passed into the hands of Baillot (his pupil) principal classical violinist of his day in France. Became the property of Comte Pillet-Will, one of the ministers of Napoleon III. Then Dr. Luc of Paris had it, and sold it in 1901 to Caressa and Francais (violin experts). Subsequently a Mr. Bjornson of Norway purchased it, afterwards (1908) presented it to Kathleen Parlow (American virtuoso) One-piece back of fine material, the top being of coarser grain. Double row of purfiing very neatly accomplished. Long and rather straight sound-holes. Very prominently long corners. Brown (with reddish tinge) varnish, very well preserved. Rather graceful scroll, and more cleanly carved than usual.
Length of body, 13-3/4 inches; upper bouts 6 5/12; middle 4 5/12; lower, 7 11/12; ribs 1-1/4. Proportions a trifle under the average from this maker.
1738. The Fountaine. In the collection of Andrew Fountaine (famous English fiddle fancier). Found its way to America 1920. Magnificent modelling, fine volluting of scroll. Gorgeous one-piece back.
1738. Formerly owned by George Herbert (amateur). Acquired by Edward Withers 1862. Purchased by the then well-known London violinist Carl Deichmann. Model of medium size.
1738. Chosen by Paganini for General Etinouff (aide-de-camp to Napoleon). Acquired by Tarisio. Sold for 15,000 francs 1889. Passed into the hands of Nathan Posner of America 1925. Body length 13-7/8 inches. Upper bouts 6 9/16; lower 8-1/8; ribs 1 3/16 to 1-1/4. One-piece back of normal flame. Very fresh-looking and clear orange red varnish.
1738. Owned by Goldblatt (concert-violinist) of Chicago. Purchased for 4,000 dollars from Harry Dykes of London 1920.
1739. The Bromley Booth, owned by George Hart and George Haddock (Leeds) and Bromley Booth (Yorkshire violinist). Sold to Ashworth Tate (son of Sir Henry Tate - founder of the Tate Gallery). Acquired by Lewis & Son (Chicago) 1949. Rich red varnish. Scroll said to be a later maker.
1739. The Spanish Joseph. Owned by the Wurlitzer Company (New York) 1925. Priced by them at 16,000 dollars. Dark orange varnish. Two-piece back. Sound-holes not so pointed as usual, but rather wide and without beautiful symmetry.
1741. The Doyen. Takes its name from the well-known amateur and collector Mons Doyen (Paris). A most beautiful and interesting instrument probably the finest of his productions. Covered with a rich deep red varnish of unusual attractiveness. Vuillaume frequently imitated the particular worn appearance of the one-piece back. Offered for sale in 1925 by the Wurlitzer Company for the extraordinary fanciful price of 27,000 dollars.
1741. The Princess. Owned by Jan Kubelik. Large model; dark orange varnish. Back of curly maple taken from lower part of the tree.
1741. The Vieuxtemps. Found a resting place in the Wilmot Collection (Antwerp), for many years after the death of the famous virtuoso. Maurice Sons (London) bought it from Hart 1895. Purchased by Thaddeus Rich (Philadelphian violinist) 1919. No cracks disfigure it. Workmanship slovenly. Flat model, deep ribs, thickly wooded. Lovely brownish red tinged golden colour lavishly applied. Full and very rich tone.
1741. The Carrodus. Also known as the Scottish. Owned by a Scotsman named Mackenzie 1800. Passed into the hands of Francois Cramer (famous London violinist). Became the property of Alexander Mackenzie (afterwards Sir Alexander), 1846. Ultimately acquired by Hills, who sold it to Carrodus. Sold at Putticks for 370, 1895. Passed over to America 1920. Golden yellow varnish. Body length, 13 5/16.
1741. The Jarnewick. Concert instrument of this famous virtuoso. Owned by George Hart, who sold it to R. D. Hawley of Hartford (U.S.A.), 1878. Acquired by Lyon and Healy of Chicago, 1899. Catalogued at 15,000 dollars by Wurlitzer of New York, 1925. The maximum in point of power, brilliancy and noble sonority. One-piece back.
1741. The Russian. Stolen from Moscow by one of Napoleons soldiers during the war. Owned by Leila Doubleday (Australian violinist), 1914.
1742. Taken by Leopold Auer to America, 1918. Owned by Thelma Given (famous virtuoso), 1923.
1742. The Duke de Camposelice. Belonged to the above Duke (enthusiastic collector). Placed in the treasured collection of Partello, 1904. Acquired by Lyon and Healy, Chicago, 1929. Catalogued at 25,000 dollars. An especially remarkable example. Back of two pieces of broad figured maple with sides to match. Medium grain spruce for top. Golden yellow varnish plentifully applied. Tone of exquisite quality and marvellous carrying power.
1742. The Bazzini. Belonged to Antonio Bazzini (celebrated virtuoso and composer) of Milan until death, 1897. Purchased by the wealthy Wittgenstein family at Vienna, who loaned it to Marie Soldat (fine soloist) for her lifetime. Grandest of patterns, breathing life and strength. Noticeably deep quality on fourth string. Golden brown varnish.
1742. The Alard. Owned by Delphin Alard (principal professor for forty years at the Paris Conservatoire).
1742. The Wieniawski. Formerly owned by this Polish virtuoso. Acquired by Lyon and Healy of Chicago 1921.
1742. The Ferdinand David. Named after the celebrated pedagogue at Leipzig. Procured by Emil Herrmann for Jascha Heifetz, 1925. Two-piece back. Dark orange varnish. Sound-holes short and stubby. Body length just under 14 inches and 8 inches across lower bouts.
Fourth period, 1743-1745, in which we have to record the fact of a man falling from his zenith. It has long been the complaint of the experienced that no human foresight, no prudence, can at all times ensure prosperity, and avert ill-fortune. Something arises to baffle the counsels of the wise, and to counteract the intentions of the good. It has, indeed, often been asserted that fortune is a deity of our own creation, and that he who submits to the guidance of prudence needs not the interposition of any supernatural power; but experience proves the assertion to be rather the effusion of a rigid and affected philosophy, than the cool suggestion of well-informed reason.
The observance of a sacred moralist that the race is not consistently to the swift, nor the battle to the strong, is more agreeable to the truth, and has been confirmed by the repeated testimony of some thousand years. Wisdom is often found guilty of folly and ingenuity of error. Of the fluctation of mental vigour, capacity for excellence, and pride of ambition, in the same individual, there is perhaps no more remarkable instance than in the career of this hero of violin making. That mighty understanding and that wondrous hand, which once penetrated to the utmost outposts of creativeness, became so debilitated as to be incapable of retracing their combined progress. A memorable instance of human infirmity. It might indeed, be supposed, that strength of intellect and the extensive patronage it brings in the way of wealth and contentment (for we have reason to believe that Guarnerius was in a comfortable financial position during his long third period) would secure all the blessings of what is called good fortune. But it is an incontestible truth, that clever men, of every age and every nation, have been almost as much distinguished for their indigence, follies, carelessness in money matters and so on, as for their genius and ingenuity.
Poverty and art are often synonymous. The external goods of fortune, and the mental advantages which control the manipulative power of the hands, are both subject to perpetual fluctuation and ultimate decay; and they who strive to ascend the steep hill of ambitious progress, often slide back in their passage, or fall at once from the summit when it is attained. Thus with Joseph del Jes.
Bergonzi (who knew him intimately) tells us that Guarnerius lived a fast and irregular life; that he was indolent and only worked when caprice seized him; that he was negligent in dress and manners; that he was totally indifferent to what his fellow creatures thought of him and his habits; that he was indulgent with wine, and spent considerable time and money in the many available orgies of pleasure; that his wife, born in the Tyrol, had found nothing but misery with him although she frequently and lovingly helped him in his work and, finally, that he was a rabid partisan of Radical politics which eventually brought him to imprisonment. Whether this is all true or not is now of little importance; but the degenerated productions of his art at this period would be inexplicable if we did not accept some of the traditional rumours that his last years were deplorably impove-ished by loss of money and loss of self-respect, which brought in their train the loss of manipulative accuracy and ambition.
This is the period when he wrought the notorious instruments known as the Prison Josephs, the Drunken Josephs, the Impudent Fiddles and a few other similar appelations. Tradition has it that they were made during an enforced imprisonment, and that the jailors kind-hearted daughter took pity on his misery, ran hither and thither to procure him wood and any cutting implements she could lay her hand to, procured varnish of any colour and any kind from the various fiddle shops, then afterwards hawked the instruments about and sold them for trifling sums of money in order to alleviate his abjectness.
He certainly turned out several instruments during his last two years which bring little credit to his name, but the prison story rests upon no satisfactory evidence and seems to be an inventive tit-bit of fiction set floating about to explain the flooding of the market with a large number of inferior fiddles containing spurious labels. Careful researches in connection with the prison story have falsified the ugly tale. It appears that in 1715, a prisoner named Giacomo Guarneri had died in prison and Bergonzi (born thefollowing year) had, in the course of his life, come to hear of the circumstances and enlarged his imagination by fancifully supplying fictitious details; and there we get the foundation of the tale.
Those violins bearing indelible signs as the work of Guarnerius have all been carefully asserted and picked out and experts have given guarantees as to the authenticity but, of course, the value of this last period instruments is relatively much smaller (except the few very famous specimens later cited) than those of the other periods, for some of them exhibit meanness of wood, stiff scrolls, atrociously ugly, long and slanting sound-holes, scratchy purfling, rough workmanship inside and out, and inferior varnish of various colours, some looking as though he pitched globs of a puce shade here and there without toning them down or making an even surface. If he had taken a bottle of ink and thrown the contents on the wood, then blotted it, the result could not have been much worse. These particular type productions may be recognised by the arching. Many are the worse for wear and often present a battered and cracked appearance - some worm-eaten, too.
Principal copyists of his style were Testore, Landolphi and Storioni.
1743. The Columbus. Owned by Edith Lorand (well-known concert violinist) of Berlin, 1928.
1743. The Paganini. Presented to that virtuoso by M. Livron at Leghorn, 1820. Bequeathed to perpetual imprisonment at the Genoa Museum, 1850. One of his grandest patterns, dark red varnish, wear of continual playing very marked, low and thin bridge, very strong edges, two-piece back, deep grooves carved round the finely chiselled scroll, ivory string nut at foot of peg box, body length 35-1/2 cm.
1744. Owned by Emile Sauret. In the possession of a Liverpool violinst and collector named Sheridan, 1928. Rich orange brown varnish. Two-piece back. Powerfully brilliant tone. Body length 13-7/8 inches.
1745. The Leduc. Owned by Alphonse Leduc (Paris). Acquired by Hart. Subsequently purchased by R. D. Waddell (Glasgow). One of the most commanding of his creations. High shouldered outline suggestive of magnificent solidity. Body length 13-7/8 inches. Startlingly beautiful and vivid dark red varnish with a remarkable bloom upon it. Heavily wooded, very handsome back, belly of well defined reed. Long sound-holes, cleanly and perfectly cut and delightfully characteristic. Particularly weird looking scroll, freakish concept of a genius, unusually narrow when viewed in front, slightly turned up bosses prominently drawn out. Tonal quality of astonishing strength and of contralto mellowness.
1746. Owned by Slavik (rival of Paganini), 1820. Later acquired by Princess Leontine von Frstenberg, subsequently purchased by Alois Heller (virtuoso at Prague). Created much controversy as to its authenticity.
Labels, each bearing I.H.S. under a cross.
----------------------------------
Joseph Guarnerius
Alumnus Andrea Gisalberti
fecit Cremona. 1706
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Joseph Guarnerius fecit
Cremonae, anno 1742
-----------------------------
-----------------------------------
Joseph Guarnerius del Gesu
Fecit Cremona 1735
-----------------------------------
----------------------------------------
Joseph Guarnerius Gremonensis
faciebat 1724
----------------------------------------
Ten or a dozen violas known.
Supposed and recorded (until 1905) by several experts that he had added another notch to his desire for singularity by never constructing a cello. Then one was found, made in 1710, by Vincent Cooper of Kew, and certified as genuine by Horace Petherick. Measurements, etc., body length 29-1/16 inches; upper bouts 13-3/16; middle 9-1/16; lower 16-7/8; ribs 4-1/2; width between upper part of sound-holes 3-5/8; distance between outer edges of lower curves of sound-holes 9-5/16; length 5-1/2; from top of sound-hole to edge above, right side 12; left side 12-1/16; purfling to outside edge 1/4. Back of nutmeggy sycamore, rather plain, with a small knot above left upper corner. Front material of close thread and delicate growth. Waist curves typically del Jesu style. Sound-holes like those of his early period violins, being upright with the lower wings, rather narrow and not hollowed. Deeply gouged scroll, free design, shell of average depth. Varnish of subdued transparent golden orange shade.
Marc Laberte (maker at Mirecourt, 1925) also claims to possess a genuine specimen dated 1715 (which he several times replicated), model of power and elegance combined.
Another, dated 1730, said to be the solo instrument of Jules de Swert, was extensively advertised in 1893.
Occasionally cellos have appeared as by Del Jesu, but subsequently found to be the work of Joseph (son of Andrea).
Everybody should read the finely illuminating and very knowledgeable volume de luxe The Violin Makers of the Guarneri Family (published by Hill & Sons, London), containing reproductions of various documents and plates illustrating representative instruments. Also Joseph Guarnerius and his Master by Horace Petherick (Strad Library).
1735. The Winternitz. Named after this reputed American soloist (1920). Formerly owned by Ole Bull. Of particularly telling tone.
1735. Magnificent example. Originally in the possession of the famous Di Medicis, and was enshrouded with the wild tales of the Duke Gian Gastone (the last of the dissolute Di Medicis). The violin travelled from one royal household to another, until it came into the workshops of Caressa and Francais. Bought by Albert Spalding (famous American virtuoso), 1913. Bears all the characteristic traits of the makers best period. Bold design and unconventional pattern which has gained for him the title of The golden voiced violin maker of Cremona. Large proportions and richly varnished with a deep red graduating to a pale orange shade. Tone of deep contralto like quality with upper notes of remarkable brilliance. One-piece back and the usual originality in sound-holes.
1735. W. W. Cobbett (wealthy amateur and patron of chamber music), resident in London, 1930, proud possessor of two specimens, one of large proportions with a label that is not original, and a smaller one dated 1735. Sound-holes perhaps the most remarkable feature as they seem to be strongly reminiscent of the early Amati. Body length 14 inches bare, unusual length for a Guarnerius; upper bouts 6-5/8; lower 8-3/16. Two-piece back of fairly broad curl sycamore. Dark reddish brown varnish truly Cremonese in quality. The smaller model is the finer instrument of the two. Body length 13-3/4 inches; upper bouts 6-1/2 full; middle 4-5/16; lower 8-1/16; ribs 1-1/8 to 1-3/16. Handsomely figured one-pice back. A sort of plum coloured red varnish. Originally found in an old cupboard and taken to W. E. Hill who pronounced it genuine.
1736. Came into the hands of Vuillaume, who sold it to Count Cessol of Nice. Resold it to Vuillaume for 4,000 francs. Purchased by Virginia Ferni for 6,000 francs, who disposed of it in Russia for 20,000 francs. Taken to America, 1919, and purchased by Miss Amy Neill (fine soloist) 1921. Two-piece back of broad wavy curl maple, the curl slanting upwards from the joint. Similar wood for sides but of stronger curl. Top of vigorous and open grained pine. Ribs unlined (according to Mckel of Berlin). Body length 350 mm; upper bouts 162; middle 107-1/2; lower 202; ribs 28 to 30; between upper part of sound-holes 39.
1736. Owned by Mr. Marshall. Body length 13-3/4 inches; upper bouts 6-9/16; lower 8-1/8; ribs 1-1/8 to 1-3/16. One-piece back of broadish curl. Ribs of smaller curl but of more figure. Scroll very slightly figured. Top wood somewhat unevenly grained. Golden orange varnish. Sound-holes more widely opened than usual, and no suspicion of pointed form about the upper or lower turns.
1736. The Baron Knoop. Named after this well-known collector of art treasures. Owned by Fritz Rothschild (leader of the Vienna quartet), 1928.
1737. The King Joseph. Came into the hands of George Hart and named as above. In the collection of R. D. Hawley of Hartford (U.S.A.), 1885. Acquired by H. O. Havemeyer of New York, 1915. Measurements by caliper taken by Mr. Pitkin (custodian of the Hawley collection). Body length 13-48/64 inches; upper bouts 6-30/64; middle 4-20/64; lower 8; distance from upper to lower corner 3-16/64; width between inner sides of upper curve of sound-holes 1-36/64: between outer sides of lower 5; depth of ribs 1-10/64 to 1-16/64; thickness through the violin at the bridge 2-22/64; width through boss of scroll 1-60/64; length of scroll from top to neck curve 4-10/64. Beautiful varnish of warm orange shade, lovely sheen and very transparent, giving the back a remarkable effect of coruscation. Back of large and wavy figured material, also ribs. Sound-holes less Gothic than usual, very cleanly cut wings. Edges splendidly rounded and only slightly over lap, narrow purfling. Graceful scroll, an entire absence of the impudence of some, and shows traces of black edging. Magnificently and plentifully wooded. Tonal quality brilliantly resonant and noble.
1737. Owned by George Hart for many years. Purchased by Wilhemj for 2,000, 1902. Subsequently owned by Frizt Kreisler. Initials of the maker and the date set in diamonds on the tail piece, pegs and button also embellished with rubies and diamonds.
1737. The Lipinski. Owned by the celebrated Polish virtuoso and rival of Paganini. Acquired by Thomas Zach of Vienna. Bought by a London amateur violinist named Schlesinger, 1875. Passed into hands of Ernest Schiever of Liverpool. Shows great signs of wear and loss of varnish. 4,500 upwards 1959.
GUARNERIUS, PETRUS (PIETRO GIOVANNI)
Born at Cremona, 1655. Eldest son of Andrea. Remained at Cremona until 1680, then worked at Mantua until death, 1740. Commonly called Peter of Cremona in order to distinguish him from Venetian Peter. Originality was a wholesale familty trait, and he was not one whit behind the rest. Differences of opinion with his father caused him to leave the parental roof for several years, and was tutored by the second Girolamo Amati.
First productions dated from Cremona, and show the controlling influence of Amati in the large flat pattern, but strange to say, the labels are either those of his father or brother. At Mantuae he began to nip at the buds of novelty. Retained the large and broad outline, but favoured aggressive arching and much drawnout corners. Margins very broad and give to the contour quite an imposing appearance. Thicknesses of the table and back though correctly agreeing with each other, are in some instruments too thin, which gives the tone a dullish unresponsive colour. Specimen dated 1675; top plate 3-3-1/4 mm. thick in middle, 2-1/2 mm. at sides; bottom plate 5 mm. to 2-3/4 mm., the height of the breast necessitating a sound-post 6 cm. long. He soon found out this destroying fact, brought his ever-extending mental culture to argue with reason, and the rest of his instruments were treated more rationally.
The next thing we observe is the contraction of the middle bouts. Sound-holes did not escape his inventive faculties, for he made them nearly vertical like the Stainer ones, and placed them wider apart, though this is just barely recognisable owing to larger roundness of the top and bottom curves. Carefully worked scroll of resolute soaring and prominent boss, corresponds absolutely with the dimensions of the outline. Purfling done with all the certainty of a nerveless hand. Workmanship in every department well nigh perfect. Good acoustical wood of very even and wide grain for tables, and invariably a prettily-marked even curl maple for backs. Varnish of rich quality, transparent, either an orange yellow or pale red, both warm looking.
Tone usually full and wonderfully mellow, but its brilliancy and carrying-power seem rather limited. The finest specimen of his work that we have seen is one dated 1691 for which 600 had been paid (1925) - a fancy price in those days, but the instrument was in a magnificent state of preservation, and the tone was thoroughly and delightfully pure.
Popularity of his violins must spread and prevail. They are triumphing slowly, but triumph they will. It may be thought that, with our reservation concerning the brilliancy of tone, that their success is not so sure as their advocates are accustomed to boast. But notwithstanding this slight defect (which is more than counterbalanced by the lovely richness) our convictions of their ultimate position in violinists estimation not only remains undisturbed but gains strength continually as the years pass by.
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Petrus Guarnerius Cremonensis fecit
Mantuae sub tit: Sanctae Teresiae, 1695
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--------------------------------------------------
Revisto e coretto da me Pietro Guarnerei
Cremonese in Mantuva 1697.
--------------------------------------------------
(written)
Cellos (which he made at Mantua) sometimes of exaggerated form - possibly intended for players in processions, who necessarily held the instruments suspended round the neck.
Measurements of a viola dated 1698: body length 398 mm; upper bouts, 189; middle 157; lower 237; length of sound-holes, 90. 1,500 upwards 1959.
GUARNERIUS, PETRUS
Commonly known as Peter of Venice. Born at Cremona, 1695. Son of Joseph. Worked with his uncle Petrus in Mantua, 1725-1739. Then at Venice till 1762, the year of death.
In selecting the full-proportioned outline patronised by his uncle he had perhaps the best method of facilitating the acquisition of any excellence. The imitation, however, is not servile. Servile imitation is that which obeys the dictates of a master without venturing to inquire into the reason of it. The servile imitator paces the same round like the mill-horse whose eyes are hoodwinked, that he may not be allowed by intervening objects to deviate from the circle into a path of his own choice.
This Petrus had knowledge and prudence, therefore he avoided singularity in not carrying the high arching so near to the edges as the other did; grading perfectly exquisite. Sound-holes less perpendicular too. Perhaps the wide scroll is prettier though lacking the peculiar fullness and robustness of the other, and the turn ends at centre slightly short of the conventional design. Varnish of that lovely Venetian quality so frequently quoted and praised by experts - a golden-amber colour tinted with orange of reddish tinge. Wood for table sometimes of even grain with a pretty wave in places, and for backs (usually one-piece) a broadly-figured maple.
Tone of remarkable sonority, and very responsive to the bow. Instruments less esteemed than those of his uncle. General dimensions: body length, 14 inches full; upper bouts, 6-5/8; lower bouts, 8-1/8. Several really magnificent cellos; lovely wood, and his usual superb varnish. 1,000 to 1,500, 1959.
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Petrus Guarnerius filius Joseph
Cremonensis fecit Venetiis
anno 1740
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(decorative border)
GUASTALLA, DANTE
Born at Reggiolo, 1893. Pupil of Scarampella at Mantua. Worked in collaboration with brother Alfredo (born 1898). Produced over 250 violins, violas, cellos, and double-basses. Various standard models, also one individualistic. Golden reddish-yellow varnish - oil and spirit.
--------------------------------
Dante e Alfredo Guastalla
Anno 1949
Reggiolo (Emilia)
--------------------------------
(with signature)
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Guastalla Dante
Liutaio
Allievo di Stefano Scarampella
Fabbricatore e Riparatore instrumenti ad arco
in Reggiolo - Em. Italia. 1949
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---------------------------------------
Alfredo Guastalla
Liutaio
in Reggiolo - Emilia. Italia 1949
---------------------------------------
(with signature)
Also signed interiorally.
GUDI, H.
Worked at Cremona, 1700-1726. Viol-damores of fine workmanship, heads of women and other fanciful designs, beautiful yellow varnish. Splendid violins with every commendable attribute, but unfortunately very rare.
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Hieronimo Gudi
da Cremnona 1717
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GUDON, JACQUES ANTOINE
Worked at Paris, 1770-1783. Violins structurally interesting. Once regarded as fairly brilliant constellations of Parisian art. Now much neglected and superseded by the later productions of well-known Frenchmen. Yellow varnish, not particularly supple. 15 (1920).
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Rue de la Tissanderie
Gudon. Luthier
Paris, 1776
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Later labels give rue Barillerie as the address.
GUERIN, G.
Worked at Rouen. Died 1923.
GUERRA, GIACOMO
Worked at Modena, 1804-1822. Ordinary style and workmanship. Brownish-red varnish of dark shade; especially good tone.
GUERRA. ALBERTO
Born 1908. Worked at Collegarola (Modena), 1938. Interesting models, good workmanship, golden yellow spirit varnish.
------------------------
Alberto Guerra
Anno 1945
5 Donnino Nizzola
(Modena)
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(with signature)
GUERRA, EVASIO EMILIANO
Worked at Turin, 1911. Made violins of various models; neat details and generally red oil varnish, but occasionally an orange hue, both of soft quality. Also mandolines.
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Evasio Emiliano Guerra
fece in Torino anno 19. .
-------------------------------
GUERRINI, GIUSEPPE
Worked at Siena, 1890-1918.
GUERSAN, LOUIS
Worked at Paris, 1730-1770. Pupil and successor of Claude Pierray. Instrument maker and repairer to the Dauphin, and to the Opera orchestra. Descendant of a family of luthiers whose ancestry went back a hundred years.
Pattern usually of small dimensions, somewhat narrow, and of medium arching. Sometimes somewhat Amatese. Seldom are two instruments quite alike, as he was prone to indulge in variable experiments in arching, depth of ribs, thicknesses of wood, and inside details. Even the sound-holes came under his changeable temperament, some widely opened, others not so, some straight, others slanting, and all generally positioned differently from its predecessor. Beautifully designed scrolls which have received the most careful and delicate manipulation. No denying that workmanship throughout shows a marvellously-clever and firm hand; did not lack the power of seizing vantage points of distinctive character. Purfling honoured by masterly facility and a rapidity of tracing which knows it cannot make a slip.
Ruined all this by the application of a brilliant but hard and dry alcoholic varnish - either a pale yellow, or rose tint, or reddish brown - which, having spirit properties that caused it to dry too quickly, paralysed the vibrations, stumped-up what might have been tone responsiveness, and gave the higher notes an immature brilliance; in other words, shrill and harsh. Of course there are one or two he constructed that managed to escape (or the wood was less affected) this besetting weakness of his, and the tone certainly has a passable mellowness. Some instruments have a yellow tinted body and a scroll varnished red. Value seldom exceeds 30 (1920) except in America - the land of inflated prices.
Produced several excellent violas. Of medium-size, brownish red varnish, and of most refined workmanship. Always handsome appearance. Cellos relegated to second-class tonal category because of his experimental vagaries. Generally of small pattern, and orange-yellow varnish.
Viols unsurpassed for workmanship, whereon several brilliant flashes of thought concerning the decorative parts are magnificently emblazoned. 80, 1959.
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Louis Guersan
prs la commedie Franaise
Paris 1738
-----------------------------------
-----------------
Ludovicus
Guersan
prope
Comoediam
Gallicam
Lutetiae
Anno
1760
-----------------
(beautifully scrolled of unique design)
Also same wording in a two-lined label:
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Ludovicus Guersan prope comediam
Gallicam. Anno 1737
---------------------------------------------
GUERSON, S.
Lived at Wishaw (Scotland), 1908. Excellently toned violins; praised by Scottish experts; rich amber oil varnish.
GUETTER, CARL FRIEDRICH
Born 1756. Worked at Markneukirchen. Died 1830. Violins Without special features. Various models.
GUETTER, FRITZ
Born 1890. Pupil of Pfretzschner and Nrnberger. Worked at Markneukirchen, 1919. Bows of high merit showing that the maker had consummate judgement of balance, lightness and strength. Stamped F. Gtter.
GUETTER, GEORG ADAM (1)
Born 1705. Died 1757. Worked at Markneukirchen. Master in the Violinmakers Guild, 1743.
GUETTER, GEORG ADAM (2)
Born 1726. Died 1811. Worked at Markneukirchen. Small model, and high arching of a Stainer. Modelling scooped at the edges, with purfling at the top of the ridge quite close to the edge. Well-selected wood, of fairly wide grain for top. Very plain beechwood back, and maple for ribs and scroll. Fairly well-cut scroll, altogether in the old Saxony style. Spirit varnish, commonplace and dull. Sound-holes have received careful treatment, and belong to the Stainer type. Thin and shrill tone.
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Georg Adam Guetter
Violinmacher in Neukirchen
Adorf im Voigtlande
-----------------------------------
GUETTER, GEORG ADAM (3)
Born at Markneukirchen, 1761. Died 1829. Son of the preceding. Worked at birthplace, but labelled his instruments as emanating from Vienna. Ordinary workmanship; outline to be placed in the same category. Little credit due to him for the method of cutting sound-holes or scroll. Easy to recognise a certain clinging to the old German type; seldom admired today. Dark red varnish. Branded G.A.G.
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Georg Adam Gtter
Violinmacher in Wien, 1791
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GUETTER, JOHANN GEORG
Born 1759. Died 1829. Worked at Markneukirchen, and at Erfurt, 1799. Recognised as the best of this prolific family. Broad model with arching neither very high or very flat. Handsome curly maple with strongly-marked figure. Yellow or deep brown varnish. Fairly responsive tone for amateurs, but of slight brilliancy. 20. 65, 1959.
-----------------------------------
Johann Georg Gtter
Violinmacher in Neukirchen
bey Adorf im Voigtlande
-----------------------------------
(German lettering)
GUETTER, JOHANN GOTTLOB
Born 1766. Died 1845. Worked at Markneukirchen. Amati outline and arching, with well-placed sound-holes. Acquired equal command over the large well-cut scroll. Excellent acoustical wood, but invariably plain. Ordinary brown varnish. Rather a mellow tone, but lacks penetrating clearness. 20. 75, 1959. Made several violas of a strong manly model.
----------------------------------------
Johann Gottlob Guetter
Violinmacher in Neukirchen bey
Adorf im Voigtlande. 1797
----------------------------------------
GUETTER. JULIUS
Born at Markneukirchen, 1872. Worked at Leipzig and Aachen. Established at Philadelphia, U.S.A., 1893-1927. Excellent training and natural talent enabled him to give sufficient individuality to his splendid manipulative skill. Interesting Stradivaria outline, arching duly balanced, sound-holes and scroll comport well with the semi-dignity of contour. Used the finest old wood. Oil varnish, red or light brown, of desirable quality. Usually branded work with his name. Also produced fine bows, and the favour they have gained is thoroughly deserved.
GUETTER, KURT
Born 1894. Worked for Glaesel at Berlin. Established at Markneukirchen, 1921. Violins of various standard models and one slightly individualistic. Workmanship and varnish merit the prosperity the instruments have received. Assisted by son Albert Conrad (born 1927).
---------------------------------
Kurt Gtter
Markneukirchen
Made in Germany.
Copie: Joseph Guarnerius
---------------------------------
(with monogram)
GUETTER, MORITZ
Born at Markneukirchen, 1857. Worked at Warsaw and London. Died 1883.
GUETTER, PAUL
Born 1903. Worked for Pliverics at Berlin. Established at Schneck, 1946. Modelling quite good although it belongs to the ordinary category.
GUETTER, WALTER GEORG
Born 1890. Worked at Stuttgart and Zurich. Settled at Markneukirchen. An eager and earnest worker who has maintained the traditions of the Saxony world.
GUETTER, WILLIAM ERNST
Bow maker. Born at Markneukirchen, 1865. 20, 1959.
GUETTER, WILHELM
Born at Markneukirchen, 1869. Worked for Steld & Glaesel. Good work. Few instruments with his own label. 50, 1959.
GUGGEMOS, MARCUS
Worked at Fssen (Bavaria), 1759-1791. Very high arching which creates little appreciative notice from connoisseurs. Region of waist in the style of a Stainer and Albani combined. Workmanship on the whole does little credit to the Bavarian school. Sound-holes and scroll particularly at a disadvantage as regards serenity of pose. Rather excellent wood in its acoustical properties; table invariably wide-grained material. Brown varnish of dark shade, wholly meagre and lustreless. After viewing such indifferent work we are surprised to find the tone really quite tolerable in responsiveness. 80, 1959.
------------------------
Marcus Guggemos
in Fuessen. Anno
1795
------------------------
(beautifully scrolled)
GUGLIELMI, GIO. BATTISTA
Worked at Cremona, 1747. Aspired to imitate the Amati style, and he has certainly presented quite a picturesque model. 350, 1959.
GUIBOURG
Three Josephs, Henri, and Rmy, worked at Mirecourt, 1740-1780.
GUIBOURG, JOSEPH
Worked at Toulouse, 1805-1840.
GUIDANTE, FLORENO
Worked at Bologna, 1703-1740. Son of Giovanni Floreno. Style and workmanship altogether different from his fathers - less masterly, less refined, and often more Tyrolean than Italian. Modelling generally of very full proportions. Body length, 14-1/8 inches. Medium arching of indeterminate graduation. Corners very prominent and sharply pointed. Slanting waist-curves, forced and of doubtful grace, in order to give the lower half of the body an appearance much broader than customary. Splendid belly-wood, often of broad fibre, not always discreetly thicknessed. Frequently one-piece backs of peculiarly marked material. Narrow purfling tolerably accurate. Gloriously thick and gleaming varnish, mostly reddish brown on yellow ground. Easily conducted tonal quality, fully sonorous and clear, though sometimes lacking in mellow purity. 300, 1959.
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Guidante Florenus
fecit Bononiae 1705
-------------------------
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Florinus Guidantus fecit
Bononiae. Anno 1710
------------------------------
GUIDANTE, GIOVANNI FLORENO
Worked at Bologna, 1685-1741. Supposed to have worked at Cremona with Nicol Amati. Modelling closely resembling the Amatese, though perhaps not quite so beautifully perfect in the proportions. Body length generally 14 inches. Arching sometimes rather excessive in height, but specimens exist with a reduction approximate to medium. Purfling not always emendately accomplished. Variable workmanship occasioned by a predilection for prolificness which often results in certain little blemishes challenging criticism. Scrolls often somewhat plump, though being well-carved and having pretty wood, heaviness is nicely avoided. Lengthily drawn sound-holes, not always consistent with a fine-flowing sweep, and certainly not such as might be expected from a copyist of the Amati. Grooving of the back slightly deeper than that of the front. Belly wood finely selected and of perfectly even fibre. Frequently one-piece backs of richly flamed material. Varnish of a singular beauty rarely surpassed - a deep succinous shade like a glorious sunset - magnificently transparent and very plentifully applied. Tonal quality of fluctuating excellence, never brilliant, but often of an engaging mellowness. Catalogued at 100 (1925). One specimen, dated 1738, realised 1200 dollars at New York (1928). 450, 1959.
Produced finely-conceived viol-damours, ornamented with delicately worked heads representing a blindfolded Cupid. Also viol-da-gambas whereon his exertions were not confined within a narrow compass.
------------------------------
Florinus Guidantus fecit
Bononiae Anno 1710
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-----------------------------
Joannes Guidantus fecit
Bononiae, anno 1715
-----------------------------
-----------------------------------
Joannes Florenus Guidantus
fecit Bononiae Anno 1731
-----------------------------------
Instruments dated from 1742 to 1760 are the productions of his son (Giovanni Floreno G.) who worked in exactly the same style and used the third label.
GUIDANTUS, BERNARDO
Worked at Genoa, 1750-1761. Good Amatese modelling; yellow-brown varnish.
GUILLAMI, J. B.
Worked at Barcelona, 1690-1730. Studied at Cremona - dated his instruments as though made there. Not an intimate and inseparable connection with classical measurements in the longish modelling. Moderately high arching not beautifully systematised. Realisation of scroll rather undignified in falling too far forward. Slight advancement towards grace attends the short sound-holes. Wide purfling not subjected to clean treatment. Brown varnish of good quality, warm-looking, and plentifully applied. Tonal quality far from approaching mature sonority. 350, 1959.
-------------------------
J. B. Guillami
fecit Cremonensis
Anno domini, 1704
------------------------
GUILLAMI, JUAN (1)
Worked at Barcelona, 1720-1765. Pretty outline based on Stradivarian principles - sometimes reminiscent of a Gagliano. Arching of medium height. General style quite of Italian traits which he had imbued during several years sojourn in that country. Said to have been A pupil of Guadagnini. Had no plastic mind to control his somewhat erratic portrayal of a scroll, this being altogether of weak conception, thickly built but of narrow proportions. Ridges of volute marked with Indian ink. Ribs rather deep. Measurements: Body length, 35-1/2 cm.; upper bouts, 16.7; middle, 10.8; lower, 20.7. Belly wood always of close and strong fibre. Reddish shade of oil varnish, but not particularly supple.
Cellos of fair Stradivarian design, well-calculated arching, and golden red varnish. Also several much sought for double-basses.
-----------------------------
Joannes Guillami me
fecit en Bar: anno 1760
-----------------------------
--------------------------------
Joannes Guillami me fecit
en Barcelona 1742
--------------------------------
Branded near sound-post. 450, 1959.
GUILLAMI, JUAN (2)
Son of the preceding. Worked at Barcelona, 1767. Died 1820. Similar style to that of father, but a defined line of demarcation rests between the workmanship, wood, and varnish. Wood often carelessly chosen, particularly that for the tops. Varnish rather brittle and chippy.
Also cellos and double-basses. 300, 1959.
---------------------------------------
Joannes Guillami
filius fecit Barcinone anno 1768
---------------------------------------
GUILLANI, SANCTUS
Worked at Rome. Little known.
---------------------
Sanctus Guillani
fecit Rom. 1710
--------------------
GUILLOT, CLAUDE
Born at Metz (Lorraine). Called Le Messin. Worked ten years with Pressenda at Turin. Established at Bordeaux, 1832. Died 1882. Splendid modelling in Italian style. Signed on the interior. 80, 1959.
GUILLOT, HENRI AMDE
Born at Bordeaux, 1851. Son and pupil of C. Received medals at Toulouse, 1887. Attractive modelling in the Guersan and Pierray styles - head often long. Some have spotted maple for ribs and back. Oil varnish of chestnut shade.
----------------------------
Guillot Luthier
Rue dOrnano No. 26
Bordeaux 1915
----------------------------
Also branded Guillot Luthier or H. Guillot Bx. 75, 1959.
GUILLOT, MARCEL
Son and pupil of H.A. Maker to the Bordeaux Conservatoire. Tyrolian style (Klotz and Stainer), clean workmanship, warm-looking yellow-brown varnish (sometimes a dull brown), and excellent tonal clarity.
----------------------
Marcel Guillot
Luthier
Bordeaux. 1920
----------------------
(with signature across)
Also a two-lined brand. 70, 1959.
GUINOT, CLAUDE NICOLAS
Bow maker at Mirecourt, 1757. Died 1784.
Really refined designs - stamped Guinot. 20 to 30, 1959.
GUINOT, FRANOIS
Born 1886. Pupil of Mangenot at Mirecourt. Killed in the war, 1914. Violins of convincing personal style, but few labelled with his name.
GUINOT, J.
Worked at Mirecourt, 1750-1775. Stradivarian designs of quite refined workmanship - certainly hand-made. Attractive yellow varnish.
-------------------------
Joseph Guinot 1760
-------------------------
GUINOT, NICOLAS (1)
Worked at Mirecourt, 1747-1761. Modelling without anything outstanding in its architectural build-up. Branded Nicolas Guinot.
GUINOT, NICOLAS (2)
Worked at Mirecourt, 1850-. Customary modelling; dark brown varnish.
GUITON, R.
Amateur. Resident at Cork (Ireland), 1900. Strad and Guarnerian modelling; good-looking ensemble; scrolls, sound-holes, and purfling quite neat.
GLICH, MATHIAS
Born 1712. Worked at Mannheim. Repairer to the Palatine Court. Died 1803.
-------------------------------------------
Mathias Gulich Lauten und Geigen
macher in Mannheim, 17. .
-------------------------------------------
GLICH, JOHANN
Son and successor of M. Died 1837.
----------------------------------------
Johann Glich, Lauten und
Geigenmacher, Mannheim, 1811
----------------------------------------
GULINO, SALVATORE
Born in Sicily, 1910. Pupil of Gesualdo Averna. Established at Pinerolo (Turin).
GULLIKSEN, W.
Amateur at Kristinehamn (Sweden). Won silver medal at Stockholm, 1925, for violins and violas.
GUMIN, JOHANN CHRIST
Worked at Klingenthal (Saxony), 1792.
GUNIEWICZ
Poland, 1842-1850. Little known.
GUNTER, HENRY
Worked at Scarborough, 1850. Violins designed by an imprudent mind and hand. Indifferent wood, and a shrill unbalanced tone.
GNTHER, FRANZ
Born 1857. Pupil of Bausch at Leipzig. Lived at Halle, 1886, and at Berlin, 1894. Modified Stradivarian modelling. Arching and thicknessing entirely of original ideas. Edges specially cut so as not to be absolutely rounded. Instruments made prior to 1898 treated to a spirit concoction. Later specimens experimentalised upon with a pumiceous oil varnish of a sort of lapis-lazuli tint, and others with a covering of shellac.
Became friendly with Joachim at Berlin, and was advited by him to deeply enter into the study of the Italian varnishes. Travelled to Milan and Cremona, applied himself (with undivided attention and intensified thought) to the various researches and investigations necessary to a complete triumph. Advantageously consulted and digested innumerable formulas, enthusiastically assiduous that not a jot or tittle should escape him, and subsequently used a particularly supple varnish as near to the Italian as could be.
Returned to Berlin, gained Exhibition medals, and high enconiums from players and connoisseurs. Lived several years at Zrich; forced to return to Germany owing to the exigencies of war; and finally became almost isolated from violinbuilding at Tiengen on the Swiss border. In retirement he probably regretted the several varnish transgressions of his early instruments. Also made perfectly balanced and finely finished bows. 75, 1959.
------------------------------------
Verfertigt von Franz Gnther
Berlin d. . . . .
------------------------------------
(written and printed)
GNTHER, GEORG (1)
Worked at Radegast (Germany), 1853; and at Halle, 1865-1886. Pupil of Bausch at Leipzig. Violins having traits strongly illustrative of unwise divergencies from customary modelling, altogether workmanship is discreet enough. Pattern rather over-done longitudinally; arching so arranged that the wood fibres seem to flow away. Dark brown varnish not to be esteemed, being of indifferent quality and semi-opaque. Tonal quality not claiming the unanimous verdict of approbation; especially feeble on the lower strings.
GNTHER, GEORG (2)
Born 1893. Worked at Mayence with father Gustav, 1926.
Excellent strongly-wooded violins of Stradivarian design.
GNTHER, GUSTAV
Born at Halle, 1853. Pupil of Bausch. Worked at Magdeburg, 1879, and at Mayence, 1881. Somewhat Stradivarian in design; workmanship not particularly refined; dullish varnish; tone not especially free.
GURNSEY, C. J.
Born 1875. Still working in London 1950. 50.
-------------------------------------
Made by
Charles J. Gurnsey
228 Harrow Rd. London, W.
Anno 1923
-------------------------------------
GURSKI, ANTON
Amateur. Died at Kiev, 1909. Poor workmanship.
GUSETTO, NICOLO
A Florentine working at Cremona, 1725-1775. Style more reminiscent of the Tyrolean than Italian, though the arching is not generally higher than ordinary medium. Plate graduation not by any stretch of imagination to be regarded otherwise than imperfect. Long and prominently large corners. Margins quite flat. Ribs rather deep. Upper and lower outline curvatures not of fine sweep, and those at waist rather shallow. Scroll distinctively attractive with its bold approach to an equally bold boss. Sound-holes of customary Tyrolean style. Broad purfling not neatly drawn. Belly wood of unsymmetrical fibre - alternately narrow and wide. Backs frequently of plain or very slightly figured material much dappled. Thick orange-brown spirit varnish, dry and apt to crackle.
------------------------------------
Nicolaus Gusetto Florentinus
Musicus Instrumentalis
a Cremona Ao 1739
------------------------------------
-----------------------------------------------
Nicol Gusetto Fiorentino
Fabbricante di violini, Cremonae 1774
-----------------------------------------------
------------------------------
Nicol Gusetto Fiorentino
a Cremona 1728
------------------------------
Also produced a few instruments nearer approaching the Stradivarian, as well as one or two with rather excessive arching. Some instruments dated 1790 and 1813 not genuine; very large pattern, curves very circular and pronounced, scroll and sound-holes lean and vulgar; chestnut-brown varnish of fair quality, thin and hollow tone. 350, 1959.
GUSTAFSSON, ANTON GOTTFRID
Born 1903. Worked at Knutby (Sweden). Made 30 violins (some half-size for children). Ordinary modelling and workmanship. Signed on the interior wood.
GUSTAFSSON, A. R.
Born 1878. Amateur at Stockholm.
GUSTAFSSON, CARL AUGUST
Born 1876. Amateur at Stjernsund (Sweden).
GUSTAFSSON, SOLNE OLAF
Born 1883. Amateur at Holmsveden (Sweden). Died 1943.
GUSTAFSSON, WILHELM
Born 1889. Amateur at Charlottenberg (Sweden).
GUSTAVSSON, GOTTFRID
Born 1904. Amateur at Stockholm.
GUTCHE, A.
Worked at Berlin. Made good violins, violas and cellos. Also barytons and replicas of viols.
---------------------------------
Adolph Gutche
Lauten und Geigenmacher
Berlin 18. .
---------------------------------
GUTERMANN, WILHEM THEODOR
Born at Munich, 1828. Worked for Hofmann at Vienna, 1851-1866. Established own workshop at Vienna, 1867, and subsequently had several clever assistants and pupils. Died 1900. Made several violins of a curiously shaped pattern designed by a Dr. Liharzik, which failed in their appeal to violinists. Branded on the fancy head with
--------------------------------
K K (Austrian Eagle) Priv
Liharzik
--------------------------------
Workmanship of own instruments fastidiously neat, and without a flaw of any kind. Painstaking in his varnishing, and used a preparation of his own of reddish tinge, fiery and transparent. Somewhat disappointing tone.
--------------------------------
W. Theodor Gutermann
Fecit Viennae. Anno 18. .
--------------------------------
(very neat light decorative border enclosed within a darker plain border)
GUTH, AUGUST
Born at Pilsnitz (Silesia), 1840. Pupil of Bausch (Leipzig) and Grimm (Berlin). Worked at Breslau - settled at Antwerp, 1888. Died 1912. Various models, mostly Stradivarian, to which no one can make the slightest demur. Also several splendid specimens of Maggini style. Did not believe in oil varnish; gave preference to a spirit formula of his own - applied in a very caressing manner. 80, 1959.
---------------------------
August Guth me fecit
Antverpiae anno 1908
---------------------------
(Bearing a portrait-reproduction of himself. Also branded A.G. with lyre ornamentation).
Made bows becomingly impressive by very refined work; particularly splendid heads. 20, 1959.
GUTH, PAUL
Born 1881. Son and pupil of August. Worked at Antwerp, 1898-1926. Talented violinist in youthful years; met with an accident to left hand; consequently became a maker. Excellent designs - Italian and his own; very careful workmanship. Golden-yellow spirit varnish of dark hue. Most agreeable tonal quality.
---------------------------------------
Paul Guth, Filius Augusti
me fecit Antverpiae Anno 1920
---------------------------------------
(with picture)
Name branded - also initials.
GUTKE, A.
Amateur at Ume Trelleborg (Sweden), 1898.
Exhibited nicely conceived violins at Stockholm.
GUTHMANN, FRIEDRICH WILHELM
Worked at Klingenthal, 1800-1825. Quite ordinary. One specimen realised 15 (1928).
GUTMANN, F. W.
Good work but little known.
------------------------------------
F. W. Gutmann
Geigenmacher
in Blasewitz. Dresden, 1847
-----------------------------------
(written)
GTTER
see GUETTER.
GUTWEIN, A. ADAM
Born 1906. Pupil of Machnitz. Worked at Feketic (Serbia). Constructed 500 violins up to year 1949. Stainer and Strad modelling. Spirit varnish of different shades.
--------------------
Gutwein Adam
Feketic Back A
Anno 19. .
--------------------
GUYOT, NICOLAS
Worked at Mirecourt, 1747-1761. Specimens far from being a storehouse of beauty; of little interest even to the lowliest of players. Branded Nicolas Guyot.
GUYTER, HENRY
Resident at Gloucester, 1830-1850.
Unhappy designs, unskilled workmanship, common weak tone.
GYGOT, ANTOINE
Worked at Brussels. Rather attractive in style and varnish - sometimes reminding of the Mdard school - very narrow sound-holes.
-------------------------
Antonius Gygot
Bruxelles fecit 1801
-------------------------