HAAS, LEOPOLD
Worked at Weitra (Lower Austria), 1760-1780. Elegant design, correctness of arching, judgment displayed in choice of wood, fine application of varnish, and consummate knowledge of inside work. Deserving of the highest commendation. Productivity unfortunately too small.
-----------------------------------
Leopold Haas, Lauthen und
Gaigemacher in Waitra
nchst Zwettl, 1763
-----------------------------------
HAASE, FERDINAND
Born 1814. Flautist at Magdeburg. Collaborated in violin construction with Dr. Georg, 1853. Became maker to the Court at Dessau. Died 1892. Instruments of slight value, having no attributes for players to enthuse over. Wood artificially treated. Shrill tone.
HABITS, ANTAL
Born at Gyr, 1861. Established at Budapest, 1890. Known principally as a maker of cymbalums. Produced a few violins of splendid structural design, from which a brilliant tone emanates.
HABITS, JNOS (JOHANN)
Born 1820. Worked at Raab (Gyr), and Szkes Fehrvr (Hungary). Died at Budapest, 1875. Violins mostly belonging to the Klotz school.
------------------------------------
Habits Jnos
Hangszermuvsz Fehrvarott
1857
------------------------------------
HACKHOFER, FRANZ
Born 1786. Worked at Budapest. Died 1839. Trained and gained experience in Viennese workshops. Violins not at all in conformity with the Austrian or Hungarian schools, and far from being well conceived. Workmanship unworthy of a professional craftsman. Dark brown varnish, thick and lifeless. Acquired a better reputation for guitars.
-------------------------
Franz Hackhofer
in Pesth, anno 1830
-------------------------
HDL, JOHANN
Worked at Regensburg (Bavaria), 1689-1717. Modelling after Stainer, with arching not over-high. Scroll follows the German style, but has an unusually nice swing. Sound-holes of rather quaint design, and long. Wide-grained top wood, frequently one-piece backs of plain material. Adipose and thick varnish, pretty orange-yellow tinge. Responsive tone of reasonable mellowness. 50 (1930). Also produced several cellos of medium arching and Stainer principles.
---------------------------------
Johann Hdl
Lauten und Geigenmacher
in Regensburg. 1712
--------------------------------
(German lettering)
HDL, JOSEPH
Worked at Regensburg, 1700. Died 1729. Brother of the preceding. Stainer modelling with high arching, yellow varnish, good workmanship. Also viol damores and guitars.
HADLEY, GEORGE H.
Born 1854. Made firsi violin in 1889. Resident at Fairfield (Con.), 1926.
HAEDL
see HDL.
HAENDL
see HNDL.
HAENEL, F. E.
Worked at Toronto, and at New York, 1940.
HAENSEL
see HNSEL.
HAFF, JOSEPH ANTON (1)
Born 1802. Died 1866. Worked at Augsburg, and Nrnberg (Bavaria). Sufficient time has now elapsed to show how far the hopes of this Stradivarius imitator have been realised. German catalogues frequently give encouraging accounts with a fairly estimable price added, and many violinists have testified to the excellent tone. Beautifully flat modelled instruments. Workmanship competes with that of the highest class. Usually wide-grained pine for top, well chosen and not soft, which perhaps gives the tone of the A and D strings a somewhat nearly approaching nasal quality not unacceptable to some players. Invariably one-piece backs of the usual prettily marked kind. Fine and full scroll evincing great capability of carving. Completely artistic sound-holes. Decidedly good brown varnish, a mixture of spirit and oil.
----------------------------------
Joseph Anton Haff
Geigenmacher in Nurnberg
anno 1841
----------------------------------
---------------------------------
Joseph Anton Haff
Geigenmacher in Augsburg
anno 1838
---------------------------------
Also made elaborate guitars.
HAFF, JOSEPH ANTON (2)
Son of the preceding. Worked at Augsburg, 1860; lived at Bodensee; then at Munich, 1894; removed to Senftenau near Lindau, and finally at Stuttgart, where he died, 1902.
Received medals at various Exhibitions for quartets of instruments. These instruments certainly enter fairly into competition with those of any country for grace of design and soundness of workmanship. Scroll has all the elegance and beauty of an Amati (the model he preferred, although he copied other well-known Italian ideas). Tone universally acknowledged to be of remarkable sweetness for comparatively new violins. Splendid wood selected with judgment. The entire (grading, sound-holes, purfling, and varnish) completely creditable to art, and should encourage others to do likewise.
------------------------------
Joseph Anton Haff fecit
a Augsburg anno 1878
------------------------------
HAGBERG, HERMAN
Born in Sweden. Worked at Brainard (Minn), 1900. Very fine work indeed.
HAGMAN, HJALMAR AGARD
Born 1909. Amateur at Hjertum (Sweden).
HAGS, RUDOLF.
Several fine viol damores, one preserved at the Russian Imperial Court.
-----------------
Rudolf Hags
Munich, 1695
-----------------
HAGSPIEL, G. OSCAR
Resident at Dresden, 1878-1901. Patented a new form violin, 1887. Body somewhat similar to that of a guitar. Belly not planed or graduated, but flat, and tympan-like. No sound-holes on the deck. Side-frames of great strength with six round holes. Bass bar running the entire length of body. Also a similarly constructed cello.
-----------------------
Hagspiel E. Comp
Dresden
Patentirt No
-----------------------
HAGSTRM, HELGE ALEXANDER
Born 1900. Resident at Skrblacka (Sweden). Violins, violas and cellos; fair modelling. Signed on interior wood.
HAIGHT, RICHARD AND SON
Worked at Fulton Street, Brooklyn, 1915. Violins advertised as possessing responsiveness, clearness, and beautiful tone. Expert makers.
HKANSSON, CARL VILHELM
Born 1907. Amateur at Gustavsberg (Sweden). Violins not showing perfection of workmanship, but good enough to awaken interest, and sufficiently bright tone to sustain it.
--------------------------------------
No: Tillverkad Ar-1949-av
C.W. Hkansson, Gustavsberg
--------------------------------------
Tillverkad Ar - made 1949 by. Also branded C.W.H.
HAKEK, GEORGES
Established at Alep (Syria), 1925. Specialist in producing lutes.
HAKKERT, JACQUES WOLFGANG
Born 1891. Son of Philipp (founder of first string factory in Holland, 1917). Studied at Mirecourt, worked in several German cities. Established at Rotterdam, 1908. Luthier to the Amsterdam Conservatorium, 1913. Killed in the first world war. Various Italian models faithfully copied. Workmanship good enough though not refined. Excellent wood, varnish and tone.
-------------------------------------
Jacques W. Hakkert
me fecit Rotterdam Anno 19..
-------------------------------------
Also very skilful at bow making.
------------------------------------------------
Jacques W. Hakkert 112
Luthier du Conservatoire dAmsterdam
me fecit Rotterdam - An - 19. .
------------------------------------------------
(pretty border)
HALASZ, JOSEPH
Worked at Schnbach, 1850-1870. His real name was Fischer. Made excellent trade instruments, largely for exportation to Hungary.
HALES, HUBERT SYDNEY
Born 1883. Theatre violinist at Coventry. Died 1946. Known chiefly as a skilful repairer, but produced a few violins of average design and workmanship.
HALL, ELMER R.
Born 1869. Farmer for 20 years. Studied violin-making with H. Heskett and Hagberg. Became a machinist. Made violins as a hobby. Resident at Port Angeles (Wash.), 1940. Excellent copies of the Long Strad, scroll of undisputed success, wide purfling, rounded edges, oil varnish of different shades high-lighting pretty wood. Produced 90 altogether.
----------------------------
Elmer R. Hall No. . .
Port Angeles, Wash.
Month. . . . Year. . . .
Named for. . . . . .
----------------------------
HALL, WILLIAM H.
Resident at Oldham, 1880-1914. Cremonese modelling, particularly sweet and clear tone.
HALLAS, JOSEPH
Worked at Brnn (Moravia). Died 1844.
Principally guitars, but also a few violins.
------------------------------------
Joseph Hallas. Instrumenten-
macher in Brnn. A 1843
------------------------------------
HALLBERG, C. G.
Worked at Hultsfred (Sweden). Rustic violin preserved at Stockholm Museum - peg-box ornamented with a Dragons head, four pairs of dancing rustics painted on the deck.
--------------------
C. G. Hallberg
Hultsfred. 1823
--------------------
HALLER, ALBIN
Born 1868. Pupil of Schaller (Markneukirchen). Worked at Erbach, (Saxony), 1900. Excellent models of the Italians and Tyrolese, varnish of superior type.
HALLKVIST, P. E.
Born 1889. Amateur at Grviksjon (Sweden). Violins of individual and distinctive propriety, early dated of Stainer modelling, later more Stradivarian. Clear yellow or reddish brown varnish.
-------------------
Bygd av
P. E. Hllkvist
1948
------------------
(written)
HALVARSSON, OTTO VALER
Born 1908. Amateur at Krrbackstrand (Sweden). Well modelled violins, yellow or reddish brown varnish.
HAM, SYDNEY
Born at St. Louis, 1885. Worked with Squier (Battle Creek) and at Boston. Established at Guthrie (Oklahoma). Best violins dated from 1910. Achieved considerable popularity because of a splendidly free emission of tone. Some varnished according to the Horvath idea, others with his own preparation.
--------------------------------
Copy J. Guarnerius
Made by Sidney G. Ham
Boston - Mass.
1920
--------------------------------
-------------------------------
Copy Stradivarius
Made by Sidney Ham
Violin Maker & Repairer
Guthrie - Oklahoma
No. 240 - 1928
------------------------------
HAMANN, CARL
Cellist. Resident at Posen, 1860-1887. Modelling of mature conception and skilful workmanship, backed up by superb varnish.
------------------------------
Carolus Hamann refecit
Posnaniae Anno 1872
------------------------------
HAMAN, VALENTIN
Born at Columbia (Ohio), 1831. German parentage. Worked at Millwood (Indiana), 1860. Died 1905. Strad modelling, second bass bar (on back) for giving greater sonority of tone; hard orange varnish. Seldom labelled.
----------------------------
Haman - Milwood-Ind.
----------------------------
HAMBERGER, FERDINAND
Son and successor of Joseph (1). Worked at Pressburg (Hungary). Died 1891. Excellent maker. Seems to have invested an especial interest in every instrument he made. Practically replicas of those of father. Gradations really enchanting, and general contour quite as meritorious. Sound-holes splendidly accurate in position and artistry. Purfling perfectly done with a sure and steady hand. Varnish applied with masterly discrimination. Treatment of scroll no less original than its conception and design. Tone embodies much of the Italian quality. Instruments have attracted marked notice in Austria and Hungary.
------------------------------------------------
Ferdinand Hamberger
Geigenmacher in Pressburg. Anno 18. .
F.H. Opus
------------------------------------------------
(decorative border)
HAMBERGER, JOSEPH (1)
Born at Vienna, 1808. Gained experience in the principal workshops. Worked at Pressburg, 1830 to death in 1864. Maker of considerable high rank. Model elegantly follows that of a Stradivarius. Every point shows careful elaboration of detail honourable to art. Brown varnish, very judiciously applied, naturally attracts the connoisseur. Amateur players would augment the value of their collection with a specimen of this masters work, and would be delighted with the easily produced tone.
------------------------------------------------
Joseph Hamberger, Lauten und
Geigenmacher in Pressburg. Anno 1832
------------------------------------------------
--------------------------------
Joseph Hamberger
Guitarre u. Geigenmacher
in Pressburg. 1846
--------------------------------
HAMBERGER, JOSEPH (2)
Son and pupil of the preceding. Born at Pressburg, 1849. Worked with Hofmann. Established at Vienna, 1873. Appointed instrument maker to the Court. Died 1904. Less artistic and capable, and certainly more commercial than either his father or brother. Permitted antagonism which should not really exist, between the commercial and the artistic spirit. Produced instruments not only as a matter of speculation and a general means of livelihood, but also as many as possible with the least expenditure of time on each, and expected higher prices than his work merited. Art not being fostered and nurtured, plainly shown in the very indifferent workmanship, his reputation grew less rosy; more so since his violins seem to have had that premature ageing of tone sweetness which ultimately becomes lifeless.
---------------------------------------------
Joseph Hamberger in Wien
Copie nach Joseph Guarnerius I.H.S.
---------------------------------------------
------------------------------------
Joseph Hamberger
Guitarren und Geigenmacher
in Wien. 1894
------------------------------------
HAMBLETON, JOSEPH
Worked at Salford (Lancashire), 1850. Workmanship has good intention but lacks the refinement of real skill. Cellos arrest more attention.
HAMBURG, GEORGE
Born in Russia, 1872. Migrated to America, and joined the fast increasing band of fiddle makers at Minneapolis, 1894. Subsequently worked at Philadelphia; and finally at New York, 1911-1928. Made wonderful progress in his productions, and many Americans endorsed the instruments to be equal to the best Cremonas, rather an extravagant assertion, but we must unreservedly praise the practically perfect accuracy of all the workmanship. Scroll very deftly done. Model, though generally Stradivarian, has one or two originalities, and shows his striving to advance from the beaten track of an every day ordinarity. Grading, sound-holes, purfling, and corners, have each received that ultra natural treatment which is so fascinating. All the points of detail, inside and outside, that are subject to geometric minuteness, have received the exactitude which only a clever man can successfully accomplish. Each instrument is numbered. Those after No. 32 exhibit his finest work. Medium grained old spruce, always carefully chosen. Oil varnish of a beautifully soft transparency never likely to become brittle or show white scratches. Golden-yellow, orange, light and dark amber shades of varnish, supposed to be his special discovery, spent several years in the usual experimental stages finally perfecting it in 1916. Tone of brilliant quality on the A and E strings, also rich and powerful on the lower ones. Also an astonishing sweetness considering their comparative newness. Very successful at the various American contests. Mischa Elman often praised the tone. Also made many violin and cello bows.
-------------------
Geo. Hamburg
Maker
New York
No. Anno 191-
-------------------
(decorative border)
Each label ornamented with a star on the left. Also Geo. Hamburg stamped inside the instrument, near label and near blocks.
HAMILTON, WILLIAM
Scottish Engineer. Strad modelling, also violas in the style of a Gaspar da Sal. Well finished workmanship. Whitelaws amber varnish. Strong tone.
----------------------
William Hamilton
Uddingston, 1896
----------------------
HAMILTON, W. T. R.
Resident at Edinburgh, 1900. Work little known.
HAMM, ALBAN
Good transcepts of the Cremonese and Neapolitans. Commercial.
--------------------------------------------
Alban Hamm
No. 160. Schnbach 1924 Bohemia
--------------------------------------------
HAMM, CHRISTIAN G.
Born 1774. Son and pupil of J.G. Worked at Adorf. Died 1834.
-----------------------------------
Christ. Gottfried Hamm
probe Violino Stadr. Neukir-
chen, bey Adorf im Voigt-
lande. Fecit Ao 1804
----------------------------------
(decorative border)
HAMM, FRITZ
Born 1909. Worked at Markneukirchen. Fair modelling of the standard ltalians.
HAMM, JOHANN ANDREAS
Born at Klingenthal, 1703. Worked there and at Markneukirchen, 1751. Died 1764. No adversity of ideas exist here, though the workmanship is typically Saxon. Scroll and sound-holes not particularly meritorious. The tone assumes a thick quality without fullness or roundness. 15 (1930).
NAMM, JOHANN GOTTFRIED
Born 1764. Died 1817. Worked at Markneukirchen. Master of the Violin Makers Guild, 1764. Best maker of his time. Supposed to have worked at Rome and Cremona, but as a matter of fact he did not. Work superior to that of contemporaries sometimes the outline and varnish had a semi-Italian appearance, which he subsequently traded upon and labelled his instruments as emanating from Rome and Cremona. Also produced other violins of the broader Stainer model. Sometimes inlaid the edges with ivory, mother-o-pearl, and other material for decoration. Arching sometimes over-done in the Stainer models. Brown, old yellow, and dark red shades of varnish. Velvety and rather warm tone but lacks brilliance. Sometimes prettily marked wood, but always acoustically good even when plain.
Branded inside with I.G.H. Sometimes Hamm. Occasionally a coat-of-arms inlaid with ivory on the back.
------------------------------------
Johann Gottfried Hamm
Instrumenten Macher
Stadt Neukirchen bey Adorf
in Voigtlande Fecit Ao 1810
------------------------------------
-------------------------------------
Johann Gottfried Hamm
Prope violino a car respontent
fecit Cremona Ao 17. .
-------------------------------------
Some instruments dated as early as 1715 - obviously to beguile purchasers that they were having an old Italian instrument. 100, 1959.
HAMMA & CO.
Firm in Stuttgart (Germany), founded by Fridolin Hamma in 1864, who was born 1818, and died 1892. From his passionate hobby of collecting violins, etc. the firm developed. Best masters of violin construction, such as Francois Coussin, Neufchateau and Anton Haff were his collaborators. There existed scarcely an experiment or innovation which Fridolin Hamma did not test personally. His successor and chief of the firm was his son Emil, born 1855, died 1928. It was by his meretorious efforts the firm became world renowned, and he passed as a foremost violin expert and connoisseur in the world. After his death, his sons - Fridolin (born 1881) and Emil (born 1883), took over the firm and added to its world fame. Emil died in 1958. Fridolin Hamma published standard works Meisterwerke italienischer Geigenbaukunst and Meister deutscher Geigenbaukunst. On the occasion of the Stradivarius festivities in Cremona in 1937, he was elected President of the International Export Board; 1953, on the occasion of the International Congress of the Violin Makers in Milano he was elected President of the meeting; in recognition of his merits regarding the Cremona Master works, Honorary Freeman of Cremona. On the 1st January, 1959, Fridolin Hamma entrusted the firm to his son Walter, born 1916, who continues to expand the firm thanks to his excellent cultivation as violin maker and expert in Mittenwald, Munich, and Paris. On the occasion of the competition in Luttich in 1954, he was distinguished for his quartet exhibited there. At the International Viola Exhibition in Ascoli in 1959, he was presented, as member of the Jury, with a gold medal. The firm of Hamma & Co. is now one of the most, if not the most, important violin house in the whole of Germany, and many great master instruments have passed through their hands.
-------------------------------------------------
Gebaut von
fur Hamma & Co. Stuttgart
Kunstgeigenbau und Alte Meisterwerke
Nummer 19. .
-------------------------------------------------
Top line has the signature of the particular workman who supplied the instrument.
--------------------
Matteo Hamma
Stuttgart 1948
--------------------
(ancient lettering)
HAMMAR, G. R.
Born 1878. Amateur at Orebro (Sweden). Won bronze medal at Stockholm, 1928.
HAMMER, W. F.
Resident at Portsmouth and Norfolk (Virginia), 1910. Expertly constructed violins, very satisfactory varnish.
HAMMERBACHER, GEORGE L.
Born 1867. Worked at Baltimore, 1900. Studied with William Wiger. Amatese and Strad modelling. Spirit varnish.
------------------------------
Made
by
Geo. L. Hammerbacher
1707 N. Collington Ave.
------------------------------
(circular)
HAMMERL, JOSEPH
Worked at Schnbach, 1860-1895.
HAMMERSTRM, A.
Born 1901. Amateur at lndalslven (Sweden). Fair instruments of ordinary workmanship.
HAMMERSTRM, H. A.
Born 1864. Amateur at Lidensboda (Sweden). Won bronze medal at Stockholm, 1925. Constructed 100 violins of ordinary achievement.
HAMMETT, THOMAS
Born at Torrington (Devon), 1872. Established at Plumstead (London), 1923. Capable violinist and a specialist in woods. Violin construction attracted his attention early in life. Outline and arching rather similar to the Betts Stradivarius. Workmanship thoroughly consonant with refinement, every curve natural, arching beautifully graduated. Edges slightly nosed. Purfling especially well done, runs up to the finest point in the corners. Depth of lower ribs, 1-1/4 inches, tapering to 1.3/16 in the upper. Well designed scroll, though its extreme end is thinner than usual. Sound-holes perfectly becoming, the edges of which seem as though stamped out. Followed the practice of ebony edging the back button. Well chosen wood of splendid figure. Oil varnish of brownish tint, excellent texture and evenly applied. Nice responsiveness of tone, won golden opinions from various purchasers. Label in large old English lettering - done in ink as though printed:
T. Hammett 1923
Initials carved and filled up with black wax near sound-post.
HAMMIG, ALBERTUS ROBERT
Born 1849. Son and pupil of Wilhelm August. Worked at Markneukirchen, Leipzig (1896), and Hamburg. Had an eye for rich pictorial effect when he put on a finely transparent varnish of deep red shade. Accuracy of workmanship apparent even in the less important details. His thorough knowledge of the anatomy of the violin for arriving at responsive tonal results well exemplified.
-----------------------------------
A. Robert Hammig.
Streich Instrumentenmacher
Hamburg. Anno 1879
-----------------------------------
HAMMIG, CARL HEINRICH
Son of Gustav Adolf. Born 1877. Worked at Dresden. Acquired a splendid reputation for first-class workmanship.
HAMMIG, DAVID CHRISTIAN
Worked at Markneukirchen, 1756. Placed, when a boy, with a watchmaker to learn the trade. Followed this employment for four years, when his health failed, and entirely changed his vocation in life. Possessing a taste for wood-work and repairing, he indulged his new inclinations by making a few early attempts in violin construction. Ultimately made it his profession, and produced instruments of considerable merit. Though generally belonging to the German type, the model has a reminiscence of the small Amati. Wood always acoustically excellent though not always of the prettiest kind. Brown varnish of a deep reddish shade. Tolerably pleasing and mellow tone. 85, 1959.
HAMMIG, FRIEDRICH
Worked at Vienna, 1801. Musical instrument maker (chiefly brass), and a dealer in violins. Although his name is attached to them, they are really ordinary productions from the factories at Markneukirchen and other towns in Saxony.
HAMMIG, GEORG
Worked at Markneukirchen, 1790-1820. Stolid modelling, well disciplined workmanship.
HAMMIG, GUSTAV ADOLF
Born 1858. Maker to the Court at Dresden, 1914. Violins and cellos of ordinary workmanship, and non-bracing tone. Achieved greater fame for double-basses.
HAMMIG, JOHANN CHRISTIAN
Son and pupil of Johann Georg. Born 1732. Worked at Markneukirchen, 1751-1816. Admirably characteristic modelling of the Saxon style. Orange or golden-brown varnish, happily applied. Workmanship worthy of the highest commendation. Scroll and sound-holes exemplary, this in a very satisfactory manner. Top wood usually of medidm grain, and sometimes slightly figured. Invariably one-piece backs of rather plain material, with ribs of curly maple. Nice mellow tone, strong, but not especially brilliant. 30. Cellos entitled to considerable patronage from players requiring an instrument for ordinary orchestral purposes.
----------------------------
Joh: Christian Hammig
Music. Instr. 1756
----------------------------
(written)
--------------------------------------
Johann Christian Hammig
Bass und Instrumentenmacher
in Neukirchen bey Adorf. 1801
--------------------------------------
(printed)
Also branded I.C.H. Sons carried on business after his death in 1816, and used the following label: - 90, 1959.
-------------------------------------
Johann Hammig et Shne
in Neukirchen bei Adorf. 1823
-------------------------------------
Sometimes J. Hammig et Fils.
HAMMIG, JOHANN GEORG
Born 1702. Died 1754. Master in the Violin Makers Guild at Markneukirchen, 1725. Interesting violins treated by a competent hand, satisfying in tone to players, and equally pleasing to connoisseurs in general design. Produced several especially fine toned violas. Also viols - some with heads picturing an angel holding green bands, or leaves.
----------------------------------
Johann Georg Hammig
violinmacher in Neukirchen
1. 7. 3. 8
----------------------------------
HAMMIG, MORITZ
Worked at Dresden, 1860-1892. Then at Ktzschenbroda (Saxony). Died 1908. Violins (few) not of high standard.
HAMMIG, WILHELM AUGUST
Worked at Markneukirchen, 1835-1870. Name associated with good productivity of violins and cellos. Style and workmanship quite ordinary, but found true appreciation throughout his country, probably on account of the easily produced tone.
---------------------------------
Wilh: Aug: Hammig
Violin und Cello Fabrikant
in
Neukirchen
bei Adorf
1846
--------------------------------
HAMMIG, WILHELM HERMANN
Son and pupil of Wilhelm August. Born at Markneukirchen, 1838. Worked for Carl Grimm at Berlin, 1850; went to Amsterdam; returned to birthplace 1864. Produced during these years, many violins that exhibited his naturally gifted powers of hand, and foreshadowed the fame he subsequently merited, obtained, and retained. Lived at Frankfort for two years, finally settled at Leipzig, 1875. Repairer to the Conservatoire and Gewandhais orchestra. Won medals for fine workmanship at Dresden, Milan, Halle, and London. His knowledge in the judgment of old instruments soon brought amateurs, and professionals flocking to his premises. Intellectual intercourse opened their purses too. Died 1925. Business carried on by Hermann (son) until 1924. Violins influenced by the elevated principles of the Italians, and his spirit stirring activity produced rich impressions of that style. Kept himself aloof from tampering with the wood to get prematurely old tonal quality. The fair land of posterity shone clearly in his imagination so he built his instruments accordingly. The tone of such substantially constructed violins was inevitably new, but being absolutely full and responsive, was easily subjugated under the persuasive bowing of a fine player. Produced several especially worked violas, whereon he lavished every bit of his artistic and technical powers, knowing that the actual pecuniary gain would be infinitesimal compared to the enthusiasm and time occupied. Future generations will see high prices recorded. Cellos also handsomely treated with accurate workmanship. Made many double-basses during the earlier period of his life. 85, 1959.
--------------------
W. H. Hammig
Leipzig. 1888
--------------------
Also branded W. H. Hammig. Bows generally catalogued at 5 (1925). Stamped Hammig, Leipzig.
HAMMOND, G. C.
Resident at Forbestown (California), 1920. Amateur.
HAMMOND, JOHN
Born 1870. Amateur. Made (when a boy) a fiddle of four strings out of an old cigar box, on which he played a variety of simple tunes. Subsequently attracted by some articles by Heron Allen, and soon made a proper violin in which he wrote John Hammond - fecit in Sheffield, 1889. Went to live (principally as a farmer) at West Burton, (Wensleydale, Yorkshire). Produced about 20 violins, 2 violas, and one cello up to his 80th birthday, 1950.
HAMPE, WILHELM
Born at Osnabrck (Hanover), 1811. Contrabassist. Worked at Amsterdam, 1843. Maker to the Court. Died 1881. Employed several Germans. Produced few instruments, all of the commercial type.
-----------------------
W. Hampe
Amsterdam, 1852
----------------------
HAMRIN, LARS FREDRIK
Born 1875. Amateur at Matfors (Sweden). Won bronze medal at Sundvall, 1928.
HANAFI, MOHAMED
Worked at Cairo (Egypt), 1920.
HANCOCK, GEORG
Born 1851. Amateur. Resident at Stoke-on-Treat (England). First instrument dated 1909. Produced about 20. Strong and robust modelling either Stradivarian or Guarnerian. Fine workmanship comparable with professionals.
HANCOX, ARTHUR JAMES
Pupil of A. J. Roberts. Resident at Deddington (Oxford), 1920. Strad model, reasonably precise workmanship, oil base varnish, red-brown and brown shades.
-------------------------------------------
A. J. Hancox: : Deddington, Oxon,
Fecit Anno Domini, 1929
-------------------------------------------
HANDENBERG, WILHELM
Worked at Leipzig, 1704-1730. Studied in Italy. Flat model, fair workmanship, and nice varnish.
-----------------------------
Guglielmo Handenberg
fecit Lipsiae, 17. .
-----------------------------
HANDL, MICHAEL
Worked at Mittenwald, 1710-1740. Typical Klotz style with brown varnish and the usual mellow sounding tone.
HANDLEY, HENRY
Born at Worcester (England), 1839. Amateur violinist, Friend of Sir Edward Elgar. Still a member (in 86th year) of the Cathedral Orchestra. Self-taught in violin making. Made 106 violins, 6 violas, and 2 cellos up to the year 1927 when he retired from business. Enjoyed an excellent reputation as a repairer. Made various models including one which he claimed to be original. But invariably preferred Guarnerius and Stradivarius, and these are indubitably his best instruments. Did not achieve greatness in workmanship, but there is every evidence of seriousness of purpose, even an elevation of motive, proving that he engaged his entire enthusiasm at least, and doubtless he himself must frequently have wished that he had been gifted with more skill in the complementary parts of scroll and sound-holes. Nevertheless there is much to be commended. Also plentifully wooded, therefore anticipatory prospects of a gradual improvement to maturity. Did not have uniform success with the varnish. On early instruments it seems blistered, but later he applied it with more appropriate tact or had found a finer substance. Invariably preferred the various shades of amber, but also used a brown. Considering the newness of these instruments, tone is generally quite reasonably silvery and certainly of acceptable volume. 65, 1959.
----------------------------------
Henry Handley
Fiddle Restorer and Maker
Worcester
1919. No. 101
---------------------------------
(Old English lettering; also autographed)
Underneath this label is the following:
Neath the shadow of Worcesters Cathedral Town,
I worked on this fiddle full many an hour.
In my 80th year I fashioned the whole
It now needs a player to bring out the Soul.
HANS. FRANZ
Born at Leipzig, 1890. Worked at Dresden; and later for the Hug Firm at Basel. Stradivarian modelling, splendid workmanship, elastic dark or orange varnish, excellent tone.
HANSCH, GUSTAV
Son of Heinrich. Worked at Odessa. Died 1906. Violins of slight individuality, workmanship occasionally uneven, but good varnish and a bright tone.
HANSCH, HEINRICH
Worked at Gratz (Styria), 1860. Excellent Guarnerian modelling, fine workmanship and fairly rich varnish.
HNSEL, FRIEDRICH
Worked at Mittenwald, 1899. Outline and arching rather satisfactory. Strongly constructed, with nicely rounded edges and corners. Purfling traced with certainty and neatness. Sound-holes slightly clumsy in design and heavy in appearance. Amati type of scroll but a little too small for the full-size of the model. Orange-brown spirit varnish. Good acoustical wood, but backs generally without flame.
-------------------------
Friedrich Hansel
in Mittenwald, 1899
-------------------------
HNSEL, JOHANN ANTON
Lived at Berlin and Leipzig. Instrument maker and Chamber Musician to the Duke of Schnburg at Rothsburg. Invented (1801) a violin with the upper and lower bouts of same size - bridge placed in centre. Another absurd innovation destined to oblivion.
HANSEN, F. W.
Worked at Randers (Denmark), 1859. Died 1897. Instruments worth greater circulation, modelling as good as the Italian, all details (especially the varnish) treated to expert craftsmanship.
HANSEN, H. C.
Worked at Copenhagen, 1855. Workmanship shows his perseverance in pursuit of an objective requiring talent and thought, but is not uniformly refined. Varnishing too evidences his wish to perform something worthy of commendation. Such efforts should not be disparaged on account of non-prettiness of wood. Tone surprisingly clear and considerably rich.
-------------------------------------
Frfrdigt af Instrumentmager
H. C. Hansen i Kjobenhavn
1855
------------------------------------
HANSEN, J. RUMMELHOFF
Born 1877. Worked with Mckel at Berlin. Established at Christiania (Norway), 1909. Won medal at Copenhagen Exhibition, 1914. Died 1918. Violins that radiate the purposeful spirit of an enthusiastic craftsman wrapped up in his profession.
HANSEN, SVERRE
Worked at Bergen (Norway), 1924.
HANSHENNIG, JORDAN
Born at Brunswick, 1905. Worked at Markneukirchen, 1939. Director of the Instrument Museum, 1948. Specialist in constructing historical instruments. Also made a few splendidly modelled violins and cellos.
HANSSON, MARTIN
Born 1880. Wood sculptor at Stockholm, 1920. Well-known in Sweden for exquisitely made miniature violins.
HANSSON. S. D.
Born 1877. Amateur at Stumsns (Sweden).
HARBOUR, JACOB
Worked in London, 1760-1790. Workmanship rather second rate. Fairly attractive outline, but very high arching tending towards ugliness. Rather straight sound-holes, carelessly executed. Scroll also negligently shaped. Invariably without purfling. Dark brown varnish not of really good quality. Cellos superior to violins. Both exceedingly scarce. Viols also good. Sought after by collectors of antique instruments.
------------------------------------------
Jacob Harbour
Duke Street, Lincolns Inn Fields,
1785
------------------------------------------
Worked at Southampton Buildings, Holborn, 1786.
HARBOUR, WILLIAM
Brother of the preceding. Worked in London, 1764-1799. Highly arched violins, brown varnish, altogether of common appearance. Violas much superior, one dated 1770 realised 500 dollars at New York, 1929. Good wood, one-piece back, brown varnish.
HARDAY, HENRY
Worked in Holborn (London). Fair representation of old English work.
HARDEN, WALTER H.
Born 1874. Resident at New Plymouth (Ohio), 1900. Self-taught. Models of own design, praiseworthy work especially those dated from 1938. Excellent oil varnish, generally of golden shade.
HARDIE, ALEXANDER (1)
Born at Stonehouse (Glos.) Violinist and resident at Maxwelltown (Scotland), 1797. Died 1852. Made a few violins of not very clean workmanship, varnish roughly applied, loud tone for dance players of his period. Some branded Hardie Maxwelltown.
HARDIE, ALEXANDER (2)
Son of above. Born 1803. Lived at Galashiels (Scotland). Died 1890. Workmanship slightly more ambitious than father. Stainer and Amati models. Varnish of questionable texture.
HARDIE, JAMES (1)
Worked at Edinburgh, 1830-1856. Not related to James (2) or Matthew. Outline very comparable to the early Stradivarius. Intricacies of arching gave him no trouble whatsoever. Workmanship shows that he must have rejoiced in the consciousness of doing well. Purfling beautifully executed. Edges left rather thick, but finely rounded. Well cut scroll has an unexpected grace of pose. Artistry maintained in the bold drawing of sound-holes, wings neatly finished and a splendidly graduated stem. Varnish usually red, but sometimes slightly auburn inclining to yellow, or one of a brownish tint, in every case intelligently applied. Freely responsive tone redeemed from commonplace loudness by considerable mellowness. 65, 1959.
-----------------------
James Hardie fecit
Edinburgh, 1839
-----------------------
(neat caligraphy)
HARDIE, JAMES (2)
Born at Aguhadley (Aberdeenshire), 1836. Educated at the Methlick University, Aberdeen. Grandson and pupil of Peter. Made a primitive cello in his 9th year Went in seriously for violin construction when 15 years of age. Worked with Grandfather at Dunkeld. Followed the profession of schoolmaster for some years. Ultimately his musical mechanical abilities prevailed and established himself at Edinburgh where, as time progressed, he had the business assistance of three sons. Phenomenal productivity of over 2,000 instruments, and claimed that he made them entirely with his own hands, his sons only attending to the fitting and stringing-up etc. Indefatigable energy further emphasised by having numerous pupils in violin playing, accepting engagements as a vivacious performer of strathspeys and reels, also winning first prize at competitions, and frequently playing the double-bass at the theatre and various social functions. Died 1916 at the age of eighty. Early instruments constructed hurriedly, or at least quickly and somewhat carelessly, in order to provide necessary means of livelihood. Subsequently produced far superior work and of this class may be roughly numbered about 200 which must be accepted as reaching his highest pinnacle of artistry. The other hundreds bearing his label are just the ordinary affairs that must emanate from the business man who is forced to have lapses from his ideal to please the popular taste of the public and the sometimes reluctant will to open its purse generously.
Without doubt his very best violins are those of the Maggini model, which retain in many respects, all the external characteristics of the original. Proportions, measurements, etc. practically identical. Always double-purfled. a fact worth noting as there are numerous forgeries about; sometimes also ornamentations on the back.
Thicknesses of the wood, however often vary according to the density of it. In the cutting of the scroll, his inspiration undulated as lightly as the breeze that blows along the mountain sides. His eyes must have sparkled as he viewed these especial offsprings of talent. Many violas, cellos, and double-basses bear his label, but the tone and workmanship are extremely variable. His name has materially suffered through over-production, which brought along in its train, many more or less indifferent specimens, some coming under the category of pot-boilers. We have it from authoritative sources that scores of the cheaper Hardie violins were procured by an individual named Cooke, who re-labelled them with the selling names of Panormo and Fendt, etc. printed on brown tinted paper, and got rid of them through the usual trade channels and auction rooms. Meredith Morris also was personally acquainted with a maker of mediocre attainments, who, from a genuine Hardie-Maggini model, made many replicas (except in the purfling which is single) varnished them with a shiny oil substance, inserted reprinted Hardie labels, and passed them along to pawnbrokers, etc.
Hardie gained gold and bronze medals at four Edinburgh Exhibitions. Sold his productions for 3 to 20, according to grade of workmanship. 65, 1959.
---------------------------
Made by
James Hardie & Sons
Violin Makers
Edinburgh
1898
---------------------------
With obverse and reverse of a gold medal at the sides. Early labels have no medal design.
---------------------------
James Hardie & Sons
Makers
117 Nicholson Street
Edinburgh
---------------------------
(sometimes dated)
Also seen in violins obviously of German or French commercial class.
HARDIE, JOHN
Worked in Edinburgh (Scotland). Fine-grain belly wood, two-piece back; red varnish.
-----------------------------------
John Hardie
29a Broughton Street,
May 18th. Edinburgh. 1875
-----------------------------------
HARDIE, MATTHEW
Born 1755. Died 1826. Worked at Edinburgh from 1796. Possibly initiated into the art by John Blair who was subsequently his principal workman. Usually termed the Scottish Stradivari. A man of considerable education who, unfortunately, (so it is chronicled) could not conquer the temporary excitements of alcohol. Destined to fall on hard times towards the end of his career, and was confined in Calton Gaol for debt. From the same source we learn that he produced a good number of his best instruments during the otherwise weary months of incarceration. Majority of his violins modelled after one of the first period Strads, with outline and arching practically perfect. Also built several Amatese reproductions (ranking with those of Betts), probably of superior tonal quality to the Stradivarian models. Body length, width of bouts, depth of ribs, and height of arching generally adhere strictly to both originals. Workmanship usually upholds the dignity and neatness of the conscientious craftsman, though occasional instruments pop up over which his hand must have travelled rather hurriedly, but none of the work ever absolutely careless. Slight build of the edges noticeable. Margins moderately full. Scroll attentively carved and fully worthy of admiring glances. Purfling often ingeniously regular, but some early dated specimens have marked imitation lines instead.
Sound-holes (a fraction shorter than those of a Strad), also positioned differently, though of the slightest. Always used very old wood, often the remains of ancient buildings, not always free from little scars which he apparently thought wise not to remove. Excellent maple, but seldom of pretty figure. Early instruments covered with a light tinted yellow spirit varnish, now faded to a dullish brown, not of good texture though applied rather dexterously. Later found one of better quality, also of spirit, but less hard in appearance, thinly but artistically applied, generally yellow but now merging into a pale brown; occasionally one of slight reddish tinge. Tonal quality clear and strong, but lacking in sympathy. Productivity fairly large. Violas and cellos also, the latter often praised for the tone of the lower strings.
--------------------
Made by
Matthew Hardie
Edinburgh
1810
--------------------
---------------------
Matthew Hardie
Edinburgh, 1809
---------------------
-------------------------
Made by
Matt: Hardie & Son
Edinburgh
-------------------------
A genial and generous spirit outshining the unfortunate weakness previously alluded to, a great enthusiast, rich in the traditional lore of Cremona, and consecrated his efforts to reproduce it, and, at one time, had a coterie of cultured amateurs around him. 85, 1959.
HARDIE, PETER
Born 1775. Died 1863. Worked at Dunkeld (Perthshire). A man of Powerful physique. generally known as Highland Hardie. Very excellent performer of strathspeys and reels and composed several of these national dances. Favourite violin pupil of Neil Gow, and frequently played with him at various celebrations and festivities. Amatese outline with reduced Stainer-like arching. Nothing particularly alluring about the whole contour. Scroll turned rather sharply out at the edges. Sound-holes do not furnish conclusive evidence of grace. Neatness more fertile in the purfling. Tonal quality often nasal, seldom really mellow. Cellos altogether superior P. Hardie stamped below button at back.
HARDIE, THOMAS
Born 1802. Died 1856. Son of Matthew. Worked in fathers establishment at Edinburgh. Unfortunately inherited whisky-drinking propensity. Fell downstairs in a drunken state, and died from his injuries. Character sketched under the name of Thomas Harvey in Charles Reades Christie Johnson, wherein he is described as a man of great ability atid fair culture debased by drink and brought to poverty, etc. Worked fitfully, but made a few splendid instruments during sober periods. Amati-Stradivarius modelling of fine outline and arching. Workmanship, hurried or otherwise, always shows the hand of natural talent, often remarkably neat. Usually applied a yellowish-pale red varnish, beautifully laid on and polished, sometimes an equally rich brown. Always put his hands on good figured wood, consequently the instruments have a prettier appearance than those of the other Hardies. There are, however, many instruments that bring discredit to his name and these have a contour more like the French commercial violin, and being made for rapid sale he resorted to baking the wood to create the weak and premature old-tone - specimens particularly distinguished from the others by a raw yellow varnish. Even in best specimens he somehow missed full toned quality. Highest value (in his day) 20. Produced several cellos generally well spoken of by players. 65, 1959.
--------------------
Thomas Hardie
fecit Edinburgh
anno 1846
--------------------
(printed and written)
------------------------------
Thomas Hardie fecit
Edinburghie. Anno 1828
------------------------------
HARDT, E.
Worked at Stuttgart, 1855. Produced excellent four-stringed double-basses.
HARDWICK, JOHN EDWARD
Born 1886. Resident at Ashtead, 1951. Chiefly Stradivarian modelling of keen and careful workmanship. Oil varnish exclusively.
---------------------------------------------
J. E. Hardwick, Luthier
Pupil of
G. Wulme Hudson, Ashtead, Surrey.
19. . No. .
---------------------------------------------
HARDY, D.
Resident at Pocklington (Yorkshire).
------------------------------------
D. Hardy
Violin Maker
Pocklington
N. B. Violins neatly repaired
1822
------------------------------------
HARDY, STEVEN
Worked at New York. 1918-1926. Excellent modelling. Used a splendid varnish of own preparation. Also produced several finely balanced bows.
HARE, JOHN
Worked in London, 1680-1710. Stainer modelling with slight touches of blundering mismanagement, but not clumsy (as some writers assert). Scroll offers a most depressing spectacle. Straightish sound-holes do him small credit. Purfling also an inartistic display. Varnish impoverished in texture and miserable in colour. Tonal quality of fair sweetness but no real sonority. Anyone giving more than 35 (even in 1959) would be generous without wisdom, although one specimen realised 300 dollars in America.
--------------------------------------
John Hare at ye Viol and Flute
near the Royal Exchange
in Cornhill, London. 1704
-------------------------------------
(generally undated)
HARE, JOSEPH
Son of John. Worked in London, 1700-1730. Large proportioned violins, disparaged in his day because he was bold enough to build on Stradivarian principles instead of the Stainer - the latter at that period having a strong grip on the fancies of people. Opposition subsequently fell away as the excellent and responsive tone was noticed. Measurements of a specimen dated 1720: Body length, 14.3/16 inches; upper bouts, 6-1/2; lower, 8-1/4; ribs, 1-1/8 to 1.3/16. Massiveness of design judiciously tempered with artistry, arching splendidly conceived. Boldly cut sound-holes, well worked, though not so gracefully slanting as could be desired. Scroll seems weakly proportioned as against the fine contour of the body, and engenders a slight grumble not quite appeased by the truly nice workmanship. Especially resonant wood. Golden brown (with reddish tinge) varnish, very transparent and brilliant. Modestly valued at 40 to 60 (1950). Also built a few instruments of higher arching rather dainty in style, wood also enhanced by rich and fairly vivid varnish. Hare must be credited with having a power of construction beyond his contemporaries.
----------------------------------------
Joseph Hare at ye Viol and Flute
near the Royal Exchange
in Cornhill, London. 1726
----------------------------------------
------------------------------------------
Joseph Hare at ye Golden Viol
in St. Pauls Churchyard, London
------------------------------------------
HARFORD, PATRICK
Lived at Dublin, 1730-1752. Instruments labelled as emanating from Rome and Cremona. Attractive modelling, clear brown Tyrolean varnish.
HARHAM (HARKHAM)
Worked in London, 1760-1790. Ordinary, with uncertain pirouetting around the scroll and sound-holes.
HARKENDORF, HANS
Made a viol with ash-tree wood.
----------------------------
Hans Harkendorf
Flensburg. Anno 1652
----------------------------
HARMAN
Bow maker at Mirecourt, 1830-1870. Much esteemed for strong heads and flexible sticks. Stamped Harman M.
HARMAN, LAUREN EARL
Resident at Cedar Rapids (Iowa), 1900. Generally Guarnerian modelling all characteristics ingeniously accomplished. Dark brown dryish varnish till 1922; later a more oily one in shades of yellow to red, carefully put on and of attractive appearance.
--------------------------
Made by
Lauren E. Harman
Cedar Rapids, Iowa
No. . . 1915
-------------------------
HARMAND, JOSEPH
Worked at Mirecourt, 1780-1789. Medium class work.
HARMAND, L.
Worked at Mirecourt, 1880-1910. Interesting modelling, good scroll, corners rather blunted but well worked; golden orange varnish applied artistically. Branded L. Harmand A Paris inside.
HARMAND, NICOLAS
Worked at Mirecourt, 1755-1790. Master in the Violin Makers Guild, 1772. One of the most reputed of his period. Model slightly under full size. Workmanship to be viewed with pleasure. Nearly always nicely figured wood. Varnish of reddish-yellow shade, and of good quality. Unusually soft tone for a French violin. Catalogued up to 30. Stamped Au Roi David.
HARMONY COMPANY
Established at Chicago, 1908-1925. Violins, etc. rivalling the best products of Bavaria and Saxony, and materially checked the former inundation of continental merchandise. Each instrument tested by tonal experts. Equipment of machinery and system equal to any in Europe and prodigious output.
HARNISCH, HERMANN
Born at Gera (Thuringia), 1859. Son of J.G. Musician at the Darmstadt Court, 1885; and appointed repairer, etc., 1895-1922. Though built on precise laws his violins fall a long way short in regards to tonal quality, a deficiency probably caused by the spirit varnish.
-------------------------------
Hermann Harnisch
Hofinstrumentenmacher
Darmstadt 18. .
-------------------------------
HARNISCH, JOHANN GOTTLIEB
Born at Gera (Thuringia), 1827. Pupil of Bausch at Leipzig. Violins date from 1857. Copied the Italian masters in a cosmopolitan and free manner as regards outline and arching. Everything dictated by an excellent standard of judgment nevertheless. Frequently misled from the traditional path by liberally experimenting with unusual woods. Further emancipated his instruments from their structural solidity by chemicalising the material. Also had original theories in relation to the form and position of bass-bar, an unfruitful procedure, creating more weeds than blossoms in the tone he attempted to better. Used exclusively spirit varnish.
------------------------------------
J. G. Harnisch
Instrumentenmacher in Gera
1861
------------------------------------
HARP, JOHAN
Bass-viol (with fanciful head) in the Savoy Collection.
------------------------
Johan Harp
Copenhagen, 1730
------------------------
HARRAS, ADOLF
Born 1865. Worked at Masserberg and Chemintz. Won medal at Erfurt Exhibition, 1898. Ordinary modelling, varnish and tone.
HARRINGTON, H. SCOTT
Worked at St. Louis (Missouri), 1913-1920.
HARRIS, CHARLES (1)
Worked in London, 1780-1815, at Cannon Street Road, Ratcliffe Highway. Employed as a Custom House Officer. Among the violin making worthies of England, he holds, and will always hold, a foremost place. We should be proud of his genius. Among British copyists of the Stradivarius and Amati outline and arching, he stands out beyond them all. Cellos especially have many claims to merit. Workmanship superb, and always full of interest. Scroll manifests individuality at times, and even when of ordinary pose, quite well worth looking at. Sound-holes gracefully shaped and splendidly positioned, also very nice purfling. Sides of instruments are perhaps a little too low to suit every connoisseur. Used the best wood procurable. Particularly rich varnish of reddish tint, also one equally fine of a yellowish brown shade. Tonal quality immeasurably superior in clearness and sweet sonority to that obtainable from many Italian instruments of greatly inflated price. Though a prolific maker few violins now bear his label. Unscrupulous ticketers have frequently obliterated his name and inserted those of Ruggeri, Amati and others. This fraudulent practice not exposed until some of the instruments have been opened by repairers who have found Charles Harris written in ink sometimes twice on ribs, twice on breast, and once on the back near top block.
---------------------------------------
Charles Harris fecit
in Cannon Street, London, 1791
---------------------------------------
Often alluded to as the English Amati.
HARRIS, CHARLES (2)
Eldest son of the preceding. Worked with father, also with John Hart in London, 1795-1824, then removed to Oxfordshire. Did not have that special sensibility which is the attribute of genius. Instruments well-known but not much appreciated. Did not make a close transcript of any particular model, but had a preference for one of longish dimensions. Fairly good workmanship but separated in neatness from that of father by a considerable gap. Used a yellow varnish, never warm looking, sometimes of sickly appearance, olive tinted, but well applied.
------------------------------
Made by Charles Harris
Adderbury, Oxon. 1826
------------------------------
(sometimes written)
------------------------
Made by
Charles Harris Son
London, 1822
------------------------
Others dated from Steeple Aston, 1832, and Woodstock.
HARRIS, GRIFFITH
Worked at Swansea (Wales), 1810-1840. Workmanship rather ordinary.
HARRIS, JOHN EDWARD
Born at Wednesbury (Staffordshire), 1860. Studied with Georges Chanot in London. Set up a music business at Shildon, near Bishop Auckland, 1894, and constructed his first violin there. Established at Gateshead-on-Tyne, 1908. Produced 200 violins up to year 1946. Died 1951. Really splendid modelling either on Stradivarian or Guarnerian principles. Very excellent working of plates, giving the arching a classified contour. Workmanship swiftly and accurately manipulated in embellishing the thought conceived. Scroll particularly well poised, having a kind of Lupot character. Sound-holes and purfling further emphasise his undoubted talent. Had keen penetration for choosing the best acoustical woods combined with beauty of grain and figure. Tonal quality always very responsive, often quite brilliant. Instruments largely appreciated in Australia and England. Became interested in varnish preparation through reading those apparently inevitable controversies appearing at various times in journals. Commenced experimenting, and after a few years of alternating successes and failures, ultimately satisfied himself that amber varnish was the only gum which could fulfil every requirement. Brought out a special preparation of different tints, advertised it at 4/- per bottle, and soon found favour with the many makers who believe in amber as a basis.
-----------------------------
Made by
J. E. Harris
Violin Maker
Nile Street, Gateshead.
No. . . Model. . 19. .
----------------------------
Two sons (both repairers) - Ernest, at Gateshead, 1948, and John Edward, Junr., at Darlington.
HARROD, JACK
Amateur. Worked at Burton-on-Trent. Died 1894. Workmanship has one or two inequalities, nevertheless maintains average merit. Fifteen violins circulated in his district.
HARROD, ROBERT
Worked in London and Exeter, 1760-1820. High model with strong similarity to a Richard Duke. Workmanship shows he was endowed with fair skill. One or two specimens known which should place him not far from front rank. Connoisseurs should give him this distinction and think more highly of his productions generally. Dark varnish fairly rich in tints entirely gratifying to the eye. Tone should please amateurs who can only afford to purchase inexpensive instruments. One or two interesting cellos by this maker occasionally find their way to the sale rooms.
-----------------------------------------
Made and sold by Robert Harrod
from London. In St. Peters
Churchyard. Exon. 1784
----------------------------------------
Some labels have Oxon.
HART COMPANY
Established at Pomeroy (Ohio), 1925, with a branch at Columbus. Guitars, violins and mandolines.
HART, GEORGE
Born in Wardour Street, London, 1839. Son of John. Died 1891. Inherited enthusiasm of his parent for collecting the finest master-pieces of violin art. Studied violin playing with Prosper Sainton at the Royal Academy and was a very capable performer. Also a good pianist - in fact a thoroughly excellent musician. A man of extensive culture intimate with all celebrities in all the arts and sciences. Recognised as the head of European connoisseurs. Bought many private collections of instruments. Had the faculty (encouraged by innumerable opportunities of violin comparison), of deciphering genuine and otherwise labels, differentiating and authenticating every instrument. Also had a ready pen to describe and accurately elucidate the results of his keen powers of observation. Author of The Violin and its Makers (Schott), and The Violin and its Players. The first especially authoritative, and universally referred to.
HART, GEORGE
Son of the preceding. Born 1860. More of a connoisseur than an actual maker (though trained in Paris), and followed up the honourable traditions of his predecessors. Established in Wardour Street, London, where he had reason to be proud of the past, and gained confidence from all classes of violinists, amateurs, and collectors in the present. His personality, independent thought, and vast opportunities of handling valuable instruments, caused all violin enthusiasts to regard him as one occupying the highest estate in his particular domain. Employed a staff of skilled workmen (French and English), and we believe they greatly participated (if not entirely) in the construction of instruments labelled Hart and Son, a junction of labour perfectly justified by results. Outline, arching, and entire contour truly harmonious, together with all possible accuracy of detail, but no outstanding individuality for future generations to particularise. Finely executed scroll, somewhat deeply carved. Edges beautifully rounded, completely in the Italian style. Full margins at 1/8th of an inch beyond the purfling. Purfling of course, perfection itself. Sound-holes delineated quite artistically. Finest grain spruce, and the most picturesque maple. Golden-red oil varnish of delightful transparency. Tonal quality excellent, though unavoidably new. 80, 1959.
------------------------
Hart & Son
Makers
28 Wardour Street
18 London 90
------------------------
(decorative border and square lettering)
Number of each instrument written. Also faithful reproductions of celebrated violins.
----------------------------------
Exact Copy of The Betts
Stradivari, date 1704.
Hart & Son
Makers
28 Wardour Street
18 London 90
---------------------------------
Specially featured the making of bows. Magnificent sticks combining the balance and elasticity of any of the old French. Mounted in gold and tortoise-shell. 12. In silver, 4. 25, 1959.
HART, JOHN THOMAS
Born in London, 1805. Died 1874. Initiated into the art in his 15th year by Samuel Gilkes. Produced a few Amatese model instruments which make little, or no advancement on the work of his contemporaries, though excellent of their kind. Achieved a fine reputation as a repairer. Reached a higher plane as a connoisseur, and had the distinction of being in a position to handle more Cremonas than any other Britisher of that period.
--------------------------------------------
John Hart
Maker
14 Princes Street, Leicester Square,
London, anno 18. .
--------------------------------------------
HARTMAN, B.
Born at Wilihoeksen (Dutch Indies), 1901. Went to Holland. Apprenticed to M. Boutelje at The Hague. Constructed first instrument (Guarnerian modelling). 1934. Killed in the war, 1943. His widow exhibited this instrument at The Hague Competition, 1949.
----------------------------------------
Eerste viool. Berend Hartman
fecits Gravenhague (Nederland)
Anno 1934. 30 April
----------------------------------------
HARTUNG, MICHAEL
Worked at Padua, 1620-1634. Pupil of Tieffenbrucker at Venice. Lutes and Theorboes, many preserved in Museums.
HARVEY, ERNEST
Amateur. Resident at Penarth and Cardiff, 1885. Neat workmanship. Strad and Guarnerian modelling.
HARVEY, HOMER A.
Born 1884. Doctor of Medicine. Resident at Batavia (N.Y.) Made 60 violins, from 1916, mostly Stradivarian, reddish-orange oil varnish. Did not sell any but presented them to soloists and students.
HARVIE, ROBERT
Resident at Berwick-on-Tweed, 1830-1856. Excellent modelling, though pedantic workmanship, free of any unevenness.
--------------------------------
Robert Harvie
Berwick-on-Tweed, 1851
--------------------------------
HASKELL, ALFRED R.
Born in Massachusetts, 1875. Gained experience in the workshop of O. H. Bryant at Boston. Employed by Oliver Ditson, 1913. Produced first instrument in 1900. Devoted much patience to the problem of tonal quality. Built several very interesting violins of beautiful arching and outline. No exaggeration in any of the details, and when the entire naturalness of contour is viewed, appreciation is strengthened. Splendid effect culminates with the fine appliance of a reddish-brown varnish.
---------------------------
A. R. Haskell, Maker
Boston, U.S.A.
No. . . A.D. 1915
---------------------------
HASLAM, DR. W. D.
Medico. Resident at Croydon (Surrey), 1900-1912. Skilful from youth in wood carving, etc. Learnt to make violins from descriptions and diagrams in various text books. Most instruments made to Strad measurements, a few being replicas in age-appearance and worn varnish. Also built high arched Stainerish types, but with exaggerated width of sound-holes, double purfling, and a cracked brownish-yellow varnish. Stradivarian models generally of considerable elegance of outline and arching. Workmanship quite up to the standard of the best professional work, and no point of neatness overlooked. Sound-holes as graceful as the original, scroll full of dignity and masterfully carved. Bouts full and exact, purfling and corners ideal. Made several experimental excursions into the labyrinth of wood and varnish, and closely studied acoustical laws. Wood thicknesses arranged according to his original theories of conducting the sound vibrations.
HASS, J. A.
Little known of this maker and few instruments seen.
----------------------------
J. A. Hass
Hamburg, Anno 1755
----------------------------
Hamburg sometimes shortened to Hamb.
HASSERT, JOHANN CHRISTIAN
Born at Rudolstadt (Saxony), 1759. Died there 1823. Stainer modelling, very high arching, commonplace workmanship, red-brown varnish, almost opaque. Thin tone.
HASSERT, JOHANN GEORG
Worked at Eisenach and Rudolstadt, 1746-1780. Did not reach a high pinnacle of fame. Imitated Italian models but could not emulate their artistry. Very ordinary instruments not worth more than 10, in fact some specimens are below that line where mediocrity ends and positive inferiority begins. Tonal quality generally shrill or hollow. Varnished brown, and of good wood. Occasionally made a few of more estimable quality, bestowed greater care on various details, and used splendidly marked wood. Covered with an attractive amber coloured varnish, and sometimes catalogued at 50. Difficult to realise that the one man could turn out such variable degrees of workmanship.
------------------------------------
Johannes Hassert. Isenacemis
faciebat Anno 1775
------------------------------------
(initials circled under a cross)
-------------------
Hassert
Eisenach, 1772
-------------------
-----------------------------------
Johannes Georgius Hasertius
Rudolstadtensis, Anno 1752
-----------------------------------
HASSL, CONRAD
Musician. Resident at Linz (Austria). Died 1924.
HAUDEK, CARL
Born 1862. Worked at Vienna. Succeeded to the business of Lembock. Died 1919. Instrument maker to the Viennese Court. Workshop controlled by widow assisted by workmen, 1925. Instruments few, and seldom travel outside Austria. Excellent workmanship, which gained several medals. Did not adopt a specific model of one prototype, but seems to have incorporated a little bit of each of the celebrated Italian models, thus his instruments partake of a certain originality. All details of workmanship give a record of his keen and accurate observation. Did not spare the wood, nor indulged in any of the faking follies. Also perfectly understood the art of varnishing and its effect on tone.
-----------------------------------
K. v. K. Hof-Geigenmacher
Carl Haudek
Wien
-----------------------------------
(Royal insignia on left)
HAUMESSER
Successor of N. Bonnel at Rouen, 1873.
HAUSER, ANTON
Born 1726. Worked at Reuti. Died 1806.
----------------------------
Antoni Hauser Lauten
Macher i Reuti A 1794
----------------------------
HUSSLER, CHRISTIAN
Born at Adorf (Saxony). Worked at Cracow (Poland), 1830-1871. Never attempted to repudiate his native training. Violins well constructed but minus individuality.
-----------------------
Christian Hussler
Geigenmacher
Krakau, 1854
-----------------------
HUSSLER, GUSTAV
Born 1850. Son and pupil of Christian. Established at Cracow, 1880-1925. Stradivarian modelling presented with commendable elegance. All details skillfully executed. Excellent spirit varnish. Medals awarded at Lemberg and Cracow Exhibitions.
---------------------
Gustav Hussler
in Krakau
---------------------
---------------------------------------------
Gustav Hussler
Fabrykant instrumentow strunowych
22 ul. Florjanska
Krakw, 1922
---------------------------------------------
HAUSZER, GUSTAV
Worked at Budapest, Zombor, Ngyvard, and Arad. Principally wind and metal instruments, also a few violins and cellos.
HAUTSTONT, CHARLES
Born 1863. Pupil of J. B. Vuillaume. Worked at Brussels. Died 1929. Principally reproductions of ancient viols, large, violin shaped. Label: Ch. Hautstont at top, Luthier at bottom, and design of three girls in centre (one playing a violin, another holding a viol and bow, and the third a guitar).
HAUTSTONE, JEAN BAPTISTE
Born 1886. Pupil of Charles. Worked at Brussels, 1926. Capitally designed violins, Italian models, yellow-brown varnish on a golden base.
-------------------------
J. B. Hautstone
Luthier
Bruxelles. lan 19. .
------------------------
HAVAS, ISTVN
Born 1872. Worked at Budapest, 1914-1925. Pupil of Brckner. Good-class work. Also produced many finely balanced bows.
------------------------
Havas Istvn
Muhangszerkszit Budapest
lli t 16 B
-----------------------
HAVELAR JOANNES BAPTIST
Name in violins popular in 1920 and sold for thirty shillings. Extraordinary fine value for a small outlay. Stradivarian model of nicely figured wood. Glossy brown varnish effectively shaded.
------------------------------
nach
Joannes Baptist Havelar
Fecit Wien. Anno 19. .
------------------------------
HAVELKA, JOHANN BAPTIST
Worked at Linz (Austria), 1766-1799. Outline strikingly handsome, with conspicuous proportion of cleverness in the somewhat original slight arching as it goes away from the edges. Distinctive uniform appearance. Scroll of elegant pose, not easily attainable for the average violin builder. Workmanship, sound-holes and purfling all show great patience and unceasing care. Selection of wood sometimes inconsistent with the makers earnestness, unless he was experimenting. Some instruments have coarse wood whilst others have fine grain material, also both kinds together can be frequently met with; reddish brown varnish sometimes too thickly applied. Finally, a rather powerful tone, invariably perfectly even on the four strings.
--------------------------------
Joannes Baptista Havelka
fecit Anno 1774
--------------------------------
(beautifully scrolled, also bearing the design of a Griffin holding a lute)
-----------------------------
Joa. Bapt. Havelka
Fecit Linci. Anno 1780
-----------------------------
Early dated instruments usually without Baptista. 80, 1959.
HAVELKA, SIMON JOANNES
Probably brother of the preceding. Worked at Linz, 1763-1774. Superbly fine model, beautifully proportioned, and workmanship quite splendid. General appearance similar to those of Joannes Baptista. Rich nut brown varnish. Very pleasing and responsive tone but not robust. Up to the year 1927 these scarce instruments did not pass beyond the value of 20. 85, 1959.
------------------------------
Simon Joannes Havelka
fecit Lincii. 1765
-----------------------------
(decorative border)
HAVEMANN, CARL FRIEDRICH
Worked at Klingenthal, 1750-1785. Son of David Christian. Outline and arching have nothing out of the common. Infirmities of workmanship thoroughly exposed in the sound-holes and scroll. Varnish and tone, dull and lifeless.
HAVEMANN, DAVID CHRISTIAN (1)
Worked at Klingenthal, 1722-1742. Flat model rather largely proportioned. Workmanship not to be placed on a very elevated pedestal, but good as emanating from the Saxon school. Sound-holes and scroll belong to a fairly excellent order. Some instruments have lion heads. Purfling not particularly efficient. Top wood frequently of fine grain, and lightly curled maple for backs. Warm orange brown or red brown varnish. Tone of slight adaptability for modern purposes, and few players will subscribe to the promulgation of such generally cloudy toned instruments. 20 (1920). 80, 1959.
-------------------------------------
David Christian Havemann
Organist und Violinmacher in
Klingenthal. 1722
------------------------------------
HAVEMANN, DAVID CHRISTIAN (2)
Worked at Klingenthal, 1806-1815. Similar model and varnish to preceding. Value about the same.
HAVEMANN, FRIEDRICH WILHELM
Worked at Klingenthal, 1761. No refinement of workmanship, and a somewhat impoverished tone.
HAWKINS, JOHN J.
Patented a new form violin, London, 1800. Had no sides or back, but only a strong rib running beneath the belly, on which was set a sound-post pressed up on the belly by means of a spring. Mere loudness of tone was not impaired by this fanatical procedure, but beautiful sonority was totally lost. Reported that he destroyed a genuine Stradivarius in applying his utterly absurd innovations.
HAWLICZEK, FRIEDRICH
Born in Hungary, 1830. Established at Vienna, 1878. Died 1913. Made few instruments but had violins in the white from Bohemia or Saxony, and varnished them. Inserted his label.
HAWRANECK, OTHON
Worked at Markneukirchen, 1886-1910. Mediocre work.
HAXTON, GEORGE
Born at Kingskettle (Fifeshire), 1878. Taught himself from treatises, and looking at violins. Established at Glasgow, 1910. Made first instrument, 1907. Built about 70 up to the year 1925. Excellent modelling after Stradivarius, but mostly after Guarnerius, very slightly modified, the latter especially interesting. Everything conducive to what is termed a splendid contour. Attractively long waist. Fine, robust scroll, worth a second look. Longish and nicely slanting sound-holes, with an ingeniously arranged narrow stem. Purfling unquestionably well done. Golden brown and dark orange brown shades of oil varnish. Tonal quality equal to that of any other modern violin. 70, 1959.
-------------------------
George Haxton
15 Roy Street
Glasgow.
A,D. 1918. No. 32.
-------------------------
HAY, JAMS
Born in Forfarshire, 1869. Amateur. Resident at Guildford, 1916-1931. Fairly skilful modelling on own theories. Instruments that have not come before public notice therefore escaped both praise and censure, but they should make their way favourably in the future.
HAYDEN, L. G.
Born 1889. Pupil of Schermerhorn (Seattle). Resident at Eldora (Iowa). Made first instrument 1920. Guarnerian and Strad modelling. Splendid light golden orange varnish of own formula. Also, very excellent bows - pupil of Reisinger (Cedar Falls), in this art.
HAYNES, H.
Born at Great Malvern, 1867. Resident at Southsea, 1912. Made a large number of violins at birthplace, Guarnerian modelling, careful workmanship, especially easy response of tone for new instruments.
HAYNES & CO.
Firm in London, 1890. Founded by William S. Haynes. Extensive trading in Mirecourt productions.
HAYNES, JACOB
Worked in London, 1745-1755. Commonplace expositions of the Stainer model. Bulgy arching and indifferent varnish. Workmanship of inexcusable carelessness. 10 (1925).
--------------------------------------
Jacob Haynes
in Swallow Street
St. James, London, fecit 1751
--------------------------------------
HAYS, J. W.
Amateur. Resident at Seymour (Indiana), 1927. Little known work.
HEAPS, ALFRED WALKER
Born 1854. Worked for Picard at Leeds until 1874. Manager of a music storehouse at Sydney (New South Wales), 1876. Devoted entire time to violin making after 1885. Died 1906. Each violin most carefully finished. We may not altogether approve of the arching but there are sufficient good points about the complete model which perhaps outweigh this slight objection. Very successful handling of a really excellent oil varnish of rather a fascinating colour, and without the slightest hardness. Inside proportions around the ribs and corners very minutely worked. Fairly rich reedy tone of considerable carrying power.
----------
Heaps
Sydney
----------
HEAPS, JOHN KNOWLES
Worked at Leeds, 1840-1855. Had reasonable mechanical powers, but developed some curious mathematical principles which failed to get the evenness of tone he claimed. Understood marked effect in varnishing. Cellos evince considerable advancement on his antecedent violins, though some (owing to slightly faulty inside work) have not so fine a tone as the workmanship, as a first glance suggests. His mania for experimenting undoubtedly detracted from his natural powers.
HEARNSHAW, FRANCIS
Worked at Nottingham, 1870-1896. Fairly nice workmanship, but nothing outstanding.
HEATON, WILLIAM
Worked from 1872-1906. Made about 200 violins and a few cellos. Something quite personal about the modelling. Outline variously following the designs of an Amati, Stradivarius or Guarnerius, but always with slight modifications, but we cannot quite determine whether he purposely intended certain divergencies or whether he lacked the perspicacity and skill to faithfully delineate. Contour rather masculine than feminine. Arching not always finely graduated though perhaps he was searching for that very elusive thing, tonal quality. Best efforts in this direction assume the extended slight arching of a Maggini. Margins generally of medium width. Strong but nicely finished and rounded edge, slightly raised, early instruments occasionally less refined in this particular matter. Superb neatness in the purfling, very conspicuous as the bed around the edge is only almost imperceptibly grooved. Sound-holes somewhat Stradivarian. Length 3 inches; distance between each one at the top, 1-9/16. Finely executed scroll, protracted grooving at the lower turn of the volute, broad from boss to boss, wide peg box, perhaps a little too heavily wooded. Supposed to have furnished makers and dealers with hundreds of scrolls, a particular class of carving in which he seems to have no contemporary superior. Various shades of oil varnish (with fossil gum amber for basis), mostly own preparation, including a fairly rich yellow, orange red and cherry red, each soft and transparent. Strong and clear tonal quality but slightly unsatisfactory in richness. Perhaps the years to come will advantageously affect the latter. Made six examples christened The Tower, the backs consisting of maple taken from an old seasoned plank in the tower of Gomersal Church. Produced one named The Gouge, inside and outside work entirely accomplished with the little semicircular chisel; sandpaper and rasp having no concern with it. Another named Patchwork is made of various kinds of wood. Created a few cellos which have attracted the attention of good performers. Bold outline, finely shaped sound-holes and scroll, purfling rather pronounced and expertly varnished.
------------------------
Willian Heaton
Maker
Hill Top, Gomersal
Nr. Leeds.
------------------------
Several early instruments not labelled, but have the name stamped on the end blocks. Others autographed on the inside of breast.
HEBDEN, HERBERT
Resident at West Green (London), 1905. A maker desirous and successful in imparting individuality to his work, and a conscientious pride in producing instruments not to be subsequently badly criticised. No discrepancies whatsoever in workmanship. Carefully chosen wood and finely fibred belly wood with backs of rich flame. Outline and arching fully arranged for free emission of a large and sonorous tone. Corners rather pronounced.
HEBER
Worked at Stettin (Pommerania), 1860-1883. Member of theatre orchestra who did considerable repairing and made more than 100 violins thoroughly well constructed, which are unaccountably not estimated at their proper value today.
HEBER, CARL WILHELM
Born 1712. Died 1782. Master in the violin making Guild at Markneukirchen, 1734. Modelling and workmanship belong to the conventional Tyrolese style, but there are several points of excellence which ought to add a few pounds to the prices invariably obtained. Arching of the majority of his instruments indisputably follow the Stainer principles, but occasionally we meet with specimens of flatter design, and these have the better tone. Ribs somewhat narrower than usual, giving the model an appearance of being higher than actually. Kindled up the flame of devotion in varnishing, for he certainly managed to get as warm a dark brown tint as any maker from his district. 30. 80, 1959.
---------------------------------------------
Carl Wilhelm Heber
Lauten und Violinmacher fecit 1742.
---------------------------------------------
--------------------------------------
Carl Wilhelm Heber, setv
Jacobs Stainer in Absam prope
Oenipuntum. Ao. 1758
--------------------------------------
-------------------------------------
Carl Wilh: Heber erfunden
Jacobus Stainer in Absam pro
-pe Oenipuntum. Anno 17-
-------------------------------------
HEBERLEIN, ALBERT
Born 1898. Worked at Markneukirchen, 1930. Fairly good workmanship and attractive varnish.
HEBERLEIN, ALBERT THEODOR
Born 1880. Worked at Markneukirchen, 1930. Splendid modelling, Cremonese and Neapolitan. Also ingeniously carved miniature violins.
HEBERLEIN, ALBERTO
Born at Markneukirchen, 1860. Worked at Mexico, 1905. Strad and Guarnerian modelling, refined workmanship, orange to red spirit varnish.
----------------------
Alberto Heberlein
Mexico. Ano 19-
----------------------
HEBERLEIN, ARNOLD
Bow maker at Siebenbrunn, 1930. 15.
HEBERLEIN, CARL AUGUST
Born at Markneukirchen, 1805. Died 1875. Maker to the Dresden Court. Excellent violins and cellos of the commercial order. Also guitars and lutes.
HEBERLEIN, CHRISTIAN AUGUST
Born at Markneukirchen, 1814. Died 1894. Maker of really good double-basses. Surnamed Spohr because he invented a mute for that famous violinst.
HEBERLEIN, CHRISTOPF
Born at Markneukirchen, 1690. Died 1761. Very ordinary violins and cellos and ustlally varnished yellow.
HEBERLEIN, CONRAD
Born at Markneukirchen, 1878. Worked for H. T. Heberlein, Weichold (Dresden) and Neuner (Berlin). Went to U.S.A. 1903. Worked at Philadelphia, Chicago (1909-1934) and St. Louis (1939). Produced over 100 violins, violas and cellos. Guarnerian modelling generally, occasionally Stradivarian. Shaded oil varnish, orange to orange red and light brown to red brown. Labelled, also branded inside and on lower block.
HEBERLEIN, ERNST J.
see JULIUS.
HEBERLEIN, HEINRICH RICHARD
Born 1847. Worked at Markneukirchen, 1880-1920. Bears an honoured name for some really good basses on which he succeeded in avoiding the often stilted procedure of German makers in general.
HEBERLEIN, HEINRICH THEODOR, JUNR
Born 1843. Worked at Markneukirchen. Died 1910. Instruments date from 1863. Developed into a trader, but in doing so, never descended from the exercise of his art-skill, in fact he materially helped the interests of commerce by using tact and diffusing his talent on producing better instruments than those previously exported from that industrial centre. He knew that a dual knowledge of art and business was more essential for success than had been previously thought necessary, so called forth his best enthusiasm in modelling and designing, and paid indefatigable attention to the harmonious shading of the varnish, and soon got ahead of the various competitors in the commercial world.
Recipient of about a dozen medals from adjudicators at Exhibitions throughout Europe. Fine imitations of the old masters traits, all perfectly homogeneous, and particularly admirable are the warm tints of the different varnishes as well as his unique way of giving to them an old and well worn appearance. Quality of wood never varies, impossible to detect the smallest defect. Pre-eminently succeeded in imparting a splendidly clear tone, one without the slightest harshness. Also, and not of the least importance either, abundantly proved the possibility of putting every conceivable detail of finely finished workmanship to a marketable commodity, yet kept the price only slightly in advance of the many botches that had previously emanated from the workshops of Markneukirchen. Violas and cellos equally deserving of unqualified approbation. Also made bows, beautiful transcepts of all the celebrated models, and at very reasonable prices.
-----------------------------------
Heinrich Th. Heberlein Jun.
Markneukirchen. Anno 1899
-----------------------------------
(initials double-circledi n right-hand corner)
-------------------------------------
Heinrich Th. Heberlein Jr.
Markneukirchen 1899
Imitaion Antonius Stradiuarius
------------------------------------
(initials placed within a design)
HEBERLEIN, JOHANN GOTTLOB
Born 1782. Worked at Markneukirchen. Died 1856. Usually a medium arched model of broad dimensions. Frequently wide-grain spruce for belly, and often prettily curled maple for backs. Excellent work, but whilst allowing that some of his productions are all that can be reasonably wished for, we cannot agree with certain German scribes who assert he was the best of the Markneukirchen school. However, he made a good number of really serviceable violins and violas, and covered them with various shades of golden brown varnish, from which a none too vigorous player can produce a fairly clear quality of tone. Best period from 1810-1820. Some instruments unpurfled. 25 to 40.
Worked with commendable zeal in formulating innovations and made several experiments, but his researches and exertions in this direction all proved abortive. Exhibited a violin made entirely of brass, 1813. 90, 1959.
-------------------------------
Johann Gottlob Heberlein
Violinmacher et Musicus
in Neukirchen. 1816
-------------------------------
----------------------------------
Johann Gottlob Heberlein
Geigenmacher and Musicus
in Neukirchen. 1835
----------------------------------
(sometimes written, and undated)
HEBERLEIN, JULIUS
Born 1866. Worked at Markneukirchen. Deserves considerable praise for his undated work. Graceful outline and splendid arching. Impressive scroll and nice colour of varnish.
HEBERLEIN, MAX
Born at Markneukirchen, 1869. Worked for Lyon & Healy at Chicago. Died 1942.
HEBERLEIN, PAUL
Son, pupil and successor of Heinrich Theodor, Jr.
HEBERLEIN, LUDWIG FRITZ
Cheap grades of violins, generally of Guadagnini modelling, rather dull and uneven brownish varnish, well cut scroll but of plain material and ordinary Workmanship.
-------------------------
L. Fritz Heberlein
Geigenbauer
gebaut. 1925.
Markneukirchen i S.
-------------------------
Also branded L. Fritz Heberlein.
HEBERLEIN, RICHARD
Born at Markneukirchen, 1862. Pupil of Hammig. Worked in several German cities and in Russia. Established at Nrnberg, 1894. Made many admirable examples - instruments that do credit to any Exhibition. Everything charmingly executed, and few makers could surpass such splendidly wrought work. Varnish also further evidences his indisputable claims to considerable supremacy among Germans. Tone so fine that several solo players have been attracted and, as actions speak louder than words, have repeatedly used the instruments for public performances.
HEBERLEIN AND HUSSLER
Workshop at Markneukirchen, 1925. Manufacturers of trade violins and bows.
HECHA
not name of a maker. Spanish word for made.
HECKEL, HEINRICH WILHELM
Born at Markneukirchen, 1856. Died 1894. Excellent workmanship though not very attractive in tone.
HECKEL, KARL WILLY
Born at Markneukirchen, 1898. Established in New York City, 1937. Modelling of various old master violins, customary clean workmanship. Oil and spirit varnishes, light yellow to golden reddish brown.
HECKEL, RUDOLF
Born at Markneukirchen, 1857. Pupil of Ernst Glsel. Worked with Reichers at Berlin. Established at Dresden, 1884. Died 1925. To this eminent man many violinists have long been indebted for extremely faithful replicas of the Stradivarian and Guarnerian models, which approach so near to the original as to be almost mistaken for them until a very careful examination is made. Naturally, when subjected to the requisite test, the difference in tonal quality is felt and estimated, but the merit of these imitations is so remarkable, that those who truly love art, and have not the means to acquire its costly treasures, may be well content to possess one of Heckels reproductions. Workmanship altogether praiseworthy. Everything outside and inside denotes the knowledge of experience and care in properly applying the knowledge. Common copies, multiplied in thousands, are detestable but these of Heckel belong to a different order, as intimated, and will become really valuable. All the proportions done with singular nicety. Not the ninth part of a hair inaccuracy. Rich oil varnish of Cremonese appearance made entirely from own formula. Finally, these instruments not only please those who are not perhaps thoroughly educated in matters of violin comparison, but also amply satisfy the severest critics and most matured connoisseurs. 100, 1959.
----------------------------------
Rud: Heckel
Streichinstrumentenmacher
Dresden. 18-
----------------------------------
(effectively scrolled)
HECOUIN, LOUIS
Modern French. Three guinea commercial violins. Amati modelling. Shaded brownish yellow varnish.
HEDBERG, EDVARD
Born 1868. Worked at Rttvik (Sweden). Spent a few years in America. Won silver medal at Stockholm, 1925.
HEDBERG, VILHELM
Resident at Sdertlje (Sweden). Won gold medal in 1938. First violin made in 1901. Produced 70 up to year 1949. First series of instruments generally copies of the Tyrolese, later modelling more individualistic. Body length, 360 mm; upper bouts, 170; lower, 210; corner to corner of waist curves, 78. Splendid workmanship. Golden brown spirit varnish mirrored by reddish shading, also an oil varnish (golden-red), somewhat similar to the Cremonese, and applied to represent wear.
---------------------
Vilhelm Hedberg
Sdertlje 19. .
---------------------
(with monogram)
HEDBERG, E. E.
Worked at Dale Carlie (Sweden). Won silver medal at Stockholm in 1925.
HEDBERG, JONAS BIRGER
Born 1883. Resident at Kall (Sweden), 1925.
HEDMAN, OLAF GABRIEL
Born 1874. Amateur at Vaxholm (Sweden). Strad and Guarnerian designs, well-shaped scroll, nice edging, yellow-brown varnish.
HEEFKE, JAN HENDRIK
Born at Dragoen, 1728. Worked at Amsterdam, 1755-1778. Amatese model, brownish red varnish, rather neat workmanship.
---------------------
Jan Heefke in
Amsterdam 1775
---------------------
HEEL, MARTINO
Probably a German from Fssen, who traded with dealers in Northern Italy. Worked at Genoa, 1695-1706. Rather effective modelling though highly arched. Everything so well done that the usual asperities of criticism (often evoked when viewing bulginess) are forcibly softened. Backs usually cut slab-wise. Table sometimes of three parts. Scroll rather heavy-looking, but there is a reminder of Maggini in the region of the boss. Glossy yellow-brown and reddish varnish. Tonal quality rather weak, nasal and hollow.
--------------------
Martino Heel in
Genova 1697
--------------------
HEER
see DE HEER.
HEESOM, EDWARD
Worked in London, 1745-1753. Workmanship generally of that order which fails to please fastidious connoisseurs. Modelling follows the then prevalent English method of copying the Stainer model, but this model is higher, and very bulgy looking. Sweet tone, Well preserved specimen valued at 20.
---------------------------------------------
Edward Heesom, Londini, fecit 1749
---------------------------------------------
Also branded below button.
HEFFLER, JAMES
Born at New York, 1900. Employed by Wurlitzer, 1937. Strad modelling, golden brown varnish.
HEGNER, FRANZ
Born 1818. Worked at Krems (Austria). Died 1865. Son, pupil, and successor of Franz Josef. Accomplished very little. Very unsatisfactory outline - workmanship equally so.
-----------------------------
Franz Hegner, me fecit
Cremsii. 1846
-----------------------------
HEGNER, FRANZ JOSEF
Born 1797. Died 1837. Worked at Sandau (Bohemia), and Krems. Nicely finished workmanship. Model similar to that of a Kulik. Knowledge of varnishing limited.
------------------
Franz Hegner
Cremsii. 1824
------------------
------------------------
Franz Josef Hegner
Krems. 1831
------------------------
HEIGES, LUTHER D.
Born at Franklintown (Pennsylvania), 1867. Worked in several violin shops, 1890-1900. Established own atelier at Baltimore, 1900. Made first instrument then. Modelling after Stradivarius and Guarnerius, and occasionally after Maggini and Amati. Produced over 200 examples up to the year 1928. Used specially old wood, at least 150 years old. Prepared a special oil varnish, very velvety, and never likely to crack. Favoured an orange shade, but varied it from dark yellow to light red and red-brown. Success in tonal results comes from the accuracy of toning the plates. Always interested in producing art violins, workmanship has no blemishes. Many professional players have used his instruments.
--------------------------
Made by
Luther D. Heiges
Artist-Grade Violins
Baltimore. Md.
No193. 1927
-------------------------
(bearing monogram - brown paper)
HEIL, JOHANN
Worked at Krefeld (Germany). Earnest, honest, and apparently painstaking work.
HEIM, MICHAEL
Born at Fuessen (Bavaria). Worked at Vienna, 1696-1716. Viols and lutes in strict accordance with good design but without outstanding attributes.
HEIMER, B. A.
Born 1907. Studied with Sington. Worked at Stockholm. Strad and Gagliano models, yellow-brown and reddish-brown varnish.
----------------------------
B. A. Heimer
Stockholm. Anno 19. .
----------------------------
(with B.A.H. i S on left - also designs of a violin and 2 bows)
HEIN, MRTON
Born 1870. Pupil of Schunda. Worked at Vienna with Haudek and Gutermann. Established at Szkesfehrvr (Hungary), 1901-1925. Received several medals at various Exhibitions. Workmanship notably neat, splendid outline. Evidence of much thought concerning the geometric quantities. Finely coloured varnish of warm tint. Everything completely interesting and satisfactory, and, without assuming that he reached the highest point of excellence, there can be no doubt that he had few superiors in Hungary.
---------------------------
Javtotta Hein Mrton
M heged Kszit Szkesfehrvr
---------------------------
(written)
--------------------------------------------------
Iavitotta Hein Marton
Langszer Kszit Szkesfehvrott, 19. .
--------------------------------------------------
(printed)
HEINE, WILLI
Established at Breslau (Silesia), 1925. Produced several well-conceived instruments in early years of industrial activity. Infused into the contour something gratifying to the critical connoisseur. Later period of life devoted exclusively to repairing.
HEINEL, FRIEDRICH LUDWIG
Born 1873. Worked at Markneukirchen. Productions that go far to uphold a good reputation. Everything apertaining to the art of violin making has received adequate attention through his knowledge and taste.
HEINEL, KURT BERNARD
Son and pupil of Oscar Bernhard. Possessed a talent in unison with genius. Unfortunately, one of the victims in the first world war, 1918.
HEINEL, OSCAR BERNHARD
Born at Markneukirchen, 1871. Died 1931. Studied with Hans Jaeger of same town. Worked with C. A. Bauer at Dresden, and August Diehl at Hamburg. Established own workshop at Markneukirchen, 1893. Specialised in hand-made violins of own original model, and claimed that they represented the greatest advancement in the art of violin making. Particularly successful oil varnish of own special preparation, supposed to be identical with the Cremonese. Four shades, golden-yellow, red, light and dark brown. Especially happy in choice of wood. Similarly constructed violas and cellos. Label for the original model violins:
------------------------------
Oskar Bernhard Heinel
Geigenbaumeister O-B
Markneukirchen -----
Faciebat Anno 1893 H
-----------------------------
-----------------------------------
Oskar Bernhard Heinel O-B
Markneukirchen -----
faciebat Anno 1927 H
-----------------------------------
Also bearing the Family-heraldic, and branded:
Oskar Bernh: Heinel
Markneukirchen
Also produced marvellously wrought copies of old master Italians. Bearing in mind the generic distinction that they are solely intended as trade instruments necessitates a certain standard by which to judge of the results aimed at or achieved, and under this category they are equal to any exported from anywhere. Employed his skill in the difficult department of varnishing with quite as much power, and as keen a sense of fitness to use, and reached as perfect a harmony of colour, as did the masters he imitated. Violas and cellos likewise excellent copies. Nicolas Gagliano models have old yellow varnish. Guarnerius models varnished red-brown. Golden-yellow or orange-red for Stradivarian models. Golden-yellow for Amati; and yellow-brown for Stainer. Also used an ordinary spirit varnish on the cheaper instruments.
--------------------------------------
Oskar Bernhard Heinel
Streichinstrumentenfabrikation
und
Reparaturwerkstatt
Markneukirchen i Sa
-------------------------------------
(impressed with his stamp)
HEINEL, OTTO ADOLF
Born 1868. Worked at Markneukirchen. Died 1922.
HEINEL, O. E.
Born 1901. Son and pupil of B.O. Assistant to father at Markneukirchen, 1930. Claimed exceptional merit for new hand-made violins, splendid replicas of old master instruments. Magnificently varnished with an oil preparation of his own. Also produced viol-damours, quintons in Brescian style and viol-da-gambas.
--------------------------
Erich O. Heinel
Markneukirchen
Faciebat. Anno 1929
--------------------------
(E.O.H. doublecircled)
------------------------
Oskar Erich Heinel
Markneukirchen
Expertise No. . .
------------------------
(bearing family heraldic with O.E.H. and a violin)
--------------------------------------------------
Oskar Erich Heinel
Sohn und Schler von - Gegrndet 1893
Oskar Bernh. Heinel
Markneukirchen. Anno 1932
-------------------------------------------------
(with heraldic)
HEINEL & CO.
Factory at Markneukirchen, 1925. Specialists in what they term Artist Violins. Makers of every kind of stringed instrument.
HEINI, FRANZ XAVER
Worked at Kempten (Swabia), 1815-1832. Instruments not worthy of a second glance. Outline, arching, scroll, and workmanship below indifferent. Generally unpurfled. Wretched, and equally unattractive varnish.
-----------------------
Xaver Heini in der
Neustadt Kempten
1826
-----------------------
HEINICKE, JOSEF
Brother and pupil of Mathias. Established at Wildstein, 1925. Close copyist of Cremonese models, apparently made a diligent study of the originals. Lovely varnish beautifully applied.
HEINICKE, MATHIAS
Born 1871. Studied at Markneukirchen and in Italy. Worked at Budapest and Berlin. Established at Wildstein (near Eger), 1897, and decided to make only one grade of violins, the best he could produce. Strict adherence to this policy combined with knowledge, skill, and experience, resulted in competent judges unhesitatingly acknowledging his pre-eminent superiority as master builder. Produced faithful replicas of a Stradivari, Guarneri, Maggini, and Amati. Perfect imitation of the peculiar shading and colour belonging to each model. Also created a model of his own reminiscent of the Amati-Stradivari form. Exclusive usage of woods aged for centuries in old Bohemian Churches, farmhouses, and the like, obtained by exhaustive personal search and selected with the keenness of acute judgment. Spirit and oil varnishes, the latter of Italian flexibility and transparency. Tonal quality remarkably devoid of newness, and one rapidly maturing into ideal purity as well as sonorous strength. 20 (1925). Cellos also realising masterful craftsmanship. 65 (1959).
-------------------------------------------------
Mathias Heinicke, Geigenbaner
Wildstein b. Eger, 1923. Bohemia.
Schler von Eugenio Degani in Venedig
---------------------------
Mode in Czechoslovakia
-------------------------------------------------
Sometimes only the first two lines. Also branded on back.
Advertised his instruments as not built on any of the swindling and fanatical procedures often named secret.
HEINKE, A.
Established at Stettin (Pomerania), 1895.
HEINL, JOHANN
Born 1868. Worked at Schnecken, near Fliessen (Bohemia), 1890-1925. Good examples of ordinary trade fiddles and cellos. Modelled in the imitation of the old master styles. Spirit and oil varnishes. Everything well done. Instruments labelled with facsimiles of the maker whose model is imitated.
HEINLE, J.
Worked or traded in Paris, 1760-1769. An enterprising German with commercial instincts largely developed, who wandered from Saxony.
Instruments of very ordinary conception, plainly of Saxon manufacture, and intended for cheap sale. Workmanship altogether beneath criticism. Blotchy varnish. Some have a peculiar bizarre appearance owing to an unnatural glossiness quite in violent contrast to what we generally get from Saxonian workshops. If these vulgar things were made purposely for the French, Heinle must have insulted the buyers of that country, and considered that their notions of colour and form rarely rose above the standard of a Hottentot.
HEINRICH
Worked at Ponne (Tyrol), 1790.
Modelling somewhat Klotz like, but with slightly higher arching. Much to praise and little to blame regarding workmanship. Scroll has dignity considerably out of the track of ordinary Tyrolean violins. Sound holes not supplemented with perfect grace, but keep close to Tyrolean prototypes. Rather strongly wooded. Belly wood of medium grain, and one piece back of small figure material. Orange brown varnish of fair elasticity. 25. (70, 1959).
HEINRICH, ALEXANDER
Established at Markneukirchen, 1928. Factory founded by his ancestors, 1819. Happy imitations of various Italian and Tyrolean models. Met with considerable approval not only for excellent technique of workmanship, but also for the unusual splendour of tone, which is altogether superior to that generally associated with mass production instruments.
Also built historic reconstitutions of theorbus, lutes, and instruments of the troubadour period, each adapted to modern pruposes.
Of particular importance are the bows of this firm. Most of them influenced to the minutest point by the French school, and created to win the admiration and usage of soloists.
HEINRICH, ANDREAS
Born 1858. Worked at Berlin, Vienna, and Budapest. Established at Schnbach, 1881. Excellent replicas of Italian models, varnished with unwaning enthusiasm - oil and spirit. Commendable tone. Instruments seldom labelled with his name.
HEINRICH, HERMANN
Bow maker at Brambach (Saxony), 1878-1925. Bows well designed and nicely finished. As they are generally met with at reasonable prices they merit the attention of all who cannot command a Tourte or a Tubbs, but require something almost as serviceable. 15, 1959.
HEINZ, JOHANN F.
Worked at Mittenwald, 1790-1795. Dark brown varnish, ordinary Klotz style, but unrefined workmanship. 10.
HEINZ, NICHOLAS
Born at Brooklyn, 1892. Worked at Philadelphia and Chicago. Established at New York, 1926. Made 200 instruments - first series of medium arching - later slightly lower - all having the asset of careful workmanship. Brown oil varnish. Achieved tonal quality that has appealed to many violinists of symphonic orchestras.
HEISCHKEL, MAX
Born 1887. Worked at Erlbach (Saxony), 1908.
Various models well copied.
---------------------------------------
Max Heischkel, Erlbach (Vogtl)
Geigenbauer.
Gebaut nach Modell. . . . . 19
---------------------------------------
HEL, JOSEPH (full name, Pierre Joseph)
Born at Mazirot (Vosges, France) 1842.
Boyhood passed in looking after sheep in the vicinity of Mirecourt. Many times forgot his duty through being drawn to watch fiddle makers. And as he watched, dreams flashed through his mind. Apprenticed to Salzard at Mirecourt for seven years; worked for two years with Sebastien Vuillaume; and for Darche at Aix-la-Chapelle. Established at Lille, 1865. Attracted the attention of David Laurie (famed collector at Glasgow) 1880, who entrusted all his valuable instruments for restoration. Died 1902.
Never lost the enthusiasm engendered in youth. Went everywhere in search of information. Collected interesting examples of viols, harps, spinets, etc. A genuine artist whose very soul floated through the spirituality of fiddles.
Round about the period 1840, what is now spoken of as the new school of France, was evolving with impetus given to it by Lupot; and there was hope that a joint upward movement of professionals and amateurs would circulate the instruments. The hope did not immediately materialise, although some of the sincerest and most discriminating connoisseurs, as well as soloists repeatedly published laudatory notices about the brilliantly-healthy tone, etc., as well as using the instruments at concerts.
But success of the new school was inevitable, of course, in a land of progress, and the first strong impulse given by Lupot violins ultimately broke through the prejudice of some of the Italian art votaries towards anything French.
This encouraged the subsequent efforts of Chanot, Pique, Vuillaume, Silvestre, Bernardel and Hel, so that now-a-days the line of demarcation separating the two schools is not so obvious. Instruments of these foremost Frenchmen have steadily reached their meridian as the years have given them necessary mature vitality.
Many soloists at the top of the tree have been frankly and avowedly in favour of a Lupot when they failed to obtain a Stradivarius or Guarnerius - and the other French instruments all coming well up to the front leaving some of the older Italian instruments to rest peacefully with wealthy amateurs.
Violins of Hel, will, in the course of time, occupy the same exalted position as those of Lupot do today. At present they are handicapped by their comparative newness, but there is no question of their remarkably brilliant qualities and fast maturing powers. Stradivarian outline, but not after that master in the arching, which is slightly flatter. Occasionally the edges are perhaps a little too prominent for perfect harmony of design. Also the ribs are a shade deeper than some of us altogether agree with, but there is no suggestion of heaviness. Scroll and sound holes just naturally dignified and graceful. Workmanship of other details well-nigh perfect.
Some of them have an appearance quite similar to a Vuillaume, particularly the backs. His style has been prodigiously copied by later French makers, consequently forgeries abound.
Had a special method of seasoning the woods, which (without aid of fire or acids) removed every element likely to interfere with the freedom and sonority of the tone. One of the few successful experiments. Used his own specially prepared varnish, a reddish orange of generous constitution, showing up the beautifully figured wood always chosen by him.
Violinists desirous of speculating in violins cannot find a better investment than the purchase of a few Hels. Twenty years hence their value will be quadrupled. Awarded highest honours at various European and American Expositions.
Officer of the French Academy.
Repaired and supplied instruments for students at the Lille Conservatoire. Invented an ingenious method of fixing the pegs, which enabled the strings to be gradually tightened, and prevented any sudden running down.
-------------------------
Joseph Hel
Luthier Lille. 1893
-------------------------
(Designs of medals on left and right)
Branded above the label -
Exposition Universelle, Paris, 1889
Mdaille dor
Produced 800 instruments. Specially constructed a string quartet for Eugne Ysaye. 100, 1959.
HEL, PIERRE JEAN HENRI
Son, pupil and successor of the preceding. Born at Lille, 1884. Made first violin in 15th year. Produced 400 violins, violas and cellos up to the year 1931. Died 1937. Built for some years, the three styles of Stradivarius, Amati and Guarnerius, but always had an intense predilection for creating an original model on some transcendent theories. This culminated in 1923 - first specimen launched into public recognition by Georges Enesco (celebrated Roumanian virtuoso). The same artist took it on his subsequent American tour, and press critics of that country were unanimous in their appreciation of its organ-like yet brilliant tonal quality. Very fine modelling of large proportions, distinguished by delightful workmanship. Splendid red and orange-red varnish, especially rich in texture, and most cleverly applied. Made a violin for the Exhibition of Decorative Arts at Paris, 1924. Gave it the name Rossignol (Nightingale), and was very delicately decorated. Acquired by Robert Hecquet (well-known soloist of Lille). Awarded highest diplomas at the St. Louis and Milan Exhibitions, 1904 and 1906. These artist violins were catalogued at 3,000 francs, cellos at 5,000 (1930). Employed a staff of skilled workmen who make another class of instrument catalogued at 800 francs. Also produced bows of the finest balance and workmanship. Stamped Pierre Hel. 80, 1959.
---------------------------
Pierre Hel. Luthier du
Conservatoire a P+H
Lille en lan 1923
--------------------------
(Decorative border)
HELBIG, J. B.
Worked at Nymegen (Holland), 1852.
HELD, CHARLES
Worked at Columbus (U.S.A.), 1890. Little known work.
HELD, GEORG
Worked at Elwangen (Wrttemberg). Carpenter by trade, also gave violin lessons to young students in the district.
-------------------------------
Reparirt von Georg Held
in Elwangen 1788
-------------------------------
HELD, JOHANN JOSEP
Born 1823. Flautist and violinist at Euskirchen, 1861. Friend of Ole Bull (famous Norwegian virtuoso). Died at Flamersheim (birthplace), 1904.
Violins expertly constructed. Essayed amelioration of tone by little modifications within, notably a sloping bass bar. 25, 1920.
-------------------------------
J. J. Held. Geigenmacher
in Benel
-------------------------------
HELD, JOHANN J. MICHAEL
Son of above. Born 1880. Worked at Cologne, 1908. Workmanship entirely without flaws, and won many medals.
HELDAHL, ANDERS (ANDREW)
Worked at Bergen (Norway), 1850-1862. Produced pretty Hardanger fiddles with richly decorated finger board. Exhibited one of these national curiosities in London, 1862.
--------------------------------------
Forfaerdiget af Anders Heldahl
Violinmager. Bergen. 1850
--------------------------------------
------------------------------------
Forfoerdiget of violinmager
Anders Heldahl, Bergen 1851
------------------------------------
HELIE, ALCIDE
Born at Saint Clotilde (Canada), 1853. Established at Worcester (U.S.A.), 1920. Produced more than 200 violins, also several cellos. Received all possible praise from players and connoisseurs. 300 dollars paid for one of his best specimens. Stradivarian model, perfectly copied. Workmanship delightful to look at, and plainly evinces the fact that violin making with Helie was not merely a mode of multiplying rapidly and cheaply. Attained a high reputation in his particular district. A thoroughly splendid maker, one who comprehended the special rerequirements of future solo violins. Refreshing to know of an American maker who was not wholly seduced by the usual easier modes of making money. We believe his productions to be strictly labours of enthusiasm for his profession. General contour vigorous, yet has that refinement which makes an entire picture. Mind and eye of the true artist obvious in every detail, of one who thought as well as worked, and one who well understood the effect of everything he did. Instruments therefore, likely to be rare acquisitions when age has given them the necessary purity and sweetness of tone. Varnish of surpassing softness, varied shades, dark red predominating.
---------------
Made by
Alcide Helie
---------------
HELL, FERDINAND
Worked at Vienna, 1845-1862. Very ordinary violins, displeasing tone. Inventor of a Trumpet-Violin, having a metallic tube passing from bottom to top of body.
HELLAND, ERIK JONSON
Born 1816. Died 1868. Worked at B (Telemarken, Norway).
Maker of the so-called Telemarken fiddle. All peculiarities markedly represented, showing his scrupulous veneration for the indigenous instrument. Workmanship accomplished with hand of certainty and not a shadow of anything hastily done. Ornamental devices carried out with artistic restraint. Fingerboard and stringholder frequently stratified with bone. Edges trimmed with ebony and mother-of-pearl. Belly, ribs and backs arabesqued with dark and golden ornamentations. Eight pegs (for four double strings), and a crowned lions head beautifully gilded.
---------------------------
Giordt af
Erik Jonsson Helland
Ao 1857
--------------------------
HELLAND, GUNNAR OLAVSON
Born 1852. Brother and pupil of K.E. Worked at B until 1928. One of the best makers of the Hardanger and Telemarken fiddles. Frequently created very original models. Four upper and four lower strings somewhat similar to the viol damour. Sound-holes and fingerboard finely decorated. Good wood covered with ordinary polish.
----------------------
Gunnar Helland
Violinmager
B i Telemarken
----------------------
(With date and designs of medals)
-------------------------------
Gunnar Olavson Helland
Violinbygger
B 1920
------------------------------
HELLAND, GUNNAR
Born at Bo, 1885. Made first instrument in 12th year. Went to U.S.A. 1905. Worked at Wisconsin until 1927. Moved to Minneapolis and later to Fargo (N.D.) Built 450 violins up to year 1942. Mostly Guarnerian model but sometimes Stradivarian; immaculate workmanship and very attractive oil varnish.
HELLAND, KNUT ERIKSON
Born at Bo, 1851. Son and co-worker of E.J. Died 1872.
Made many native fiddles, some with customary decorations.
HELLMAN, JACOB
Born 1720. Worked at Engelholm. Died 1785. Fairly good workmanship, but made few known instruments.
-----------------------------
Engelholm: Anno 1778
Jacob Hellman
-----------------------------
(written)
HELLMER, CARL BOR. ANDREAS
Son of Carolus Joseph. Born at Prague, 1764. Died there 1803.
Did not make many instruments as death stepped in before 40th year, but what he did produce are of excellent construction. Triumphed over the several dangers of workmanship; rather striking instruments in outline and arching. Tone fairly impressive as regards quality.
-----------------------------
Carolus Hellmer Junior
me fecit Pragae. 1799
-----------------------------
NELLMER, CARL JOSEPH
Son of Johann Georg. Born at Smichow near Prague, 1740. Studied and worked with Ulrich Eberle for several years. Virtuoso on the lute and mandoline, also published compositions for both instruments. Died 1811. Instruments date from 1763. Workmanship satisfactory but does not startle us into high praise by any special merit. Skill and knowledge manifested in the sensibly medium arched model. Warm yellowish-brown-red spirit varnish of rather fascinating tone. Fairly responsive tone, but without quality or carrying power.
---------------------------
Carolus Hellmer
me fecit Pragae. 1769
---------------------------
--------------------
Carolus Hellmer
in Prag. 18-
--------------------
--------------------------------
Carolus Josephus Hellmer
me fecit Pragae. 1805
--------------------------------
Each label bears the device representing a Griffin holding a lute-shaped instrument One label without device.
------------------------------
Carolus Hellmer in Prag.
1764
------------------------------
Wording sometimes in italicised lettering. 80, 1959.
HELLMER, JOHANN GEORG
Born at Waltenhofen (Upper Bavaria), 1687. Worked at Prague, 1720-1770. Pupil of Thomas Edlinger. Workmanship far above mediocrity, but stops short when the highest steps should have been reached which lead to the temple of fame. Therefore these instruments, though having a good reputation, have failed to conspicuously attract. Modelling strongly reminiscent of the narrow-waisted and long Amati, but with slightly more arching suggestive of the Klotz type. Always excellent wood. Sound-holes well treated. Small scroll, not quite satisfactory to fastidious connoisseurs. Early dated instruments varnished pale yellow; ventured on a dark brown tint about 1740; but later applied a much richer orange-brown oil varnish with yellow ground which certainly emphasises the beauty of wood. Fairly mellow tone, but only moderately powerful, and frequently weak on fourth string.
----------------------
Georges Hellemer
pragensis me fecit
anno domini 1720
----------------------
--------------------------------
Joannes Georgius Helmer
me fecit Pragae. 1761
--------------------------------
(Italicised lettering, also bearing the design of a violin and lute crossed. Sometimes written).
--------------------------------
Joannes Giorgius Hellmer
Pragensis me fecit 1742
--------------------------------
Sometimes branded on the groove at lower part of scroll. Beethoven owned and played on one of these violins. Produced a few violas, and some now rather eagerly sought for cellos. Many oil varnished imitations with facsimile labels produced by several firms in Saxony, 1930. 70, 1959.
HELLMER, MAGNUS ANTON
Worked at Augsburg (Bavaria), 1800-1825. Instruments difficult to identify; many labelled by Klotz.
HELLMIG, CARL
Born at Potsdam, 1828. Worked for Grimm at Berlin. Successor to the business, 1855. Died 1866. First instrument dated 1844. Made many Italian model violins, all without blemish, but most of them carry Grimms label.
HELLRIEGEL, FRANZ
Born 1875. Pupil of A. Hammig. Worked at Mnster. Strad and Guarnerian modelling, oil and spirit varnishes, printed and written labels.
------------------------------------
Franz Hellriegel
Mnster i Westf. gebaut 1903
------------------------------------
HELLSTEDT, PETTER
Worked at Frottuna, 1736. Moved to Stockholm, 1750. Died 1772.
------------------------
No. P. Hellstedt
fecit Holmiae 1770
------------------------
HELLSTEDT, PETTER ALEXANDER
Born 1750. Son and pupil of P. Worked in Germany. Returned to Stockholm 1772. Died 1780. Violins of good style with a few personal touches. Flexible tone, quickly responding to any nuance.
--------------------------
Petrus Alex Hellstedt
Fecit Holmiae 1777
--------------------------
HELVICH, JOHAN
Worked at Copenhagen, 1740-1770. Diversified elements of modelling well harmonised. Rare instruments.
-----------------------
Johan Helvich
Copenhagen 1742
-----------------------
HEMER, J. G. J.
Label seen in a violin-
----------------------------------
Johann Gorg Joseph Hemer
violins et lauden Mager
Anno 1686
----------------------------------
HEMPEL, JULIUS
Worked for Mckel at Berlin, 1897. Established at Hamburg, 1902. Few instruments, but everything well done; varnish of splendid texture, fluently applied.
HENDEL, ARNO ERWIN
Born 1880. Worked at Budapest, Breslau and Vienna. Established at Markneukirchen 1921. Died 1940. Splendid copies of the Cremonese, and especially of a Lupot or Vuillaume.
HENDERSON, D. G.
Worked at Edinburgh, 1875-1897. Amateur. Problems of outline and arching easily surmounted; especially good scrolls; pale red varnish; robust tone, not entirely without richness.
--------------------------
Designed and made
by D. G. Henderson
Edinburgh, No. 8
--------------------------
HENDERSON, JOHN
Born at Dundas, 1842. Resident at Broxburn (Scotland), 1890. Excellent models from which a most satisfactory tone issues. Medals at Edinburgh and Glasgow Exhibitions.
HENDRICKS, OTTO
Worked at Amsterdam, 1720-1750. Two cellos dated 1734 and 1748 realised 100 and 88 at a sale in London, 1925. (150, 1959).
HENKE, L.
Worked at Potsdam, 1815-1840. Ordinary workmanship.
HENLEY, JOSEPH
Amateur. Worked at Hill Top (Staffs.), 1820-1840. Nothing outstanding in general workmanship.
HENLEY, WILLIAM HENRY THOMAS
Amateur. Born at Bermondsey (London), 1870. Resident at Lee (London), 1924. Had considerable advice and encouragement from Jacques Holder. Made several passable violins, and thought too modestly of them.
HENNING, GUSTAV
Born at Karlstad (Sweden), 1876. Went to America and set up at Miami (Florida). Established at Denver (Colorado), 1920. Moved to Seattle, 1928.
Harmonious principles of Stradivarius brought together by a keen-sighted lover of that model. Advertised by the maker as deep, mellow, and soulful violins. Scroll, sound-holes and purfling all splendidly done. Warm-looking amber oil varnish. Recipient of several laudatory letters from virtuosi.
---------------------------------------------
G. Henning 1926
358 2424 Gaylord St., Denver, Colo.
---------------------------------------------
Bearing his outstanding signature; also, on the right, the design of violin body with fancifully elongated ff.
HNOCQ, FRANOIS
Worked at Paris, 1775-1789. Luthier to the French Court.
----------------------------------------------
Hencocq la Jeune Mre. luthier de Sar
Madme. la Duchesse de Bourbon
Rue Jacob Paris lan 1781
----------------------------------------------
(written)
HENRI, T.
Bows of typical French style and workmanship. Pernambuco sticks, octagon, and round, well balanced. Catalogued at One Guinea (1920). Stamped T. Henri.
HENRY, CAROLUS
Born 1803. Died 1859. Son and pupil of Jean Baptiste. Worked at Paris. Workmanship superior to that of father. Produced a great number of violins, violas and cellos. Outline and arching varies considerably especially in the violins. Red varnish on a yellow ground. Invented, 1847, an instrument named Baryton, which though played violin-wise, sounded an octave below. Awarded medals at Paris, 1849 and 1855.
----------------------------------------
Carolus Henry luthier
rue Saint-Martin No. 151
fecit anno Domini, 1831 1859
---------------------------------------
HENRY, EUGNE
Born 1843. Died 1892. Son, pupil and successor of Carolus. Worked in Paris. Recognised as the best Parisian luthier of his day. Specialist in minutely replicating the model of a Lupot. Rarely found nowadays, at any of the dealers, but are greedily acquired wherever they can be met with. In Paris they bring prices higher than in England. Workmanship of surpassing excellence, demonstrating a maker who felt and comprehended art, and who brought to his aid the skill derived from experience. Difficult to over-rate the beauty of the orange-red varnish. Tone and appearance supply all the enjoyment capable of being conveyed to ears and eyes. Often purchased for the unaccountably low price of 20. 75, 1959.
--------------------------------
Eugne Henry luthier
rue St. Martin, 151, Paris
anne 1872
--------------------------------
HENRY, FRANCOIS (1)
Worked at Paris, 1700-1720. Made violins, violas, basses and viols. Excellent workmanship; red-brown varnish.
--------------------------
Henry, luthier Rue
Saint Andr des arts
Paris 1709
-------------------------
HENRY, FRANCOIS (2)
Worked at Mirecourt, 1797-1827. Very slight value attached to these ordinarily constructed instruments. Broad purfling; large sound-holes; bright red varnish.
HENRY, GEORGE
Born at Alnwick (Northumberland), 1883. Gained knowledge from Heron Allens book. Made first instrument in 1912. Worked at Twizell (Durham), 1927. Produced about 20 instruments of somewhat original outline. Light orange varnish. Early instruments not altogether satisfactory as regards tone.
HENRY, JACQUES
Born at Mirecourt, 1823. Removed to Paris, 1827. Worked with Chanot, Peccatte, and Simon. Died 1870. Bows that claim the attention of enthusiastic amateurs or professionals. Beautifully finished, and perfectly balanced. Head bears a close resemblance to that of a Peccatte. Chocolate coloured sticks. Had a speciality which is to be greatly admired, we allude to his pique work, consisting of elaborate designs in solid gold or silver, inlaid into nuts of tortoiseshell. Gold-mounted specimens realised 25 (1950). Stamped Henry Paris. 40 to 50, 1959.
HENRY, JEAN BAPTISTE
Born at Mattaincourt (Vosges), 1757. Worked at Paris, 1781. Died 1831. Name lost to posterity owing to the absence of personal labels.
HENRY, JEAN BAPTISTE FELIX
Born at Paris, 1793. Son of above. Worked at Marseilles and Bordeaux. Returned to Paris 1844. Died 1858. Made many violins and cellos but none have his label. Sometimes J.B. Henry, Marseille 1829 written in ink on back.
HENRY, LOUIS
Born at Mirecourt, 1863. Pupil of Darte and Silvestre. Worked at Ixelles (Brussels), 1900. Very conscientious workmanship.
HENRY, OCTAVE
Born 1826. Worked at Grenoble 1854 to death, 1905. Said to be a particularly adroit workman. No instruments labelled. A few have been seen modestly branded Octave Henry.
HENSTRIDGE, WILLIAM H.
Born 1882. Pupil of Werro at Berne. Resident at Highams Park (London), 1915. Also a violinist and composer. Strad and Guarnerian modelling, splendid workmanship, good textured varnish applied so carefully that every microscopic fibre of the belly wood is beautifully brought out. Fine tone, but only to be properly assessed in the future.
-------------------------
Wm. H. Henstridge
London. Fecit 1919
-------------------------
HENTSCHEL, JOHANN JOSEPH
Born 1715. Died 1782. Worked at Brnn (Moravia). Earliest date of instruments, 1739. Outline and arching strongly reminiscent of the Prague and Viennese schools. Workmanship of the kind that wins admiration from the severest connoisseurs. Sound-holes in complete harmony with the flat model. Brown varnish setting off the fine grained top and the curly maple back. 30 (1935). Produced some full and fine toned violas.
---------------------------------
Joann Joseph Hentschel
Brgerl. Lauten and Gei
genmacher in Brnn, 1759
---------------------------------
HENTZ, DOCTOR WILLIAM B.
Amateur. Well known in U.S.A. Went to Rio de Janeiro, 1940.
HEPNER, ANTON
Worked at Neukirchen, 1830. Lyon & Healy (Chicago), sold a violin of this name for 45 dollars in 1902.
HERBIG, JOHANN BAPTIST
Born 1776. Worked at Bamberg (Bavaria). Maker to the Court. Became insane and died, 1826. Modelling reminiscent of the Amatese, fair workmanship; yellow brown varnish, tone to be esteemed.
HERBRIG, CHARLES EDWARD
Born at Montgomery (Minnesota). Commenced to study the art of violin construction, 1908. Established at St. Paul (Minnesota), 1928. Ingenious copies of the Stradivarius model of 1721. A maker fascinated and absorbed in well-nigh ideal neatness of workmanship. Amber red varnish, composed of gums dissolved in spirits of wine, applied by a special process to look like the old Italian; very effective. Tonal quality favourably acknowledged by many first-class players.
---------------------------------
- Charles E. Herbrig -
St. Paul -Fecit- Anno 1927
---------------------------------
-------------------------------
Charles Edward Herbrig
St. Paul Fecit Anno 1923
-------------------------------
-----------------------------------
Chas. Herbrig. Violin Maker
April St. Paul 1926
-----------------------------------
HERCLIK, F.
Born at Sedlec (Czech.), 1866. Wheelwright in youth. Also a violinist of fair talent. Studied violin making and obtained a certificate as Master. Died 1948, aged 82. Good modelling of Cremonese and Bohemian types. Early instruments with a dull spirit varnish, later an oil varnish, brownish on yellow ground.
-------------------------
Frant. Herclk
Louslar
Star Bentky 1910
------------------------
--------------------
Frant. Herclk
mistr Louslar
Mlad Boleslav
-------------------
HERCLIK, JOSEF BOHUMIL
Born 1903. Son and pupil of Frant. Studied at Schnbach. Worked at Mlad Boleslav (Czech.) Strad, Guarnerian and Bohemian models, woods chosen from demolished old churches and castles; reddish oil varnish of own formula.
--------------------------------------
Zhotovil 1949.
J. B. Herclik
Mistr Houslar
Mlad Boleslav
Op. 552. Model J. Guarnerius
-------------------------------------
(design of violin scroll on left)
----------------------------------------------------
Zhotovil 1949
J. B. Herclik
Mistr Houslar
Mlad Boleslav
Op. 550. Model A Stradivarius
Pouzit drevo je z Lredu Humprechta
o z dnrmu sv Mori Magdaleny v Sobotce
----------------------------------------------------
(with two designs of a castle and church)
HERCLIK, LADISLAS
Born 1895. Son and pupil of Frant. Also worked for Zst at Zurich. Established at Kolin (Bohemia). Splendid copying of old Bohemian styles. Brownish varnish on yellow ground.
--------------------
Ladislav Herclik
Houslar Kolin
1932
-------------------
--------------------
Herclik Ladislav
--------------------
(floral design of a sitting woodman tuning a fiddle, and a bird perched on the branch of a tree, looking down at him)
HERCLIK, PREMYSL
Born at Mlad Boleslav, 1928. Worked for Spidlen at Prague. Generally copies of Lupot and Vuillaume. Reddish oil varnish.
HERCZEG, ISTVN
Worked at Kecskemt (Hungary), 1860-1880.
HERGETH, FRANZ
Worked at Rothau (Bohemia), 1854-1894. Stainer modelling.
HERINGER
see HERTINGER.
HERMANN, LOTHAR
Born 1914. Worked at Schnlind (Saxony). Bows of individual and distinctive propriety fit for the most exacting soloists. Beautiful workmanship. Stamped L. Hermann with three stars.
HERMANSSON, NILS G.
Born 1920. Resident at Upsala (Sweden). Violins, lutes, guitars, and especially well-modelled double basses.
HERMER, ANTON
Worked at Leipzig, 1880-1900. Several good toned violins known.
HERMITTE, FRDRIC
Born 1874. Worked for Barbet and Granier at Marseilles. Established at Cannes, 1890. Few instruments made, but all extremely good workmanship and varnish.
HERNOULT, HENRI
Worked at Pris, 1885, and at Pau (Pyrenees), 1910. Violins with little to recommend beyond the ordinary. Yellow brown varnish.
----------------------------------
Henri Hernoult
Luthier No. . . . . Pau 1912
----------------------------------
Marked a small escutcheon on the label.
HEROLD, KARL ANTON
Born 1838. Worked at Klingenthal. Died 1918. Specialised in producing cellos and double basses.
HEROLD, REINHOLD
Worked at Brunndbra (Saxony). Spent a year or two at Mirecourt. Stradivarian cellos (slightly longer body length); robust scroll, reddish orange varnish and excellent tone. Labelled and branded.
HERRICK, JOHN J.
Born 1863. Mechanic. Resident at Hillsboro (New Hampshire). First instrument made in 1907. Produced 60 up to year 1940. Strad modelling with few individual characteristics. Reddish brown oil varnish. Sometimes native woods.
HERRIN, PAUL
Born 1872. Worked at New York and Boston. Established at Terre Haute (Indiana), 1914. Strad and Guarnerian modelling, also one of his own, all convincingly excellent. Delicacy and strength admirably combined. Peach red varnish of own formula, supposed to influence a certain tonal distinctivity.
-------------------------------
Paul M. Herrin
Terre Haute. Ind. U.S.A.
1892-1928. No.
-------------------------------
HERRING, H.
Amateur, resident at Gloucester (England), 1860. Fair workmanship, nothing outstanding. Productivity small.
------------------------------
Made by Henry Herring
Gloucester 1865
-----------------------------
HERRMANN, ALBERT FRANZ
Born 1868. Worked at Markneukirchen, 1893-1921. Appointed bow maker to the Leipzig Conservatorium. 20, 1959.
HERRMANN, AUGUST FRIEDRICH
Born 1863. Worked at Dresden, 1900. Died 1943. Splendid bows in the style of Knopf. 15, 1959.
HERRMANN, EDWIN OTTO
Born 1893. Esteemed bow maker at Schnlind (Saxony), 1919. 15, 1959.
HERRMANN, EMIL
see SACCONI.
HERRMANN, KARL
Pupil of Max Dolling. Worked at Markneukirchen, 1920; also at Erlbach and Wernitzgrn. Label bears his photograph. Also branded Andreas Morelli.
HERRMAN, RICHARD
Born 1882. Pupil of August Meinel. Worked at Munich, Berlin, Hamburg, Vienna and Leipzig. Settled at Markneukirchen, 1906. Violins, cellos, guitars and harps. Commercial.
HERTINGER (HERINGER), JONAS
Worked at Fuessen, 1622-1642. Violas inspired by the Brescian school. Well balanced, flat arching. Yellow orange varnish, artistically applied. Tone of noble sonority.
HERWIG, WILHELM
Maker and exporter of violin merchandise. Established at Markneukirchen, 1889-1930. Specialised in producing useful orchestral instruments. Violins, violas, cellos and basses; also bows. Finest old wood. Good workmanship and excellent varnish.
HERZLIEB, FRANZ
Born 1796. Died 1861. Worked at Gratz (Styria). Clever copyist of the Stradivarian and Guarnerian models. Every detail treated to minute neatness of workmanship. Scroll of fine style and execution. Dignity even about the upper and lower curves of the sound-holes, also beautifully positioned. Achieved a triumph in purfling. Generally broad grain spruce and prettily flamed maple. Yellow brown varnish, sometimes one of a reddish tint, shaded effectively. Rewarded with gold medal at the London Exhibition, 1851.
-----------------------------
Franciscus Herzlieb
fecit Graecii anno 1847
-----------------------------
(border of diamond shaped decorations)
HERZLIEB, FRANZ (2)
Son and pupil of the preceding. Born 1845. Worked at Gratz. Died 1873. Sound modelling and workmanship, same style alid excellence as exemplified by fathers instruments. Unfortunately died in 28th year.
HESKETH, THOMAS EARLE
Born at Manchester, 1866. Pupil of G. A. Chanot, 1885-1891. Established own workshop in Oxford Street, Manchester, 1891. Some violins of Stradivarian design, splendid appearance. Those of Guarnerius modelling equally happy. Amatese style also afforded him good opportunities of exercising his undoubted ability. Some have perfect imitation of age and wear. Also evolved two original models, but as they were of small build the ideas were not progressed after 1900. Third original model soon appeared, one of fuller proportions, altogether very striking. A model that makes one look again and again, each time drawing us nearer to its virtues. Sound-holes delightfully conceived, Brescian type slightly modified. Finely carved scoll, imperially poised. Splendidly full and round edges. Used spirit and oil varnish of his own preparation, the latter particularly supple, of various rich shades. Also the finest wood to enhance the appearance. New modelled violins distinguished by the button having four sides. Tonal quality full and sonorous. 30. (80, 1959).
In thus representing individual character, this maker has not been surpassed for straightforward power and dignity of style, an admirable genius for treating form, manifesting itself in lines and curves full of grace and harmony, such as are essential to great art, as subtle words and rhythms are to fine poetry.
-----------------------------------
Thomas Earle Hesketh T
Manchester. Fecit 1900 E.H
-----------------------------------
(initials double circled)
Sometimes branded T.E.H. Many instruments made by Voigt.
HESKETT, CLAUDE L.
Born 1869. Son and pupil of H.H. Worked at Omaha (California), 1933. Produced more than 100 violins, a few Strad or Guarnerian modelling, but mostly one of his own (having certain scientific and acoustical modifications). Masterful workmanship. Old Italian yellow to golden brown varnish.
HESKETT, HUGHES H.
Born in Ross County (Ohio). Worked many years at Minneapolis. Died 1898. Praiseworthy workmanship. Several instruments finished by his successor, Claude.
HESLE, OLAF
Amateur. Born 1921. Master of Arts. Made his first instrument 1946. Extensive research into acoustics of the violin. Up to 1959 made 32 violins with brilliant tonal results. Instruments well represented in Norwegian Symphony Orchestras and by prominent artists.
---------------
Olaf Hesle
Trondheim
195
---------------
circular floral design on left)
HESS, WILHELM AUGUST
Worked at Klingenthal, 1800-1825. Customary style of trade instruments.
HETESY, FRENC
Born 1879. Worked at Budapest, 1919. Violins much esteemed
throughout Hungary and Roumania.
HEUR, ANDREAS
Born at Vlpke (Saxony), 1865. Amateur. Resident at Vevey. Contra-bassist in Symphony Orchestra at Basle, 1900. Produced first instruments, 1909. Exploitations in Stradivarian modelling, equal to any moderns. Light yellow varnish beautifully transparent. Very excellent tone.
HEUPGEN, CHARLES
Worked at Chicago, 1914. Little-known instruments.
HEUREUX
Violins with this name occasionally advertised for 4 (1925).
The name, which means pleasing or prepossessing is very inappropriate and the sellers audacity is as great as the makers talent is small. Wooden masks without vitality; significant physiognomical poverty. Thin and small tone, altogether too shabby to be associated with a good bow. Branded Heureux. Mirecourt.
HEUVELEZ
Large modelling of pseudo barbaric conception. Mis-shapen phantasm of a scroll. Sound-holes positioned too high. Dark brown varnish which would cool anybodys spirit. Big and inflated tone, neither penetrating nor sweet. Branded Heuvelez. Paris 1820.
HEWITT, A. W.
Worked at Shanklin (Isle of Wight), 1895. Oil varnish, satisfactory workmanship and tone.
HEWITT, JAMES
Born at Palmerstone (Otago, New Zealand), 1867. Initiated into the art by his uncle, W. J. Bowman. Produced first instrument, 1885. Established at Auckland (New Zealand). Strad and Guarnerian modelling, showing his trained eye for accurate anatomical proportions. Scroll, sound-holes and purfling, indicative of skilled craftmanship. Used the finest quality of old imported woods. Had no faith in the acoustical properties of native ones. Claimed that he had re-discovered the secret of Cremonese varnish after experimenting for 40 years and spending a few hundred pounds. An oil varnish with fossil gum amber for basis. Very brilliant and transparent, and no anticipation of crackling. Guaranteed to be of that quality which no number of years could reduce its lustre. Had a fine reputation in his own country and was fortunate enough to get 50 for best examples. People frequently reported that his priceless varnish put soul into the tonal quality. Some instruments of early period varnished with the amber preparation of J. E. Harris, Newcastle-on-Tyne. Also produced cellos of an appearance and tone inducing local enthusiasts to expend as much as 100.
--------------------
Made by
James Hewitt
Auckland, 1924
--------------------
Signed James Hewitt, 1924.
HEWITT, JOHN
Born 1733. Vicar at Feltham (Middlesex). Died 1798. Made (as an enthusiastic amateur) several violins more or less of Stainer characteristics and there is little to offend critical eyes in the workmanship. Brownish varnish, also expertly applied. Perhaps a few have found their way in the world by receiving labels of a foreign name.
-----------------------------------------------------
Made by John Hewitt
at Feltham, 1786
(formerly of St. Johns College, cambridge)
-----------------------------------------------------
HEYMAN, JOSEPH JACOB
Worked at Amsterdam, 1807-1826. Modelling somewhat Stainerish, long, narrow and protuberant. Characteristic straw-coloured varnish of Dutch makers. Tonal quality rather sweet though not particularly clear. 15 (1925). 50, 1959.
----------------------------
Joseph Heyman
fecit Amsterdam 1815
----------------------------
(decorative border, makers name written)
HEYMS, SIMON JOSEPH
Born at Namur (Belgium), 1750. Worked at Amsterdam. Died 1829.
HEYMS, WILLEM FREDERIK
Born 1804. Son of Simon. Worked at Amsterdam. Died 1859.
HEYNBERG, EMILE
Born at Lige (Belgium), 1864. Pupil of Mougenot at Brussels; also worked for Gand and Bernadel at Paris. Established own workshop at Lige, 1895. Died 1939. Produced three types - Messe Strad, Guarnerius and J. B. Vuillaume. Varnish prepared from linseed oil and turpentine. Fine knowledge of outward form and absolutely accurate in proportions. Interior structure and functions splendidly related.
----------------------------------------------------
Emile Heynberg
Luthier - Fournisseur
du Conservatoire Royal de Musique Lige
----------------------------------------------------
---------------------------
Emile Heynberg
Luthier a Lige. 1897
---------------------------
HEYNBERG, GEORGES
Born at Lige, 1901. Worked with father from 1920. Strad, Guarnerius, and Gagliano models. Fine Cremonese varnish on specially tested woods, both giving the tone its bell-like quality.
------------------------------------------------
Fortitudo
Georges Heynberg
Dolcitudo Luthier a Lige Claritas
Vernis Cremonais
1926
-----------------------------------------------
(with initials)
HEYNRICX, GERRIT
Named as fyoelmaker in Amsterdam, 1622.
HEYWORTH, HUBERT GILSON
Born 1893 at Eastby, near Skipton (Yorkshire). Resident in Vancouver, B.C. Self-trained in the school of hard knocks! First instrument made, 1919, but not very successful. Strad modelling. Made many experiments with varnish, finally using a golden brown finished off with coats of clear rubbing varnish. Made 20 violins and 2 violas up to 1959. Seven of the violins and 1 viola now in use at the University of British Columbia, Vancouver.
----------------------------------
H. G. Heyworth
Fecit Vancouver B.C. 19. .
----------------------------------
HICKS, CLYDE E.
Born in United States, 1884. Employed by A. R. Swearingen at Miami (Florida), 1927.
HICKS, GEORGE HERBERT
Born at Oxford, 1886. Worked for G. A. Chanot at Manchester, 1901. Established in Market Street, Oxford, 1910. First instruments labelled with Chanots name. Own label dates from 1910. Made about 60 Stradivarius copies with considerable skill. Successful in every detail of workmanship. Used various colours of varnish very intelligently. Generally conceded that several of his violins have a particularly responsive tone.
------------------------------------
G. H. Hicks
Violin and Violoncello Maker
Oxford
-----------------------------------
HICKS, H. W.
Resident at Bromsgrove (Worcs.) Amateur. Very good workmanship, and excellent varnish.
HICKS, JOHNSON
Worked at Torquay (England), 1877. Rare to see such powers of execution applied with such nice and appropriate discrimination. Quite inexplicable why these instruments remain unknown to professional players, for we can designate no other English productions of the same period more worthy of approval.
HIDALGO
Name of cheap commercial violins, popularised by Haynes & Co., of London, 1892-1910.
HIEBER, GIOVANNI
Lute maker. Worked at Venice, 1572-1583. Associated with Martin Pfanzelt. Both went to Padua in 1616. Made theorbos of 14 and 19 strings, also lutes ornamented with arabesques in ivory and representations of animals.
-----------------------------------
Giovanni Hieber a Martine
faciebat in Venezia Ao 1581
-----------------------------------
-------------------------------------
Johannes Hieber und Pfanzelt
in Padua 1628
-------------------------------------
HIEBLER, JOSEPH
Worked at Augsburg (Bavaria), 1740-1792. Stainer model of medium size, and not too highly arched. Sound-holes belong to the Amati school. Appropriately treated the scroll to suit the general contour. Purfling and other details of workmanship satisfactory, and no more. Back and ribs of very plain maple; neck and scroll of linden-tree wood; top of poor material which is now frequently worm-eaten. Yellow or brown varnish, lustreless and sometimes muddy. Tone not especially full, but rather clear and nice-sounding. Catalogued at 10 for many years prior to 1928, when a specimen realised 25 in Germany.
------------------------------------------------
Joseph Hiebler, Lauten und Geigenma-
cher fecit Augustae. 1789
-----------------------------------------------
(small German lettering)
HIERONYMUS, GERALDI
Worked at Brescia, 1570-1576. Maker of excellent cithers and lutes. A beautifully worked and decorated example preserved in the Hof Museum, Vienna.
----------------------------
Hieronymus Brixiensis
1574
----------------------------
HIERONYMUS, LE
Worked at Mirecourt. Brown shaded varnish. 5 (1920).
HIERRA, JOS DEL
Worked at Cadiz and Madrid, 1865-1900. Instrument maker to the Conservatoire. Modelling (somewhat allied to a Lorenzo Guadagnini), splendidly conceived with workmanship of infinite skill. Every portion of the scroll has been studied with the utmost care.
------------------------------------------
Violin No. 32
Hecho por Jos del Hierro
Luthier del Conservatorio
Madrid 15 de Diciembre de 1899
------------------------------------------
HIERRO, PABLO
Worked at Cadiz, 840-1860. Everything most unnattractive - painted purfling.
HIGSON, DANIEL
Born at Droylsden near Manchester, 1849. Amateur. Resident at Greavestown near Ashton, Lancashire, 1924. Constructed 30 instruments built on Stradivarian principles with a small touch of originality. Two have spliced Lions head. Tone entitled to considerable praise, also the orange colour oil varnish.
-------------------------------
Ars longs, vita brevis
Made by Daniel Higson
(born 13th August 1849)
of Ashton, Preston.
28th February, 1921.
No. 29. Lion Head
------------------------------
-------------------------------
Ars longa Vita brevis
Made by Daniel Higson
Ashton-on-Ribble
1st March 1900. No. 17
-------------------------------
Art is lasting - life is short. Author of two small literary Sketches.
HILANJ, FRANZ
Worked at Pressburg, 1814. Became a musician in the Hussar Regiment. Ultimately settled at Wels (Austria), and worked there until 1847. Died 1850. We may add these violins to the many of excellent value emanating from Austria. Modelling and varnish altogether pleasing to the eye of educated amateurs in art. Tone successfully contends with any of his country, and will meet with due appreciation in the future. Made guitars subsequently to be widely known.
----------------------------------
Franz
Hilanj
Brgerlicher
Geigen u. Guitarrenmacher
in Wels.
----------------------------------
(decorative border)
Assisted by nephew Franz Seraphin Hilanj (1825-1848).
HILDEBRANDT, ALBERT
Worked at Baltimore (U.S.A.) 1910-1926.
HILDEBRANDT
Pastor at Magdeburg (Germany), 1926. Made several excellent instruments; perfect results of profitable study which give unmixed pleasure to amateurs. Exhibited in 1926 an instrument with an unusual history. Wood for the top taken from an old roof joist of St. Jacobs Church, which was put in after the destruction of Magdeburg, and having become brittle, was replaced at the beginning of this century by a new joist. Back made from a piece of the organ of St. Johns Church. When the church was renovated (1901), the Pastor was given a piece of oak from the organ; the local sculptor Briest presented him with a head of Luther for the instrument. Round the sides are inscribed, in colour, the words Ein feste Burg ist unser Gott. (Our God is our Stronghold). On the back is Luthers Coat-of-Arms.
HILDEBRANDT, MICHAEL CHRISTOPHER
Born 1768. Died 1807. Worked at Hamburg. Presented with the Freedom of the City, 1792. Splendid outline, and modelling of the highest order. Sound-holes, scroll and purfling, entitled to be ranked in the same category. Usually nice figured wood. Dark reddish brown varnish showing his advanced taste in applying it. Pure tone and nicely penetrating. Made violins, violas, cellos and double-basses.
---------------------------
M. C. Hildebrandt
in Hamburg. Ao 1793
---------------------------
----------------------------------
M. C. Hildebrand
me fecit Hamburgi Ao 1799
----------------------------------
--------------------------------
M.C. Hildebrandt
me fecit
ad modum Straduar:
sub directione celeberrimi
Bernardi Romberg
Hamburg Ao. 1805
--------------------------------
HILINSKY
Worked at Kiev (Russia), 1890-1900. Long maintained supremacy in native country, and we are not exaggerating when we affirm that his instruments compete with any of any country. Studied with earnest thought at the feet of the great masters, and by continual contemplative comparison of the Italian, German and French schools. All natural beauties of outline and arching brought together with consummate skill. Seems to have taken particles of various models, and welded them into one harmonious whole. Rich quality of the varnishing adding further concord to the prettiness of wood. Unusually brilliant tone with considerable sympathy.
HILL, ALFRED EBSWORTH
Born 1862. Died 1940. Third son of William Ebsworth. Learned the craft with father and was the first Englishman to be trained in Mirecourt, where he was a pupil together with Langonet whom he brought to England. He revised many of his fathers opinions, the most outstanding being that he came to the conclusion that all the cellos formerly labelled Bergonzi were either made by Goffriller or Alexander Gagliano. He became known as the greatest expert in the world, and his judgment was accepted universally. He popularised a certain amount of minor makers such as Cuypers etc. and once bought up the entire stock of Craske (about 2,000 instruments) many unfinished which he completed and put on the market - a very good stroke of business. He established a firm market price for the finest instruments known. Travelled extensively throughout England, France and Italy and was responsible, together with his brother, in donating to the Ashmolian Museum at Oxford, a very important collection of instruments from Gasparo da Salo to Stradivarius. He devoted much research to the question of varnishing, but unfortunately got no further than anyone else in regard to this problem. He managed always to keep a large staff of the most skilled workmen he could find who actually made violins whilst he varnished them. The tone of these varies considerably, no doubt on account of the various varnishes he experimented with. Those instruments made between 1895 to 1910 are undoubtedly varnished by his own hand. He was the man behind the publications dealing with Guarnerius, Maggini and Stradivarius and was responsible for most of the finer judgements on the instruments mentioned in these books. He actually made few instruments himself, but did what Vuillaume practised, employed the very finest work-men whilst devoting his skill to the preparation of varnishes. Some of his instruments are quite excellent tonally, whilst others are not so promising, being hard and rather metallic. He was always ready to admit a mistake - but was rarely wrong in his judgement. He was responsible for building up the workshop of the firm whose reputation for expert repairs is second to none.
HILL, ARCHIBALD S.
Born at Ballarat (Australia), 1882. Seriously studied violin playing from the age of nine. Began to make violins at the almost unpardonable (for such work) age of eleven. Even then, he was always thinking violin, and everything he did at this time was practically from his own inspiration. Later years of traditional apprenticeship were spent in Chicago, New York, and Toronto, where he formed an invaluable friendship with the violin maker, Hugill. Eventually settled at Seattle (U.S.A.), where in 1925 he was enjoying all success possible to a modern maker. Never wasted time rushing into print with any special theories, but put them all into his instruments, and these have found marked favour with well-known soloists and proficient amateurs. Had a splendid gift for perfect outline, arching also cannot be praised too highly. Also maintained striking individuality in the carving of the scroll. Sound-holes gracefully symmetrical to the whole contour. Penetrated into the philosophy of a true singing tone, smooth and responsive. Favoured the small Guarnerius model of 13-3/4 inches in length. Varnish varies from a light amber to a deep coral-red, and dark cherry red, applied in such a way as to give it a similarly old appearance to the particular Cremonese model imitated. Bows made very patiently, astonishingly well balanced, and have the flexibility of old French bows. Produced two kinds - round sticks for soloist bows, and octagon for orchestral use. Stamped Archibald S. Hill.
-----------------------
A. S. Hill, Liutajio
Seattle. U.S.A.
Anno Dom. 1925
-----------------------
(on the right, a fanciful interweaving of his initials)
HILL, BENJAMIN
Third son, and pupil of Joseph (1). Born 1754. Died 1797. Assisted his father throughout life.
HILL, HENRY LOCKEY
Son and pupil of Lockey. Born in London, 1774. Died 1835. Employed by John Betts for many years. The first member of this family to be attracted to the first period Stradivarius model in favour of the Amati and Stainer. Instruments yearly gaining more and more appreciation. Entire outline and arching very felicitously reminding of Fent at his best. Finely full margins, nicely rounded edges. and pretty corners. Scroll and sound-holes indicative of especial artistry. Belly wood often of exquisite fibre regularity. Generally favoured a light coloured varnish, elastic and transparent, but some specimens have an orange-red shade. Seems almost unnecessary (considering to what a degree of perfection he brought the technicalities of his art in workmanship and varnishing), to say that he also felt urged by the importance of aiming to imbue his instruments with the tonal quality that can alone render them truly valuable, and this quality is of persuasive appeal to the soloists intentions. Many instruments bear Italian labels, the work of some money-grabbing vendors. Produced several fine toned violas, some having a body length of 16-1/8 inches. 35 (1930). Also splendid Stradivarius design cellos. 100 (1959).
--------------------------------------------
L. Hill and Sons
Manufacturers of violin, violoncello
Tenors, Double-Bass
No. 7. Brandon Row
Newington Causeway
--------------------------------------------
------------------------
Henry Lockey Hill
Maker. London.
Kent Street. Boro
------------------------
HILL, HUGH
Amateur. Resident at Belfast (Ireland). Launched about 30 violins of splendid workmanship. Strad and Guarnerian modelling, and one with certain divergencies from either, particularly in outline. Excellent varnish of various shades. Fairly fluent tone.
-------------
a.d. 1910
Hugh Hill
Belfast
------------
(H.H. in diamond shape frame, also signature)
HILL, JOHN
Worked in Red Lion Street, Holborn, 1704. Instruments seldom seen.
HILL, JOSEPH (1)
Born in London, 1715. Died 1784. Fellow apprentice with Banks in the workshop of Peter Wamsley. His violins, generally of Amatese outline and medium high arching, afford full evidence that the operations of his faculties has given them a distinction above the ordinary mechanical one. Light brownish-red varnish applied with an artists eye for effect. Instruments worth rescuing from the comparative oblivion they have been allowed to fall into. 30 usually considered ample in this country in 1930, but in America specimens were then catalogued up to 500 dollars. Violas also evince his indefatigable seriousness to produce the best. Fine grain spruce, and fairly well-flamed maple. Cellos especially liked for a rather rich tonal quality. Some have a golden yellow oil varnish nicely transparent. Several have been re-labelled with Italian names. Also produced double basses, notably important these days for flexibility yet fine depth of tone. Had the assistance of four sons. 80 (1959).
---------------------------------
Made & sold by Josh. Hill
at e Violin in Angel Court
y
17 Westminster 49
---------------------------------
---------------------------
Joseph Hill, Maker
at the Harp and Flute
in the Haymarket
17 London 69
---------------------------
-----------------------------------
Joseph Hill & Sons, makers
at the Harp and Flute
in the Haymarket
London 1771
-----------------------------------
HILL, JOSEPH (2)
Second son of Joseph (1). Born in London, 1747. Died 1793. Assisted in fathers establishment in the Haymarket. Inculcated much knowledge of the principles and practice of instrument construction, but was less skilful than parent. Some instruments signed and dated as individual work after 1784.
HILL. LOCKEY
Fourth son and pupil of Joseph (1). Born in London, 1756. Died 1810. Thoroughly understood what is consistent with good art, and had the ability to correctly exercise it. Rather large scroll for non-extended size of body. Sometimes a dull brownish varnish (of good texture). Smallish tone but of very agreeable sweetness. 80 (1959).
-------------------------
L. Hill
Violin & Violoncello
Maker
Boro
London
-------------------------
(small, octagonal)
Some specimens not labelled.
HILL, OZRO and HAROLD
Worked at Houston (Texas), 1925. Lustrous and transparent oil varnish with gum basis.
HILL, WILLIAM
Eldest son of Joseph. Born in London, 1745. Died 1790. Amatese modelling guided by a taste unwarped. Entire contour characterised by everything gracefully feminine. Strongly enforced personality about the scroll. Beautiful shade of yellow varnish, nicely transparent. Tonal quality rather warm and sweet, but of slight power. 80 (1959).
------------------------------
William Hill
maker in Poland Street
near Broad Street, 1766
------------------------------
--------------------------------------------
William Hill
maker in Poland Street
near Broad Street, Carnaby Market
1785
--------------------------------------------
HILL, WILLIAM EBSWORTH
Son of Henry Lockey. Born in London, 1817. Took his place in 14th year, alongside father and brother Joseph. Principally entrusted with the cutting of bridges. After the deaths of father and brother, he worked for Charles Harris at Oxford, 1837. Returned to London, 1838, established himself in Southwark, afterwards removing to Wardour Street, and finally to New Bond Street, where, in the exercise of his profession he yearly achieved transcendant popularity, particularly as a connoisseur and a business man of high principles, integrity and art delightfully combined. For several years, he did everything, in the repairing department with his own hands, employed no workmen whatsoever. Ultimately his four sons entered the business, and left him greater opportunities of building up a social edifice with all classes of the community. Died at Hanwell, 1895. Did not produce a large number of instruments, but each specimen exhibits a splendid sense of taste, accuracy of delineation, artistry of workmanship, and a trained eye in varnishing. Exhibited several finely finished violins, and an especially fine toned viola of large pattern, in London, 1862, for which he was rewarded with a medal, and special commendation from J. B. Vuillaume. Produced many bows of very serviceable utility for average good soloists. Balance and workmanship completely excellent, though their style assumes no special ingenuity of creativeness. Round and octagon sticks, generally valued at 5 (1925).
--------------------
William E. Hill
Maker. London
1850
--------------------
An estimable man, a worthy citizen, and one who has rendered good service to the violin world. Extensively interested in collecting the finest specimens of Cremona, etc., and in the ultimate disposal of them, wealthy amateurs and professionals were equally satisfied with his demands on their purses, modest or otherwise. Speculation in these treasures brought capital into the firm, and the Bond Street premises were gradually enlarged until the edifice became the rendezvous of the elite of society as well as of all artists and players. He, too, became recognized as the principal authority jn all matters relating to violin authenticity. lt was not only capital that was introduced into the concern, he brought to it judgment, intelligence, and taste, and manners peculiarly bland and persuasive. He was a born conversationalist, but also one whose remarks were always instructive; one who unobtrusively made others feel that he knew all about it and indeed his knowledge was universal. To again refer to his wonderful ingenuity in cutting and shaping bridges, 200 of these (many finely carved symbols and other designs) are preserved at New Bond Street, one of the most entertaining sections in that Parnassus of violin-art. A very life-like painting of him depicted with a violin was done by Shirley Slocombe, and accepted by the Academy in 1894.
HILL AND SONS, W. E.
Established at 38 New Bond Street, London, 1887, moved to 140 New Bond Street, London (their present address) in 1895. Members of the firm 1935:
1. William Henry (b. 1857, d. 1927)
2. Arthur Frederick (b. 1860, d. 1939)
3. Alfred Ebsworth (b. 1862, d. 1940)
4. Walter Edgar (b. 1870, d. 1905)
Present Partners, 1959:
Albert Phillips Hill (b. 1883)
Desmond dArtrey Hill, son of above (b. l916)
Paul Ebsworth Hill - son of William Henry Hill (b. 1896).
A firm particularly honourable in the annals of the violin world. Each member has effected much to form the art-love and knowledge of connoisseurs, traders and players, As experts in old instruments their guarantee is always considered as the most reliable in the entire world. Their zeal and integrity has never for a moment been questioned, and the name Hill & Sons is indeed a magical one. Their premises have finely grained rooms in which may be seen the most rare and valuable violins, etc., and most interesting preservatiotis of labels, bridges, scrolls, etc., all to be viewed amidst every comfort and convenience always accompanied by true courtesy from the officials. Honoured with the Royal Warrant of Appointment as Violin and Bow Makers to the Kings of Italy and Portugal, 1908. Have extensive and magnificently equipped workshops at Hanwell, where a large staff of skilled workmen are continually employed, several of them having previously been the pick of the many Mirecourt trained. The gathered treasures of time and the harvest of several generations are laid up in the garners of those workshops and the new violins emanating from there are children of the most experienced hands and minds steeped in daily association with the finest old masterpieces. As modern instruments nothing more beautifully designed and of more refined workmanship can possibly be imagined. Also the loveliest wood is enhanced by the ever varying shades of equally lovely varnish, and applied with the greatest artistry. Replicas of the Alard or other Strads, etc. Without the aid of much eloquence from players and writers, these instruments will have an unassailable position in the future when age has ripened the tone. Some specimens realised 60 in 193l.
Violas and cellos all built with the same metrical accuracy and of the same gorgeous appearance.
------------------------------
Williams E. Hill & Sons
Makers. Wardour Street
London. 1882.
------------------------------
---------------------------------
William E. Hill & Sons
Makers. New Bond Street
London. 1895
---------------------------------
(elaborately decorative border; flowery copperplate lettering)
Each instrument numbered.
As bow makers they are universally acknowledged as pre-eminent, and this preeminence is due to several important conditions which exist with them. One of the principals of these is the fact they never had any other intention but to produce the best, regardless of cost. To them the finest examples of Tourte, Dodd and others, were always available as models. Another very outstanding feature is the possession by them of a large and aged stock of the choicest pernambuco wood procurable. Pernambuco specially suitable for bows is a very difficult wood to obtain, thorough seasoning is an absolute requisite, and their bows are made only of material seasoned by natural processes for ten years. These conditions, combined with exceptional skill in workmanship, result in the production of bows equal to those of any French maker, past and present. Very fine heads and every little detail microscopically finished, great attention paid to the screws which are made from case-hardened steel. Elasticity, strength and perfect balance, altogether fine tone producers. Absolutely flawless except that some soloists do not like the whalebone lapping. Especially appreciated are the Dodd modelled examples. Stamped W. E. H. & Sons and W. E. Hill & Sons. Gold mounted sticks with a fleur-delys command high prices.
HILLARD, ALLEN
Worked in London, 1654-1684. A few instruments of Brescian type known.
HILLER, THEODOR
Worked at Stuttgart, 1925. Stringed instruments furnished with cross bridge placed under the ordinary string bridge. Connected with the bass bar in such a way that its pendulum motion is directly communicated to the bass bar thereby effecting stronger vibration to that complement. Also brought out a Viola nuova because he believed that the ordinary viola has a body too small for its tuning and stringing, which (he considers), causes the nasal, non-free and dry tone. This new instrument is approximately a third larger than the proper viola, and has a pin so that it can be played in cello-fashion. It is not a diminutive viol-da-gamba for which the ribs would be too shallow. Tuned similarly to the viola and preferably thinner strings because there is longer string length. The inventor claimed richer technical possibilities and a fully rounder tonal quality.
HILLER, FRANZ
Born at Kravsko (Moravia), 1840. Pupil of Krampera at Znaim. Died 1898. Worked at Wiener Neustadt, 1872.
----------------------------------------------
Franz Hiller
Instrumentenmacher in Wr. Neustadt
Anno 1887
----------------------------------------------
HILLERT, ARTHUR WILHELM
Born at Dresden, 1869. Worked in Hungary, Tyrol, Switzerland and Austria. Established at Mittweida (Saxony), 1893. Moved to Leipzig, 1909. Opened premises at Berlin, 1924. Perfect modelling, mostly Stradivarian, also Amati and Stainer, and lastly an original one with very flat arching and a Guarnerian outline, the latter being constructed of 200-year tone wood. Varnish of own formula, of Italian similarity, golden reddish, yellow and bright yellowish brown, fiery and plastic, not affected by temperature and does not crack, a beautiful preparation made from natural products. A maker who firmly believed that tone is not achieved by the numerous bluffs and hypotheses of secret varnish, but by exact knowledge of wood, acoustical and mathematical principles of thicknessing and all proportions minutely calculated. Tonal quality now freely developing to far carrying power and fullness, future master violins. Recipient of gold medals for quartets, etc. Violas, cellos, double basses, guitars and lutes. Certain grades named Wilhil.
------------------------------------------
Arthur Hillert
Geigenbau-und Reparaturwekstatt
Mittweida i S.
------------------------------------------
----------------------------
Geigen-u Lautenbauer
Hillert
----------------------------
(background of leaves and a large clef)
-----------------------
Wilh. Hillert
Geigenbaumeister
Berlin
-----------------------
(branded)
A.W.H.B.L., etc., heavily inscribed with pencil on top and bottom plates.
HILTON, THOMAS JAMES
Born 1868. Resident at Gorleston, 1888. Produced 50 carefully worked models, either of Strad or Bergonzi pattern.
HILTZ, PAUL
Worked at Nrnberg. Lutes and viols.
----------------------
Paul Hiltz Nori-
berga faecit 1656
----------------------
HIMMER, ALBAN
Born 1874. Established at Schnbach (Bohemia), 1925. Outline splendidly conceived. Delightful flat arching, good margins and nice edges. Entire contour to be viewed with considerable complacency. Scroll not too large or bold. Soundholes positioned and shaped perfectly. Excellent belly wood, pretty material for the ribs and back. Reddish yellow varnish, very effective. Cellos equally consistent with earnestness of purpose to produce well-made instruments at a relatively modest price.
----------------------------------
1913
Alban Himmer
Geigenbauer u. Reparateur
----------------------------------
HIMMER, MAXIMILIAN VITALIS
Born at New York, 1871. Studied the violin with De Ahna and Joachim at Berlin. Became a fine player but in 25th year met with an accident to his arms, which completely upset his career as a virtuoso. Took up violin making, made a special study of the old masters and went through all the phases of acoustical problems. Established himself at Wilmersdorf, Berlin. Evolved, in 34th year, a specially designed model, with various internal secrets, which was largely patronised by leading quartet and solo players on account of the remarkable sonority of tone. Firmly believed that the varnish has little or no influence on tone. Spent several years trying to unravel the tonal undulations often entangled by the dissonant qualities of back and front, and was ultimately satisfied that he had solved the difficulty. Workmanship very fine.
HIMMER, WENZEL
Worked many years at Schneck (Saxony). Died there, 1894. Fair workmanship and tone.
HINCHCLIFFE, JOHN WESLEY
Born at Toronto (Canada), 1868. English parentage. Studied with J. B. Squier at Boston. Established at Ottawa since 1888. Productivity remarkable up to the year 1924. Built during that period the astounding number of 530 violins, 50 violas, 80 cellos, 12 double basses, 150 guitars and mandolines, all hand made. Artist violins splendidly modelled after those of the Alard Strad, Guarnerius, Nicolo Amati and Vuillaume. Exponent of finely conceived designs, whereon there is a touch of personality. Every detail of arching, scroll and sound-holes treated with intelligent intent. Arrived at that kindling quality of tone which stirs the power of the bow, the result of plate graduating knowledge, functions of the bass bar and his 20-year experiments in varnish. Appended are his remarks on varnish: -
The mysterious lacquer which came into prominence during the Cremonese violin making period and disappeared with it, has been variously called an oil, a spirit and a compound varnish. Gondolas of Venice were varnished with it about the time Columbus discovered America, and that it was no secret during the Cremona period is evidenced by the fact that all the makers used it, and knew how to make it, some applying it with more skill than others, but it was the same varnish nevertheless. Venetian turpentine and the tear drops of dragons blood with other rare gums for which Venice and the sea coast of Africa abounded, dissolved in spirits and oil doubtless entered into its manufacture.
With a knowledge of chemistry, aided also by one of Americas great chemical experts, he decided (after years of laborious research), that the varnish of the great masters was a compound preparation. Claimed that the results of his re-discovery of varnish was a revelation. Beautiful golden hues of yellow, blood and bronze at different angles, wonderfully showing up the fibres of the wood. Easily applied, flows readily, does not chip or crackle in any climate, and is soft with elasticity. Supplied it at five dollars per bottle.
------------------------------------
Grand Art Violin
Guarnerius Model
John W. Hinchcliffe. Maker
Ottawa 1923
------------------------------------
HINCKELMANN, W. H.
Worked at Hamburgh, 1750-1756. Scarce instruments.
--------------------------------
Wohlert Hinrich
Hinckelmann
violinmacher in Hamburg
An 1753
-------------------------------
HINDLE, LEOPOLD GEORG
Worked at Vienna, 1790-1839. One might cavil a little at the ordinary workmanship but the tone (although not emerging luminously) is of agreeable warmth for instruments of the 30 class. Double basses highly appreciated by Austrians.
------------------------------------
Hindle, Lauten und
Geigenmacher in Wien 1829
------------------------------------
HINDS, FREDERICK
Worked in London, 1740-1776. Made admirably modelled viol-da-gambas, some since converted into cellos. Rash and petulant critics have occasionally called-down his varnish, but their censure is entirely wrong. Also produced a few violins that meet the eye very agreeably indeed, and super-added to this is an invitingly mellow, though not large, tone. Guitars and zithers bear his name.
---------------------------------------
F. Hinds, Maker
Ryders Court, Leicester Fields
17 London 76
---------------------------------------
HINRICHSEN, JOHANN
Worked at Hamburg, 1800-1850. Lutes, violins and viol-da-gambas.
--------------------
J. Hinrichsen
Hamburg, 1842
--------------------
HINTON, J.
Watch maker. Worked at Finsbury (London), 1835.
HIORNS, JAMES
Resident at Olton (a few miles from Birmingham).
-----------------------------------------
In Sylvis vivus Duris canebum
Mortus Herem cano
Made by James Hiorns at
Bleak House, St. Bernards Road
Olton, near Solihull
-----------------------------------------
HIRCUTT
Worked in London, 1600. Modelling rather primitive and when subjected to geometrical investigation, the proportions are not accurate. High arching and perpendicular sound-holes. Wide grained belly wood and plain material for back. Dark shade of yellow brown varnish. Branded Hircutt, London.
HIRSCHLER, J.
Born 1835. Worked at Unteraegeri (Canton Zug, Switzerland), from 1872. Died 1888. Violins, violas, cellos. Generally aimed at the Amati-Strad model. Also occasionally built on original lines, Stradivarian outline and medium arching. Experimented with and produced a varnish of own compounding of durable quality, velvety and transparent. Violins of bright and silvery light tone, without much strength but agreeably clear.
--------------------------------
J. Hirschler, Geigenbauer
Unter Egeri Ct Zug
-------------------------------
HIRST, FRANCIS
Resident at Durban (South Africa). Violins, cellos and double basses.
HIRST, JAMES K.
Born at Philadelphia, 1877. (Father born in Yorkshire, mother, Irish-American.) Resident at Petaluma (California), 1925. Studied violin making with an Italian named James Rowano. First instrument completed in 1923. Produced 20 during the next two years and maintained similar speed in succeeding years. Only made violins to satisfy his artistic temperament. Professed to have re-discovered the Stradivarian secret after 20 years of scientific research, and completed the discovery in 1923. Won the National Violin Contest at Chicago, 1925, out-distancing 76 competitors. Stated that he did everything that Stradivari did, only more of it, and that he had produced a violin superior to it in tonal clearness and power. Further, that his new Cremona tone had a sustained ring, elasticity of touch and astonishing resonance which no other violins could possess. Valued his best specimen, christened Liberty Bell at several thousand dollars. Selected close grained spruce from the top of the trees flourishing at the highest altitude in Switzerland, because it had the greatest vitality, elasticity and resiliance. To this wood, processed and aged, etc., he applied his mellowing varnish which has no superior in any age (his own view of course). Did not consider the back of so much importance as it merely deflects the tone.
--------------------------------
Product of James K. Hirst
Petaluma, Calif U.S.A.
A Model
--------------------------------
Bears his finger impression in purple ink. Signature, date and thumb print beneath the label. Four thumb prints inside on the top plate, four on the back plate and a circle of them around the top and bottom of soundpost.
HJELDE, JULIUS
Born at Beitstaden (Norway), 1870. Studied with several native makers. Purchased a genuine Stradivari in 1888, and built all his instruments on the measurements of that. First example finished in 1891. Produced over 100 up to the year 1927. Oil varnish of golden shade, also a dark brown spirit varnish.
----------------
Made by
Julius Hjelde
----------------
Established at Spokane (Washington), 1925. Workmanship well executed. Scroll creditably dignified and sound-holes graceful. Whole contour preserves the characteristic majesty of the original. Inside work of scrupulous exactness, hazarded no conjectural experiments of wood processing or any rash ideas relating to the bass bar or soundpost.
HJORTH, ANDREAS HANSEN
Born 1752. Worked at Copenhagen. Died 1834. Repairer, etc., to the Danish Court, 1795. Conferred considerable elegance to the Amatese modelling. Built according to sound reasonings, practical views and critical acumen. Gives a fine exposition of effect with the golden brown varnish.
--------------------------------------------------------------
Forfardigad efter Amatus Regel af instrumentmager
Andreas Hiorth i Kjbenhavn, 1829
--------------------------------------------------------------
--------------------
Andreas Hjorth
--------------------
(without place or date)
-------------------------------------------
Repareert af Instrumentmager
Andreas Hiorth Kbenhaven, 1823
-------------------------------------------
Also branded A.H.H.
HJORTH, ARNE
Born 1910. Son and pupil of Knud. Went to Paris, worked for Charles Enel, and came under the influence of the brilliant French school. Member of the firm at Copenhagen, 1939. Splendid modelling, usually Guarnerian and reddish orange varnish. Made an outwardly curved and loose haired bow for the virtuoso Telmanyi, with which to perform certain works of Bach.
----------------------
Arne Hjorth
Kobenhavn 1945
---------------------
(design on left)
HJORTH, EMIL
Born 1840. Worked at Copenhagen. Son, pupil and successor of Johannes. Assisted Lembck at Vienna, 1863; Bernadel at Paris, 1864; and spent two years in London. Instrument repairer to the Royal Orchestra. Died 1920. Principally pursued the path of cello edifices built on the styles of Guarnerius and Stradivarius. Violins and violas also portray his pride of elegance and neatness. Effectually applied a splendid oil varnish. After his death the business was carried on by his two sons, Othon and Knud.
--------------------------------
Emil Hjorth & Soner
Kobenhavn 1907 H
Emil Hjorth i Kjbenhavn
Anno 1888
--------------------------------
(artistically scrolled)
HJORTH, JOHANN
Born at Copenhagen, 1809. Son and pupil of Andreas. Worked from 1834 to 1865. Died in 91st year. Workmanship having all the smoothness of competent artistry.
-------------------------------
Johannes Hjorth
Kjobenhavn Anno 1846
------------------------------
HJORTH, KNUD
Second son and pupil of Emil. Worked for Kessler at Berlin. Returned to Copenhagen, 1906. Assisted father and brother Othon. Splendid Cremonese modelling, sometimes replicas of famous instruments, golden reddish oil varnish.
-------------------------
Knud Hjorth
Frederiksborggat 12
Kbenhavn
-------------------------
HJORTH, OTHON
Born 1877. Son and pupil of Emil. Went to Paris and worked for Cunault. Returned to Copenhagen, 1902. Achieved reputation equal to that of father. Violas and cellos especially praised.
----------------------
Otto Hjorth
Kjbenhavn 1903
----------------------
-------------------------------
Otto Hjorth
Kjobenhavn. Anno 1904
-------------------------------
----------------------------
Under Ledelse of
Emil Hjorth & Sonner
Kobenhavn 1939.
----------------------------
----------------------------
Emil Hjorth & Sonner
Kobenhavn 1934
----------------------------
(signed O og K Hjorth, with circled design)
HLOTZ
Name sometimes seen in Italian trade instruments purporting to be copies of a Klotz.
HFER-GEIGEN
Violins built on a new system by Andreas Preller (self-taught amateur at Hof (Bavaria), 1909). All tension hindering free tonal vibration avoided, component parts modified, soundpost and bass bar arranged in a novel manner.
HFER, LUDWIG
Born 1899. Pupil of Baader at Mittenwald. Worked at Cologne, 1927. Good copies of the Cremonese and Tyrolian.
HOFFMAN, A. F.
Pupil of Hjorth. Worked at Copenhagen, 1890. Died 1932.
HOFFMAN, ANDREAS
Worked at Antwerp, 1680. Modelling something after the Amati, but also foreshadows Guarnerius traits. Rich golden orange varnish. Finely acoustical wood for top and beautifully flamed material for back. Sympathetic, sonorous and penetrating tone. 80.
Violas especially responsive and bright in tone.
HOFFMAN, CARL
Worked at Dresden, 1875. Excellent trade violins in imitation of all the old master instruments.
HOFFMAN, EDUARD
Worked at Bobischau (Silesia), 1890. Fairly ordinary work.
HOFFMAN, GEORGE
Worked at Frankfort, 1928.
HOFFMANN, GOTTLIEB
Worked at Leipzig, 1710-1740. Brother of J.C.
Violins, violas, and viol-da-gambas.
HOFFMANN, IGNAZ
Born at Wlfelsdorf, 1736. Died 1791.
------------------------------------
Ignatius Hoffmann dauter
Geigen und Harpffenmacher
in Wlffelsdorff Anno 1776
-----------------------------------
HOFFMANN, JOHANN CHRISTIAN
Worked at Leipzig, 1710-1750.
Produced a few violins of Amatese modelling. Varnish also strongly reminiscent of the Amati. Workmanship completely refined. Wood generally of pretty figure. Very mellow tone, but rather small. Violas have similar estimable qualities. Golden shade of transparent varnish. Several viol-da-gambas, double basses also known. Great reputation for lutes and theorbos (much coveted by collectors). 85, 1959.
---------------------------------------
Johann Christian Hoffmann
Knigl Polnischer u Churfrstl.
Sachs Hof-instrumenten-u
Lautenmacher in Leipzig, 1743
---------------------------------------
Maker (expressly for J. S. Bach) of a small cello named Viola Pomposa.
HOFFMANN, MARTIN
Worked at Leipzig, 1678-1719.
Violins somewhat ungainly, and of non-pretty appearance. Amatese outline and arching, but far less elegant than the original. Weak looking edges, and acute corners. Sound-holes quite unresponsive to admiration. Scroll not posed with dignity. Splendid golden yellow varnish of deep hue. Astonishingly mellow tone, and of considerable strength. 50. 125, 1959.
----------------------
Martin Hoffmann
in Leipzig, 1688
----------------------
(German lettering, early dated in large, later ones small).
HOFMANN, ANTON
Born 1814. Died 1871.
Apprenticed to J. Martin Stoss, at Vienna, and succeeded to his business, 1838. Maker to the Austrian Imperial Court. Realised that the office of a design is to ennoble art, and has given us really splendidly built violins. Outline of commendable originality, arching sometimes medium as well as flatter. Ribs frequently quite deep. Oil varnish of dark red or brown shades. Generally supposed that many of his instruments were actually made by Gutermann who worked for him from 1851 to 1866. Acquired an extensive popularity in Austria and Hungary. Also produced commercial instruments imitated after the Cremonese and Tyrolese. Cellos made up to the year 1850 have awakened the admiration of several connoisseurs. Afterwards descended into less artistic channels with these rather largely proportioned instruments. Backs made of lime tree wood, scroll and ribs of beech, and coarse veined pine for tops. Spirit varnish of dark reddish-brown shade. Treated the central part near bridge to the application of some resinous substance of lampblack nature to represent accumulated resin dust. These cellos cannot by any stretch of imagination be considered as belonging to anything but the nondescript class. Responsible for some finely constructed guitars - probably the most eulogised of numerous productions.
----------------------------
Anton Hoffmann
reparirt in Wien, 1847
----------------------------
(plain square lettering - small)
-------------------------------------
Anton Hofmnann
Kais. Kn. Hof-geigenmacher
in Wein
-------------------------------------
(with the Austrian Double-Eagle in centre)
HOFMANN, CARL AUGUST
Worked at Klingenthal (Saxony).
Long and broad modelling somewhat after the style of the Hopf. Workmanship rather well finished. Yellow varnish of questionable purity.
---------------------------
Carl August Hofmann
Klingenthal in 1800
---------------------------
(written)
HOFMANN, DAVID
Probably worked at Klingenthal, and used Cremona as an advertising ruse. Modelling either Amatese or Guarnerian. Splendid designs well treated in workmanship. Purfling rather too near the edge. Reddish-yellow varnish of dark shades.
--------------------------
David Hofmann
Italia Cremona, 1812
--------------------------
HOFMANN, G. WILLIAM
Worked at Dublin, 1900-1926.
Good modelling stylistically related to the Cremonese.
-----------------------------
G. William Hofmann
fecit Dublin Anno 1909
-----------------------------
also signed: G. W. Hofmann
HOFMANN, JOHANN MARTIN
Worked at Schillingsfrst (Bavaria), 1798-1814.
Well proportioned flat modelling. Reddish-brown varnish. Excellent material back and front. Tonal quality moderately strong.
-------------------------------
Johann Martin Hofmann
Hochfrsrl: Hof Laut
en und Geigenmacher in
Schillingsfrst 1805
------------------------------
HOFMANN, RICHARD
Bow maker at Hohendorf (Saxony), 1925.
HOFMANN, WILLY
Associated with Louis Rosenfeld at Kansas City, 1927. Died 1940.
HOFMANS, MATHIAS
Worked at Antwerp.
Owing to the wide divergence of dates on the labels, it has been suggested that there must have been two representatives of this family who made their instruments practically alike. The elder, 1660-1691, the younger, 1700-1745.
Carefully finished and thoroughly good examples of the Stradivarius, Amati, and Guarnerius models. Absolute transcripts of the Cremonese collectors should search for them. Workmanship conscientiously wrought, and evidently without a grudging of time or labour. Two varnishes, a fine golden colour, and a very transparent and warm-looking dark red, Cremonese imitated but unquestionably harder in quality. Tone not up to a soloists standard, but might excite the sympathies of amateur quartet players. 30, 1928. 100, 1959.
---------------------------
Matthys Hofmans
van Antwerpen. 1683
---------------------------
--------------------------
Matthys Hofmans
tot Antwerpen. 1740
--------------------------
HOFMAYR, CASPAR
Worked at Steyr (Austria), 1836.
HOFMEYR, IGNAZ
Worked at Steyr (Austria).
--------------------------------------
Ignaz Hofmeyr
burgl: Geigenmueher in Steyr,
1864
--------------------------------------
HFNER, KARL
Born at Schnbach (Bohemia), 1864. Organised his firm 1888.
Produced many grades of cheap commercial violins, all of excellent workmanship and style for instruments of that particular class. Master Violins guaranteed hand-made are, in the main, of prepossessing appearance. No part of workmanship in any way faulty. No dissentient opinion awakened by the varnish, in fact everything is of an order compelling enthusiastic approbation uppermost in our thoughts. Thoroughly reliable instruments for the sum of 10, and a good tone may be extracted from them.
---------------------------
Karl Hfner
Schnbach. Bohemia
---------------------------
(Brown paper, slight decorative border)
Also produced Orchestra and Concert violins. Synchronous apparitions of the familiar models of a Stradivarius, Guarnerius, Amati, etc. Certainly commercial merchandise of the best class, in which there is a happy relationship between modern production and the imitation old.
-------------------------------------------
Antonius Stradiuarius Cremonensis
Faciebat Anno 1713. A S
Made in Czechoslavakia
--------------------------------------------
------------------------------------
Joseph Guarnerius fecit
Cremonae anno 1751. I H S
Made in Czechoslovakia
-----------------------------------
Each bearing the trade mark design, with the letters K.H.S.
Various classes of trade bows branded with his name.
HOGBOM, JOHAN GUSTAF
Born 1892. Amateur at Umca (Sweden).
HHNE, GUSTAV
Worked at Weimar, 1860-1890. Maker to the Court. Good work. Chiefly guitars.
--------------------------------------------------
G. Hhne in Weimar
Grossherzogl S. Hofinstrumentenmacher
--------------------------------------------------
HHNE, CARL
Son of G. worked at Weimar, 1872-1900.
Stradivarian and Maggini modelling.
HOING, CLIFFORD A.
Resident at High Wycombe. Before taking up violin making professionally, 1935, he had a long training as a wood carver, and worked a few years with Eric Gill (famous sculptor). His knowledge of timber (combined with intense study of traditional methods of violin construction) enabled him to perfect a system by which the belly and back of each instrument are worked to a thickness according to density and in harmony with companion parts. Each specimen entirely handmade from the very finest thoroughly seasoned woods. Productivity restricted to eight yearly. Two models - Vieuxtemps Guarnerius and Messie Strad. Impeccable workmanship, fine scrolls, perfectly positioned sound-holes and very attractive purfling. Varnish of own formula, fadeless colours from golden-brown to dark red-brown, and very transparent. Splendid tonal quality, several well-known artists acclaiming him a master maker in this respect.
Also built fine-toned violas of decidedly original views, body length 16-7/16 inches; upper bouts 8; lower 9-3/4. Complete elimination of a bulbous body or extreme width of lower bouts. The tone has true viola timbre of penetrable quality, and ample power, weight approximately 20 ounces.
Won Diploma of Honour at The Hague, 1949.
----------------------
Clifford A. Hoing
High Wycombe,
Bucks. 19.
----------------------
(White - used until 1948)
----------------------
Clifford A. Hoing
High Wycombe,
Bucks. 19.
----------------------
(Pale blue)
Number and code letter s written on left-hand side of label. Signed inside, and branded C. A. Hoing on top block.
HOLDER, THOMAS JACQUES
Born in London, 1842. Worked in Wardour Street, 1892; and at Blackheath (Kent), 1898. Died 1922.
Very expert replicator of various standard models. Seldom labelled with his name.
HOLDER, ERNEST L.
Born 1878. Brother of T. James. Worked 1892-1914.
Splendid copies of Italian models.
-------------------------------------------
E. L. Holder
Violin Make and Repairer,
125, Lee Road, Blackheath, S.E. 3
-------------------------------------------
HOLDER, THOMAS JAMES
Born at Cardiff, 1874. Established in the Place de Havre, Paris, 1913-1929.
Specialist in old master imitation. Connoisseurs of every class concur in pronouncing his work to be as fine as that of any Frenchman. Stradivarian modelling, full of faithful excellencies, delightfully elegant, and cunningly varnished. The several peculiarities of the Guarnerian have also received ample justice from his exact craftsmanship. Branded T. J. Holder in centre of back. Much of his work not labelled, unless later supplied with fictitious ones. Achieved an unrivalled reputation in France as a repairer. Inculcated original theories of bridging and bass bar regulating besides certain other secret processes for the amelioration of tone. Claims to have discovered the Cremonese varnish and methods of application.
-----------------
T. J. Holder.
luthier,
Paris.
-----------------
HOLE, A. P.
Worked at Leicester, 1870. Little known.
HOLLARD, GEORGE
Born 1814. Resident at Compton Dundon. Played the violin in the parish church. A character in the district. Did all sorts of odd jobs. Made a few violins of very elemental workmanship. Repaired instruments in rustic fashion. Died 1896.
HOLLINGER, ALBIN
Born at Markneukitchen, 1875. Established at Kiel (Germany), 1901. Died 1931. Modelling somewhat Stradivarian with a few tiny divergencies of original conception. Masterly craftsmanship in all parts. Oil varnish of various shades. Very resonant and easily speaking tone.
-------------------
Anno 19-
Albin Hllinger
fecit in Kiel.
-------------------
HOLLINGER, ALBIN (Junior)
Born 1903. Pupil of A. Worked at Kiel, Munich, and Frankfort. Finally at Rostov.
HLLINGER, KARL
Born 1909. Brother of above. Worked at Kiel, Berlin, and Lubeck (1948).
HOLLMAYR, JOSEPH
Born at Fussen, 1737. Son and pupil of Baltus Hollmayr (lute maker). Lived at lngolstadt until 1772. Worked at Neuberg (Swabia), 1773-1795.
Modelling reminds one of Buchstadter and Klotz. Workmanship up to usual standard of the Bavarian. Scroll generally long patterned. Transparent yellow-brown or deep brown varnish. Even grain top wood, back of pretty curl maple, and ribs of plainer material. Delightfully clear tone, but not large. 40, 1933.
--------------------------------------------------
Joseph Hollmayr, Lauten und Geigen
macher zu Neuberg an der Donau, 1773.
--------------------------------------------------
HOLLMAYR, MARCEL
Born at Fuessan (Bavaria). Worked at Vienna, 1638. Died 1681.
Violins and pocket fiddles.
----------------------------
Marcellus Hollmayr
in Wienn. Anno 1673.
----------------------------
HOLLOWAY, JOHN
Worked in Gerrard Street, London, 1775-1795.
HOLM, P. N.
Worked at Christianshavn (Copenhagen), 1800-1830.
--------------------------
P. Holm.
Wendengland, 1823.
--------------------------
---------------------------------
P. N. Holm.
Dronningengede No. 218.
Christianshavn, 1824.
---------------------------------
HOLMBERG, JOHAN
Resident at Sollentuna (Sweden). Won Silver Medal, 1948.
Instruments signed interiorally : J. Holmberg, 1948 No. 16.
HOLMES, STANLEY
Born 1878. Established at Liverpool 1924. Had great drawbacks in younger days owing to being more or less a semi-invalid. Not having surplus cash to purchase a good toned violin, his friends suggested he should make one. Had no knowledge of the working of tools, but bought Heron Allens book, and made several elementary attempts under guidance of the rules minutely elucidated in that work. Could not devote much time to the pursuit as he had to do much clerical work for a livelihood.
First successful exploit culminated in 1905, since produced several interesting examples. Curvatures of outline quite satisfactory in being somewhat akin to the Stradivarian. Body length 14 inches. Arching of medium height, and very sensibly arranged. Highest elevation of plates 1/2. Upper bouts 6-21/32; lower 8-1/4, forming a well harmonised design. Edges slightly raised to form a kind of beading, modified on later instruments. Corners nicely furnished. Depth of ribs 1-4/32 to 1-7/32. Scrolls vary, seldom beautifully symmetrical - bosses sometimes too prominent. or unsteadily approached. Sound-holes particularly noticeable for the fine sweep of lower curves. Wood richly acoustical, one-piece backs, thicknesses adequately regulated for the stout tonal quality to become matured with age and usage. Inside work very minutely attended to. Early violins varnished with Rowleys golden-brown preparation, superimposed upon a substratum of some kind, result fairly transparent. Later instruments treated to a varnish of own compounding.
--------------------------
The Reverie
Ad Gloriam Dei fecit
Stanley Holmes
Liverpool.
A.D. 1921.
--------------------------
HOLSTE, HEINRICH
Born 1863. Established at Steinkirchen (Hannover), 1895-1925. Violinist at the local church, music teacher and dealer. Studied wood-turning and wood carving which ultimately led to the production of a violin in 1895. Built over 600 violins, cellos and basses. Instruments highly favoured by Goby Eberhardt (renowned pedagogue and technician). Flawless workmanship. Full sounding tonal quality, very responsive.
-----------------------
Angefertigt von
Heinr: Holste
Steinkirchen im
Alten Lande 1919
----------------------
---------------------
Heinrich Holste
Geigenbauer
Steinkirchen 18-
No.
---------------------
Branded H. Holste.
HOLSTE, JONNY
Son of the preceding. Born 1892. Principal assistant in fathers workshop.
HOLZAPFEL, CARL C.
Born in Germany, 1874. Went to U.S.A., 1892. Established at Baltimore, 1898. Stradivarian model (ruby red oil varnish), Guarnerian (same shade of varnish), and large Amati (warm-looking yellow).
----------------------------------
Carl C. Holzapfel
Anno 1928. Baltimore. Md.
----------------------------------
HOLZEL, IGNAZ
Worked at Kronstadt (Gulf of Finland). Nothing outstanding.
----------------------------------------
Ignatz Holzel Instru-
mentenmacher. Kronstadt 1801.
----------------------------------------
HOLZKE, HERMANN
Worked at Bremershaven, 1894-1914; and at Lehe, 1920.
Stradivarian modelling in customary German style.
------------------------------------------
H. Holzke, Bremershaven
Gebaut 1909 aus altem Tonholz
vam Umbau d. alten Leher Kirche
------------------------------------------
--------------------------------
H. Holzke, Bremershaven
Gebaut 1912 No.
--------------------------------
------------------------------------
H. Holzke, Lehe
Geigenmacher No. . . . 1927
------------------------------------
Also branded H. Holzke.
HOMOLKA, EDUARD EMMANUEL
Born 1860. Son, pupil and successor of Ferdinand August. Established at Prague, 1925. Highly gifted maker, one who worked as though inspired. Regarded as the most skilful in the city. Produced masterly instruments which invariably follow the Italian model. Perfect arching and splendid margins. Admirable scroll, details of the boss carefully done. Sound-holes and purfling equally praiseworthy. Oil and spirit varnish, and no maker has applied it more judiciously.
--------------------------
Ed. Eman. Homolka
Louslar
i Praze. 1882.
--------------------------
Engaged since 1925 in collecting biographical details of Prague makers from the past to the present.
HOMOLKA, EDUARD FERDINAND
Born 1886. Son of the preceding. Worked at Prague. Killed in the war, 1919. Workmanship quite equal to that of father. Everything boldly conceived and minutely finished. Carefully studied the subject of varnishing.
HOMOLKA, EMMANUAL ADAM
Born 1796. Died 1849. Pupil of Strnad. Worked at Velvary (Bohemia).
First instrument dated 1821. Had reason to view subsequent work with pride when he conceived a really pretty model having a few Stradivarian touches combined with originality in slightly fuller arching. Did everything as if he considered fame worth having and keeping, and thought his time well spent to attain the highest proficiency possible. Generally yellow and yellow-brown varnish, occasionally a more transparent golden-yellow. Bright and pleasing tone.
----------------------------------
Emmanuel Adam Homolka
fecit Welwarii. Anno 1825
----------------------------------
HOMOLKA, FERDINAND AUGUST VINCENZ
Born 1828. Son and pupil of the preceding. Worked at Prague. Died 1890. Received the name of Prager Stradivarius for perfect copying of one dated 1719. The more familiar we become with the productions of the Bohemians with the wealth of their resources, their almost exhaustless representations and their subtle imitations of the endless variety of contour, the more we are surprised that the passage of time has not made them more prominent among European makers. Here is one who should be placed on the highest pedestal, not only for the splendidly cunning and effective manipulation of the various Italian (also occasionally Tyrolese) models he copied, but for using just the right kind of wood specially suited to the model and period. Rather medium arching. Oil varnish in tints of red, orange yellow and reddish brown, and when a bow is drawn across the strings we are astonished at the delightfully responsive tone, 40 (1925). 85 (1959).
----------------------------
Ferd. August Homolka
in Prag. 1866
----------------------------
------------------------------
Ferd. August Homolka
fecit Pragae 1849
copie nach Math. Alban
------------------------------
(with F.H. circled)
----------------------------------
Ferdinandus Aug. Homolka
Fecit Pragae. 18 - F.H.
----------------------------------
HOMOLKA, FERDINAND JOSEPH
Born 1810. Pupil of brother Emmanuel Adam. Worked at Neu Bydschow, 1837-1843; and at Kuttenberg (Kuttn Hora in Bohemian), 1843 to his death in 1861. A thinker and experimentalist. Tried to create a comparatively new model which he exhibited at Munich in 1854. Minuteness of finish in workmanship and varnish challenge comparison with the Italian masterpieces. Tonal quality hard and harsh owing to undue thickness of wood. Wisely modified this procedure in building later instruments, and these, strongly wooded as they are, are now coming into their real tonal quality of sweetness and strength. Dark red or yellow varnish Extremely elegant model. Scroll has gracefully flowing curves.
--------------------------
Ferd. Jos. Homolka
v Kutn Hore. 1857
--------------------------
----------------------------------
Ferdinand Joseph Homolka
in Neubydzov.
Anno 1842
----------------------------------
----------------------------------
Ferdinand Joseph Homolka
in Kuttenberg. Anno 1846
----------------------------------
HOMOLKA, FERDINAND JOSEPH (2)
Born 1842. Died in 21st year. Son and pupil of the preceding. Made few instruments, but they have qualities that attract the attention of experts.
HOMOLKA, JOHANN STEPHAN
Born 1800. Brother of Ferdinand. Professional musician who interested himself in violin making. Gained experience in the workshop of Stoss. Worked at Kuttenberg and Prague. Died 1883. Least talented member of the family. Workmanship shows a certain impatience prejudicial to great achievement. Not a genius either, in varnishing.
--------------------------
Johann Homolka
Instrumentenmacher
in Prag
--------------------------
-------------------------
Johann St. Homolka
fecit Pragae Ao.
1851
-------------------------
-------------------------
Jan. Homolka
v Kutn Hore. 1882
-------------------------
HOMOLKA, VINCENZ EMMANUEL
Born 1826. Son and pupil of Emmanuel Adam. Worked at Velvary, 1851; spent a short time in Prague and Budapest; worked in Vienna, 1854-1858; returned to Velvary (Welwarn), 1858. Died 1861. Another talented maker whose industry was fruitful of splendid results. Fastidious in choice of wood and plentifully used it. Rich looking dark red oil varnish completes a first-class construction. His violins have not met with the encouragement their merits deserve, a reflection on the taste and judgment of connoisseurs (who claim to be collectors of what is valuable), yet ignore almost entirely the productions of Homolka, whilst expending large sums in acquiring those of Italians. We would not exalt either to the prejudice of the other; but certainly some measure of justice could be awarded to the Bohemian without taking anything away from the southerner.
----------------------------
Vincenz Em. Homolka
Anno 1847
----------------------------
---------------------------
Vincenz Homolka
Welwarn, Anna 1851
---------------------------
----------------------------
Vincenz Em. Homolka
Viennae Anno, 1854
----------------------------
HOMOLKA, WENZEL
Born 1798. Pupil of his brother Emmanuel Adam. Worked at Velvary. Also made guitars. Died 1850.
-----------------
W. Homolks
Houslar
----------------
HONE, P. A.
First instrument dated 1901. Own design - body length 14 inches. Robust construction. Varnish of own formula, red, orange and yellow shades.
-------------------------------
Made by
P. A. Hone
Violin Maker & Repr.
137 Bulls Head Lane
Coventry. 1950. No. 20
-------------------------------
HONIG, K.
Worked at Sofia (Bulgaria), 1925. Little known.
HOOF, ANTHONY VAN
Born 1901. Son and pupil of Alphons. Professor at the Cremona School, Amsterdam, 1933. Settled at Antwerp, 1943. Workmanship and modelling entirely similar to the productions of father.
---------------------------------------
Vermardigt door Ant. van Hoof
Antwerpen. Anno 1946
---------------------------------------
HOOF, ALPHONS VAN
Born 1878. Principally trained at Markneukirchen. Worked at S Hertogenborch (Holland), 1920; at Borgerlout, near Antwerp, 1923; also at Tilburg and Antwerp. Died 1936. Produced about 150 instruments. Clever copies of a Gobetti, Seraphino, Storioni and Stradivarius. Not instruments of commonplace ostentation with mawkish varnish but really refined replicas altogether acceptable to any connoisseur. Tonal quality completely satisfying.
-----------------------------------
Aures te Fidibus Juret Oblec
tare Canoris
Alphonsiuns Van Hoof
Liutaro fecit Antverpiae 19-
-----------------------------------
------------------------------------
Alphonsius Van Hoof Liutaro
Fecit Antverpiae Anno 19-
Secundum
Santo Seraphino
Venetiis
------------------------------------
(beautifully scrolled like that of Seraphin)
HOOM, LARS
Worked at Christiania, 1865-1892. Excellent modelling; yellow varnish.
HOOTON, JOHN
Born at Pemberton, near Wigan (Lancashire), 1873. First instrument produced in 1921. Modelling after one of Joseph Hill, also occasionally Stradivarius. Dark brown varnish. Enthusiastic amateur whose workmanship is unfortunately not altogether satisfying.
---------------------------
John Hooton (Maker)
15 Eastwell Road
Ashton-in-Makerfield
---------------------------
(typed)
HOOVER, JOHN P.
Cabinet maker. Born 1847. Died 1925. Resident at Auburn (U.S.A.) Made about 100 instruments having an appearance and tonal quality which, according to the usual passing of time, should be soon coming into vogue.
---------------------------------------
John P. Hoover, Auburn, N. Y.
Faciebat Anno 1881
---------------------------------------
-------------------------
John P. Hoover
Maker
Auburn. N.Y. 1897
-------------------------
HOPF
Thousands of commonplace violins stamped with this name. Trade mark of many manufacturers. Name sometimes burnt into the instrument below the button and sometimes impressed on sealing wax placed in the same position. Beware of these spurious Hopfs.
HOPF
Worked at Josefstradt (Bohemia), 1860-1880. Inventor of a violin tenor.
HOPF, CARL AUGUST
Born at Klingenthal, 1832. Died 1918. Worked at Brunndbra (Saxony), 1859-1918. Son and pupil of Carl Friedrich. Mere copyist of fathers well-known model. Branded C.A. Hopf.
HOPF, CARL FRIEDRICH
Born 1811. Died 1892. Worked at Klingenthal and at Brunndbra from 1862. Originator of the Hopf model; known as Hopfgeigen. Workmanship completely desirable and helps to make us understand how the name became so popular. Nut brown varnish.
Branded inside on the back C.F. Hopf.
HOPF, CASPAR
Probably the best maker in this prolific family. Born at Graslitz, 1650. Worked at Klingenthal, 1681 to 1711, the year of his death. Founder of the Klingenthal school, and had many pupils. Instruments (though not entirely characteristic of the Hopf form), modelled on large proportions and quite unusually broad for violins of that period. Always used excellent acoustical wood. Tone not generally penetrating but frequently rather sweeter than is anticipated from viewing the model. Probably the first to brand the name Hopf. In winter months he travelled from market to market to dispose of his productions.
HOPF, CHRISTIAN AUGUST
Worked at Klingenthal, 1782. Made two classes of instruments, cheap affairs for dealers and others of a higher grade. Modelling generally very flat, too flat for real artistic appearance. Frequently the best old wood. Nut brown or light orange varnish, the former of rather poor and muddy quality. Backs sometimes treated to capricious workmanship, far from pleasing. Often one piece bellies as well as backs. The cheap examples mostly without purfling. 10.
Branded C.A. Hopf or Hopf on the inside of back. Occasionally the following label (written): -
----------------------------
Christian August Hopf
Violinmacher in
Klingenthal, 1782.
----------------------------
HOPF, CHRISTIAN DONAT
Worked at Klingenthal, 1716-1736. Favourably copied the style of Caspar, and being thus recipient, attempted no step in individuality. Broad flat pattern, and not so angular as some of the Hopfs. The tone gives these instruments incontestable claim to be considered among the best of this family. 20 (1930).
-----------------------------------
Christian Donat Hopff
Violinmacher in Klingenthal
Ao 1736
----------------------------------
(German lettering)
Branded Hopf on the back.
HOPF, DAVID (1)
Worked at Klingenthal, 1790-1820. One mans work might often suggest the influence of another without being necessarily an absolute copy. A typical example of this is found in these instruments. They have the Hopf traits, but also one or two divergencies. Blocky outline, middle curves far from elegant, and lower bouts very broad. Sides frequently built too high, making the wrong air space inside. Though built of large proportions and of medium arching, the tone only seems powerful to the performer, and in reality has very little penetrative force. Quite possibly this is due to the probable thinning of belly which, now that the wood is dried and porous, has rendered the tone hollow, although to a certain degree clear. Often widish grain wood for tops, but occasionally fine grain also; and small flamed maple for backs. In workmanship he accomplished nothing out of the ordinary, sometimes even bordering on slovenliness. Soundholes not particularly attractive in stem or curves, geherally small. Rather long and unnaturally posed scroll. Red brown varnish of fair quality but sometimes also thick and without lustre. Notwithstanding the blemishes enumerated, specimens have realised 20 to 30.
Branded Hopf on the back.
--------
David
Hopf
--------
---------------
Dafid Hopf
---------------
Violas of 38.2 cm. body length. Pretty old gold varnish.
HOPF, DAVID (2)
Worked at Leitmeritz (Bohemia). Instruments somewhat following the Techler modelling. Branded David Hopf or David.
HOPF, DAVID AUGUST (1)
Worked at Klingenthal, 1762-1786. The most characteristic representative of the family. Violins belonging to the genuine Hopf model, exhibiting German proclivities with super induced Italian touches. Originated the square lettering brand HOPF.
-------------------------------------------
David August Hopf, Klingenthal in
Sachsen. Donnerstag den 1786
-------------------------------------------
(written)
HOPF, DAVID AUGUST (2)
Worked at Zwotenthal (Saxony), 1829. Similar style to the preceding, but not so good, and the defects of workmanship weigh down the merits of the tone.
---------------------------------------
David August Hopf Zwotenthal
Sachsen im Vogtland 1829
---------------------------------------
(written)
HOPF, DAVID CHRISTIAN
Worked at Quittenbach near Klingenthal, 1730-1780. Member of the violin makers Guild at Neukirchen. Not an attractive model, little grace runs through the harmony of its broad lines. There is no conflict of opinion with regard to the poorly conceived sound-holes, which seem to be the work of a noviatiate. Yet, the scroll is splendidly posed and carved. Fairly good quality brown varnish of dark and light tints, sometimes having a touch of red. Frequently fine grain spruce, and rather pretty figured maple. One piece bellies usually, as well as one piece backs. Excellent tone if not exercised by the bravura player. 25.
--------------------------------------------
David Christian Hopf Musicus
Instrumentalis in Quittenbach, 1750.
--------------------------------------------
HOPF, F. C.
Worked at Quittenbach, 1800-1809. Double basses superior to violins.
----------------------------------
Friedrich Carl Hopf Geigen
und Bassmacher zu
Quittenbach. 1805.
----------------------------------
HOPF, F. E.
Worked at Quittenbach, 1761-1779. Though of conventional design, the principles of modelling are well thought out. Workmanship approaches considerable elevation of artistry. Instruments very scarce.
----------------------------------------------------
Friedrich Erdmann Hopff
Musicus Instrumentalis in Quittenbach 17-
----------------------------------------------------
HOPF, FRIEDRICH WILHELM
Worked at Zwotenthal (Saxony), 1790-1820. He only deigned to follow in the sometimes uncertain steps of predecessors and contemporaries.
----------------------------
Fr. W. Hopf
Instrumentenmacher
in Zwotenthal
bey Adorf in Sachsen
----------------------------
HOPF, GEORG FRIEDRICH
Worked at Mittenwald. His contributions maintain the distinctive character of Saxon work on which few Hopf traits will be found. Workmanship has the spirit of the earnest craftsman. Sound-holes and scroll show considerable facility in handling and are of good design. Altogether pleasing instruments with an appealing and sensitive tone.
------------------------------------
Giorgius Hopf in Mittenwald
an der Iser. An. 1783.
-----------------------------------
HOPF, JOHANN CHRISTIAN
Worked at Klingenthal, 1747-1776. Instruments following the familiar model of the family. Do not deserve any special approbation, though the varnish is perhaps slightly more transparent than that of some of the other Hopfs.
HOPFF, FRIEDRICH GOTTFRIED
Worked at Klingenthal, 1739. Died 1770.
HOPKINS
Resident at Worcester, 1850-1875. Workmanship lacking neatness, wood artifically treated, consequently no exuberance of tone. Exhibited (London 1862) a double bass with a mobile bar which raised or lowered the pitch.
HOPKINS, E.
Born 1915 at Portsmouth. Received some violin making instruction from a local violin maker - A. Hatfield. Strad model, amber varnish. Nice workmanship and tone.
-------------------------
Instrument made by
Portsmouth 19
-------------------------
(printed, old English lettering, with name handwritten in middle)
HR, E.
Worked at Klingenthal (Saxony), 1790-1796. Instruments very scarce. A maker who disregarded the temptation to thin the wood like many of his contemporaries in order to get sweetness of tone. Being sedulous only in relation to what would last and improve, he left a few violins which are now at their meridian.
-------------------------
Engelbert Hr
Geigenmacher
in Glingenthal 1793
-------------------------
HORENSTAINER
see HORNSTEINER.
HORIL, JACOB
Bohemian. Worked at Vienna and Rome, 1720-1760. There are a good number of makers whose work drifts into a somewhat cheap mannerism in which they lose all sense of good modelling, effective varnishing, and tonal quality. This type should be scotched and prevented from circulating, as it is such insincere and superficial work that it is neither true to art or to those who profess to uphold it. Instruments of Horil belong to this class, though the workmanship is fairly reasonable. Not of much value and have an appearance strongly Tyrolese in character. Either yellow or light orange varnish. Best specimens may each realise about 20 and may please a few advocates of that particular school, but indubitably, the maker lampered with the inside in the various ways and tricks known for prematurely ageing the tone, therefore the purchasers cannot hope for anything but weakness of tonal power.
------------------------
Jacobus Horil fecit
Viennae Ao. 1739
------------------------
-----------------------
Jacobus Horil fecit
Romae an 1759
-----------------------
------------------
Jacobus Horil
Romae. 1747
-----------------
Branded J. Horil. (J. looking like a T.)
HRLEIN, KARL ADAM
Born at Winkelhof near Wrzburg (Bavaria), 1829. Pupil of Joseph Vauchel; worked three years at Vienna with Ahton Hoffmann and Lembck. Established at Kitzingen (Bavaria), 1853; removed to Wrzburg, 1866. Died there, 1902. Repairer to the Duke of Sachsen-Meiningen. Modelling sometimes Stradivarian but more his own - in every way worthy of the most admiring regard, though there are a few verging on the mediocre. Scroll and sound-holes well carved; workmanship superlatively neat. Used oil and alcoholic spirit varnish. Made the viola-alta of Hermann Ritter according to the new principles set up by the inventor.
--------------------------
Repari K. A. Hrlein
aus Winkelhof, 1850
--------------------------
---------------------------
K. A. Hrlein invenit:
Wrzburg
---------------------------
------------------------
Karl Adam Hrlein
fecit in Kitzingen
1857
------------------------
--------------------------------------------------
Hermann Ritter invenit: privileg. No. 260
K. A. Horlein fecit Wrzburg, 1891.
--------------------------------------------------
HORN, FRANZ
German. Worked with brother Joseph at Apatin (Yugoslavia), 1836-1875. Specialised in making double basses.
HORN, FREDERICK A.
Established at Loami (Illinois), 1913. Last violin dated 1924. Outline altogether splendidly designed. Arching and proportions show the assiduity of real skill. Especially fine workmanship. As a technical indication of this neatness, the scroll may be particularised. Sound-holes consummately drawn and accurately positioned. Lovely varnish of golden brown and chestnut red shades. Tonal quality smooth, flexible and strong in brilliancy. 30.
The maker frequently stated that his violins demonstrated that neither age nor use have any beneficial influence on tone - also that they are built right and do not need the so-called playing-in - and finally that their perfect response, articulations and beautiful tone are inherent and not acquired. Author of a booklet called Modern Violins.
------------------------
Frederick A. Horn
Maker
Loami 1908 Ilin.
------------------------
HRNING, WOLDEMAR
Born 1857. Resident at Chemnitz (Saxony). Cellist in the Municipal Orchestra. Intense scrutiny of Cremonese art imbued him with a desire to build instruments on its traditions. Together with an imagination towards independent lines he accomplished much, and his instruments have been highly praised by competent judges and solo players. A learned, and very technical connoisseur who was also particularly interested in the restoration of old instruments.
HORNSTEINER, ALOYS
Worked at Mittenwald, 1736-1744. Ordinary type, nothing outstanding.
-----------------------------------
Aloys Hornsteiner, Geigen
macher in Mittenwald, 1741
-----------------------------------
HORNSTEINER, ANDREAS
Born at Mittenwald, 1763. Worked from 1786-1810. Klotz modelling.
HORNSTEINER, ANTON
Worked at Mittenwald, 1760-1793. Modelling based on a combination of the Klotz and Amati, particularly the waist. Workmanship nothing beyond the ordinary. Brown varnish. 10 (1927).
---------------------------------
Antonius Hornstainer
in Mittenwald. Anno 1793
---------------------------------
Sometimes signed and dated under the table. 45, 1959.
HORNSTEINER, FRANZ
Worked at Mittenwald, 1782-1820. Modelling freely belongs to the Klotz. Infused the style of Jais in the scroll. Yellow, or brownish-yellow varnish. Violas of rather flattish arching. Body length, 38.5 cm.
--------------------------
Franz Hornsteiner in
Mittenwald. 1819
--------------------------
(written)
HORNSTEINER, FRANZ GEORG
Worked at Mittenwald, 1790-1800.
------------------------------------
Franz Georg Hornsteiner
Mittenwald an der Iser, 1795
------------------------------------
(written)
HORNSTEINER, GEORG (1)
Worked at Mittenwald, 1735-1760.
-----------------------------------
Georg Hornsteiner in
Mittenwald an der Iser 1735
-----------------------------------
HORNSTEINER, GEORG (2)
Worked at Mittenwald, 1783-1817. Sometimes broad outline and rather high arching; but occasionally a smaller pattern of medium arching, and about 3/8 inch shorter in the body than the usual full size. Red or red-brown varnish. Fine even grain spruce for belly, pretty small curled maple for back - often quite plain material. Pleasing tone but without brilliance. 30. 60, 1959.
-----------------------------
Georg Hornsteiner
Geigenmacher u. Hnd
ler in Mittenwald an
der Iser. 1783
----------------------------
HORNSTEINER, IGNAZ GEORG
Born 1767. Son of Anton. Worked at Mittenwald, 1788-1804. Workmanship offers potential excellent tone; red, or brownish red varnish.
HORNSTEINER, JOHANN
Worked at Mittenwald, 1816-1830. Surrendered most of his time and energies to producing for dealors. The few violins he constructed under the guidance of a more artistic conscience and labelled with his name, are seldom seen. These have pretty wood, good modelling, and excellent tone.
---------------------------------------------------
Johan Hornsteiner
Geigenmacher in Mittenwaldt an der Iser
1822
---------------------------------------------------
(written)
HORNSTEINER, JOHANN (2)
Born 1887. Trained at Mittenwald. Worked with father (Johann, born 1863), at Passau (Bavaria), 1903. Died 1925.
HORNSTEINER, JOHANN (1)
Born at Mittenwald, 1863. Worked with Edler (Frankfurt) and Mathias Neuner (Berlin). Went to Chicago. Employed by Lyon and Healy; and in 1931 by Rudolph Wurlitzer. Died 1952. Made over 300 violins and 15 cellos, Stradivarian modelling generally. Invariably plain, but acoustically good wood. Rather thick yellow-brown varnish. Did repair work for many world famous virtuosi.
HORNSTEINER, JOSEPH (1)
Worked at Mittenwald, 1730-1780. Imperfect outline to our way of thinking, though we are willing to admit prejudice against this type. Arching has no sense of real freedom. No adroitness about the cramped looking scroll. Sound-holes indicate a hopeless point of inferiority in grace. Entire workmanship makes no pretension whatsoever to any uncommon degree of refinement. We condemn them as instruments of uncultivated talent, rightly superseded by myriads of superior specimens from the same town. This maker should have thought more for the future and less of large productivity. Feeble brown or yellow-brown varnish. Tonal quality weak in the extreme, and muddy. 10 flatters such an assemblage of semi-vulgar conception. Talent better directed towards double-basses. Cellos altogether too thin in wood.
---------------------------------------
Joseph Hornsteiner, Musicnt
in Mittenwald an der Iser. 1735
---------------------------------------
(decorative border)
HORNSTEINER, JOSEPH (2)
Son of the preceding. Worked at Mittenwald, 1785-1830. Similar modelling to that of father, but much superior workmanship. Arching and scroll altogether physically healthier. Demeanour of sound-holes more artistic. Brown varnish of a sufficiently good texture to create mild gratification. Some connoisseurs give him the place of honour in this family.
---------------------------------------
Joseph Hornsteiner, Musicant
in Mittenwald an der Iser. 1804
No. 101
---------------------------------------
HORNSTEINER, JOSEPH (3)
Worked at Mittenwald, 1810-1825. Modelling of rather large proportions but with no excess of design. Workmanship brings no discredit to his name. Good acoustical wood though not always prettily figured. Yellow-brown varnish of fairly good texture rather meagrely applied.
----------------------------------------
Joseph Hornsteiner
Hof Schmid in Mittenwald 1818
----------------------------------------
(written)
HORNSTEINER, JOSEPH (4)
Born at Mittenwald, 1853. Studied at the Violin-Making School, 1866-1869. Established own workshop at Berlin, 1888. Modelling entirely in the Mittenwald style. Colour and application of varnish quite similar to the other Hornsteiners. Retired in 1909. Business carried on by Pliverics under the name of Hornsteiner Nachf.
HORNSTEINER, JOSEPH (5)
Son and pupil of Kaspar. Born at Seefeld, 1809. Worked at Volderwald (Tyrol). Died 1889. Modelling rather nicely conceived. Artistry underlines most of the workmanship. Fairly thick brown varnish, not heavily applied. Produced a few violas of medium size.
----------------------------------
Joseph Hornsteiner
Geigen und Zittermacher in
Volderwald nchst Hall in
Tirol. 1848
----------------------------------
HORNSTEINER, KASPAR (1)
Worked at Mittenwald, 1790-1800. Good exponent of Tyrolese style. Modelling and workmanship hold out fair promise of success in the matter of tonal quality.
-----------------------------------
Kaspar Hornsteiner
Mittenwald an der Iser 1794
-----------------------------------
(written)
HORNSTEINER, KASPER (2)
Born at Mittenwald, 1778. Son and pupil of Anton. Worked at Seefeld (Tyrol), 1807; and at Kreuzhusel, 1835. Died 1857. Modelling based on a Stradivarian outline and Klotz arching. Late period instruments of flatter arching, and have rather an effectively clear tone. Known locally as the Kreuzhusel-violins to differentiate them from the ordinary Tyrolese type. Yellow varnish somewhat sparsely applied.
-------------------------
Kaspar Hornsteiner
in Seefeld
Geigenmacher 1818
--------------------------
(written)
HORNSTEINER, MARTIN
Worked at Mittenwald, 1765-1810. Stradivarian modelling, rather broad and fairly flat. Usual class of Tyrolese workmanship. Often pretty one-piece backs. Orange-brown varnish of a warm looking nature. Tonal quality rather even, but not especially large. 20. Produced a few violas of 15 inch body length.
-------------------------------------------
Martin Hornstainer Lout und
Geigenmacher in Mittenwald 1765
------------------------------------------
(decorative border)
HORNSTEINER, MATHIAS (1)
Worked at Mittenwald, 1737-1781. Model of medium arching not altogether without attractiveness of design. Scroll and sound-holes sometimes elegant. Handsome back and ribs, often fine grain belly wood. Fairly rich reddish-brown varnish. Tonal quality surprisingly clear. 25. 80, 1959.
---------------------------------------
Mathias Hornstainer
Geigenmacher and Hofschmied
Mittenwald. 1741
---------------------------------------
-----------------------------
Mathias Hornstainer
Lautund Geigenmacher
in Mittenwald
----------------------------
-----------------------------------------
Mathias Hornstainer Musicant
und Geigenmacher in Mittenwald
-----------------------------------------
(decorative border)
HORNSTEINER, MATHIAS (2)
Worked at Mittenwald, 1760-1808. Nicknamed Dax. Best and most celebrated of the entire family. Amatese-Stradivarian outline, rather attractive. Generally of medium arching, giving the typical Tyrolean appearance. Well-known characteristic of the design is the slight shoulder droop. Middle bouts never deep or long. Edges neatly rounded, margins never prominent. Scrolls often without dignity, never large or robust, occasionally altogether stiff and inartistic. Sound-holes vary, sometimes of Stainerish straightness, but longer, often unequally positioned, but never wholly ungraceful. Purfling not always neat and regular, the black element being much thinner than the white. Belly wood generally of very fine narrow grain; backs and ribs usually of moderately flamed material. Occasional instruments have wide-grain spruce and rather plain maple. Three shades of varnish - pale golden-yellow, dark golden-brown, and a reddish-brown; the latter seemingly his particular fancy. Never otherwise than thinly applied, but of excellent texture. Tonal quality often of genial warmth, never brilliant, and occasionally dull. 35 (1930). Produced a few good toned violas somewhat following the Guarnerius model as well as that of an Amati. Body length, 15-1/4 inches. Cellos also of rather warm and flexible tone. Best period of productivity, 1765-1795. 90, 1959.
-----------------------------------------------
Matthias Hornsteiner
der Geigenmacher in Mittenwald 1770
-----------------------------------------------
-------------------------------------------------
Matthias Hornsteiner Grfiicher
Geigenmacher und Hndler. Mittenwald
fecit anno 1792
-------------------------------------------------
-------------------------------------------------
Mathias Hornsteiner Geigenmacher und
Hofschmied in Mittenwald an der Iser
Anno 1803
-------------------------------------------------
(rectangular; German lettering)
Some of earlier date, same wording, are more square, with a kind of copperplate lettering.
-------------------------------
Mathias Hornsteiner
(Gratz) Geigenmacher u.
Hndler in Mittenwald.
an der Iser. 1793
------------------------------
(Gratz) seems to be a corruption of Grflicher - alluding to his employment by some local Earl or Count.
HORNSTEINER, NICOLAUS
Worked at Mittenwald, 1775-1782. Amatese-Klotz modelling, of medium arching. Brownish red varnish. Mellow tonal quality without much real clarity. 25.
HORON, C. A.
Established at Stockton (U.S.A.), 1920-1936.
HORRIDGE, WALTER PERCIVAL
Born 1875. Wood-carver. Resident at Stamford (England), 1924. Pupil of Scholes at Rushden. Violins of attractive appearance. Stradivarian modelling of good craftsmanship.
HORVATH, JULIUS D.
Born in Hungary. Worked at Providence (U.S.A.). Established at New York, 1920. Brought out violins under the name of Philamona (made in Europe, shipped to him in the white, regulated and treated with his widely advertised filler, a special process of equalising the densities of woods and a varnish composed of several unusual ingredients) and claimed to rival the Cremonese tone. Published a brochure of 80 pages titled Violin Facts and Fancies which offers expansive detail of his wood impregnation. Violins of customary Stradivarian modelling, body-length 14 inches. Varnish (very transparent) of various shades from a yellow ground, somewhat thinly applied, with worn appearance, etc. Tone generally not uniform, often thinnish (though very clear) in the upper register, certainly far removed from the old Italian.
-------------------------------------------------------
No. Special 1924 Philomena
Julius D. Horvath
1861 Madison Avenue, N. Y.
--------------------------------------------------------
For some details of his impregnation, see under Varnish.
HS, ANTON
Worked at Prague, 1682-1707. Principally known for viola damores and lutes. Violins maintaining considerable superiority in workmanship and tone.
---------------------------------
Antonius Hs
Lauten und
Geigenmacher in der Alten
Stadt Prag A 1699
---------------------------------
HOSKINS, JAMES
Amateur. Resident at Camerton (Somerset), 1810-1842. Violins and cellos with no outstanding workmanship, also without anything approaching mellifluent tone.
HOSP, GEORG (1)
Worked at Mittenwald (Bavaria), 1750-1786. Name sometimes given as Hofp and Hosz. Possessed a clear and definite notion of what he was aiming at, and attained very desirable conceptions of graceful modelling. Judicious selection of wood came more appropriately under his consideration than many of his contemporaries. Backs frequently very handsome. Reddish brown varnish of warm transparency, quite opposed to the usual Bavarian dull shade, but really brilliant in contrast. Tonal quality distinctively mellow and certainly very responsive as well as being of satisfactory resistance. 30. Also many light-toned violas.
---------------------------------
Georg Hosp in Mittenwald
1768
---------------------------------
--------------------------------
Georgius Hosz in Mitten
wald an der Iser An: 1783
--------------------------------
(italicised lettering, with decorative border)
HOSP, GEORG (2)
Son and pupil of the preceding. Born at Mittenwald, 1755. Died 1797. Altogether similar work to that of father and used the same label.
HSS (HSZ), RUDOLPH
Worked at Munich, 1679-1738. Principally made lutes and viol-da-gambas. Instrument maker to the Bavarian Court. Violins and violas academically built on the orthodox Stainer model - very occasionally favoured lower arching. Workmanship merits considerable praise. Antique style of scroll not unlike one of Testore. Light golden-brown varnish without much fire. Generally broad-grain top; and two-piece back of maple showing birds-eye marking. Sweet and responsive tone meeting with accustomed commendation of amateur quartet players. 35. Alto viols with flat backs, sloping in the upper part. Sound-holes, wavy like serpents. Peg box terminating in a blind-folded head, and other fanciful designs. Five strings. Reddish brown varnish. Length, 30-1/2 inches; width, 9-1/2; depth, 27/8. Viol damours with seven ordinary strings and seven sympathetic; head cut open at the back.
--------------------------------------------
Rudolph Hss
Ihro Churfrstlichen
Durchl: Hof Lauten und Geigenma-
cher in Mnchen.
Annol682
--------------------------------------------
(German lettering)
-----------------------------
Rudolph Hss Hof
Lautenmacher in Mn-
chen, 1708
----------------------------
HOUFFLACK, G.
Born 1887. Pupil of Joseph Chardon. Became an expert and dealer in old instrunents, 1910 at Paris. Started making violins, violas and cellos, 1934.
-------------------------------------------
Gabriel Houfflack
Expert-Luthier Paris. Annee 19. .
-------------------------------------------
HOVIS, ALFRED T.
Pupil of B. S. Bretch (Oswego). Established at Tulsa (Oklahoma). Stradivarian and Guarnerian outlines radiated by uniform arching, brilliant dark yellow or red-brown varnish, nicely rounded scrolls, sound-holes also neatly carved. Commendable tone quality.
-------------------------------
Alfred T. Hovis. Maker
Tulsa, Okla. 1926
-------------------------------
HOWARD, FRANK HERBERT
Born at Nottingham, 1868. Served an apprenticeship as a designer of lace curtains. Possessed aptitude for tool manipulation, and became a cabinet maker. Commenced experiments in violin building at the age of 17 and set up as a professional in 1894. Settled in London, 1917. Elected, after keen competition, instructor of violin and bow making at the Northern Polytechnic, 1919; and at the Islington Training Centre for disabled soldiers. Recognised as a particularly able teacher, many of his pupils now well established in different towns. Died 1930. Produced about 100 violins, also several violas and cellos. Mostly Stradivarian and Guarnerian, occasionally one combining the several types. Excellent workmanship though not the acme of refinement. Well cut scroll, rather broad purfling. Bass bar set low down in the instrument, thus bringing the heaviest part nearer the centre of the bar, also leaving the upper bouts more free to vibrate, this method possibly enhances tonal freedom of the higher notes on fourth string. Never favoured the use of very old wood but preferred that which had been properly seasoned for 20 years, leaving it to further mature as instrument was played on, thus giving it a healthy and vigorous future. Had little faith in the amber varnish theory, considered its texture (if made entirely from fossil gum amber) as too hard and flinty to give a free tone. Made various experiments on the knotty question of varnish and tone, ultimately formulated a common resin oil preparation with a slight percentage of the harder gum mastic to counteract the softening of the resin under the warmth of the hand. Achieved highly gratifying results in sonorously free and reedy tonal quality. Application of varnish very skilfully done, and never over-surfaced.
Stamped his name on several bows valued at two guineas, but in this branch he was not very successful.
HOWARD, O. M.
Born 1871. Worked at Alhambra (California), 1915. First instrument produced in 1899. Stradivarian modelling, workmanship comparatively flawless, superfine thicknessing of the plates, excellent soft varnish of various shades, admirable proportions and curves. Experimented profusely in woods. Tried spruce pine, and cedar (from Europe as well as native), for the breasts; maple, mahogany, birch, walnut, and even Spanish. cedar (rather firm and curly from near the root of tree), for the backs. Found each of them satisfactory for particular tonal ideals when the plate attuning was scientifically evolved. Corner blocks made of any soft woods - sugar pine, willow, or cottonwood. Some scrolls of eucalyptus wood.
HOWARTH, H.
Violinist at the theatre in Bury (Lancashire), 1924. Made several interesting excursions in violin structure.
HOWE, ARTHUR W.
Born 1878. Pupil of Boyce at Norwich (N.Y.) Resident at Union (N.Y.), 1897. Made 50 violins up to the year 1940. Cremonese modelling, facile workmanship, especially neat purfling, and good Italian looking varnish. Instruments much praised.
HOYER (Jnr.), ADOLF
Bow maker. Established at Markneukirchen, 1908. 15, 1959.
HOYER, ANDREAS (1)
Born 1729. Died 1788. Worked at Klingenthal and Nrnberg. Considered one of the best of this prolific family. Longish pattern not ungraceful. Medium high arching, not beautifully graduated. Scroll and sound-holes of no particular merit. Generally one-piece backs, not always handsome wood. Yellow-brown varnish not especially transparent. Tonal quality seldom strong, often warmly mellow, but never very clear. 15 (1928). 50 (1959).
--------------------------------------
Andreas Hoyer
Klingenthalensis Me fecit 1754
--------------------------------------
-------------------------------------
Andreas Hoyer. Violinmacher
in Klingenthal, 1759
-------------------------------------
(italicised lettering)
-------------------------------------------
Andreas Hoyer. Organist und
musicalischer Instrumentenmacher
in Klingenthal, 1762
-------------------------------------------
------------
A. Hoyer
------------
(branded inside)
HOYER, ANDREAS (2)
Worked at Quittenbach (Saxony), 1750-1782. Bulgy type of Stainer modelling. Indifferent arching and contour of questionable taste. Scroll and sound-holes of poor design. Edges and general workmanship not well finished. Wood generally too thin, consequently the front is often sadly damaged. Tone not worth much thought. 10.
-----------------------------
Andreas Hoyer
Musicus Instrumentalis
in Quittenbach. 1781
----------------------------
HOYER, ANTON
Worked at Markneukirchen, 1812-1845.
-----------------
Anton Hoyer
aus Prag.
-----------------
Branded A. Hoyer within curved scroll.
HOYER, CARL FRIEDRICH
Worked at Klingenthal and Nrnberg, 1785-1825. Golden yellow varnish, branded C. F. Hoyer.
HOYER, CHRISTIAN GOTTFRIED
Worked at Quittenbach (Saxony), 1760-1770. Violins of meretorious modelling and workmanship. Tonal quality quite pleasing. Brown varnish effectively applied. 75, 1959.
----------------------------------------------------
Christian Gottfried Hoyer. Musicus
Instrumentenmacher in Quittenbach, 1764
----------------------------------------------------
(printed in red)
HOYER, ERNST ADOLF
Worked at Brunndbra, 1867-1914. Instruments receiving the heartiest endorsement of orchestral players. 35, 1959.
HOYER, FRANZ
Born at Schnbach. Worked at Vienna, 1820-1867. Instruments of first period, 1820-1845, rather admirably designed in outline, sound-holes, and edges. Arching carefully graduated between the too much and the too little. Not a bad scroll despite a little rough and ready carving. Varnishing treated with ample justice. 20. Later, entered into partnership with his brother under the name Gebruder Hoyer which developed into the production of trade instruments.
HOYER, FRANZ GEORG
Born at Allersgrn, 1891. Son of a farmer. Went to Joseph Lang at Schnbach to learn the making of cellos and basses. Completed his training at Markneukirchen. Worked at Fleissen (Bohemia), then at Brnn (Moravia), 1915. Settled at Eger (Bohemia), 1916. Produced many violins, violas, cellos and double basses. Lived at Franzensbad, 1919, where (in collaboration with Gustav Schmidt) he worked principally for perfecting the viola. Achieved astonishing results, and the instruments were highly praised by the Berlin and Prague Academies of Art. Returned to Eger, 1922, and soon announced his discovery of a varnish similar and equal to the old Cremonese. Various shades, golden yellow, reddish yellow, yellowish-brown, red-brown, and chestnut brown. Subsequently turned his attention to plucked instruments, which he had considered tonally imperfect, introduced bass bars into guitars and lutes, obtained tonal enhancement of zithers by innovations in dimensions, etc.
--------------------------------------------------
Fr. Georg Hoyer
Geigenbauer und Instrumentenerzeugner
in Eger (Tschecho-Slovakei)
--------------------------------------------------
HOYER, FRIEDRICH
Worked at Klingenthal and Nrnberg, 1785-1820. Nothing particularly fine, neither is there anything wholly indifferent, in fact, these instruments are just the ordinary type of the so-called Tyrolese style. Passable outline and medium arching. Fine grained belly wood, one-piece backs and ribs of pretty material. Scroll undignified and of plain wood. Brown varnish of a light shade. 15 (1929).
--------------------------
Friedrich Hoyer
in Klingenthal. 1817
-------------------------
------------------------
Friedrich Hoyer
in Nrnberg, 1787
------------------------
HOYER, GEBRDER
(Franz and brother). Born at Schnbach. Worked at Vienna, 1820-1869. Not much talent in these instruments. Wood apparently chemically treated and softened by super heated steam process, afterwards mechanically moulded into shape. Thin and fluty tonal quality. Varnishing fairly excellent for a cheap grade of commercial violin.
HOYER, GOTTFRIED
Bow maker at Wilhelmsburg, 1921. 20, 1959.
HOYER, HANS OTTO
Born 1901. Worked at Markneukirchen. Bows having wide circulation in Europe and U.S.A. Stamped H. O. Hoyer. 10, 1959.
HOYER, HERMANN ALBERT
Bow maker at Markneukirchen, 1910-1936. Often too thin towards the point, consequently too heavy at the head. Some finer specimens gaining in popularity. Stamped Herm. Albert Hoyer. 10, 1959.
HOYER, HERMANN WILHELM
Expert bow maker at Markneukirchen. Born 1843. Died 1920.
Stamped H. W. Hoyer. 20, 1959.
HOYER, JOHANN CHRISTOPH
Worked at Klingenthal, 1765-1799. Principal of the Violin Makers Guild, 1792. Good copies of Tyrolerse style; reddish-brown varnish, and sauve tone.
------------------------------------------
Johann Christoph Hoyer
Statuari Gremonalis Bavibat. 1766
------------------------------------------
-------------------------------
Johann Christoph Hoyer
in Klingenthal 1798
-------------------------------
HOYER, JOHANN CHRISTOPH
Worked at Schnbach. Modelling displays strong adherence to Stainer traits. Decided high arching but well executed. Workmanship evinces something more than ordinary manipulation. Scroll especially well-conceived, according to its type. Much taste displayed in the application of a nice shade of brown varnish. Had considerable scientific knowledge enabling him to choose good acoustical wood, subsequently effecting tonal result quite pleasingly.
----------------------------------------
Johann Christoph Hoyer
Violinmacher in Schnbach 17. .
----------------------------------------
(printed in red)
HOYER, J. F.
Worked at Klingenthal, 1750-1780.
------------------------------
Johann Friedrich Hoyer
in Klingenthal 1767
------------------------------
HOYER, JOHANN GOTTLIEB
Worked at Quittenbach, 1730-1760. Non-attractive model, outline indifferently curved, wide and ugly upper bouts, bold scroll, sound-holes of straight stem and large turns, Victoria-plum shade of varnish.
-----------------------------------
Johann Gottlieb Hoyer
Violinmacher in Quittenbach
-----------------------------------
HOYER, OTTO A. (HOYER-PARISER)
Worked several years for Sartory at Paris. Established at Markneukirchen, 1925. Artist bows of exquisite workmanship and design. Strength and elasticity happily combined. Round and octagon pernambuco sticks. Stamped Otto A. Hoyer. Pariser 1922. 25, 1959.
HOYER, OTTO FRITZ
Born 1891. Worked at Stuttgart, Potsdam, and Markneukirchen. Died 1938. Excellent designs and varnish. Cremonese and Tyrolian models.
HOYER, OTTO HERMANN
Born 1869. Worked at Dresden, 1894. Renowned for fine double bass bows.
HOYER, WENZEL
Born at Schnbach, 1833. Surnamed Mart: Wenzl. Died 1900. Good commercial violins modelled after the Italians.
----------------------------------
W. Hoyer, Geigenmacher in
Schnbach b Eger, Bhmen
----------------------------------
---------------------------------------------------
Genaue Kopie von W. Hoyer, Schnbach
bei Eger in Bhmen nach
Antonius Stradivarius
1889 fecit Cremonae 17. .
---------------------------------------------------
HOYLE, EDWARD
Worked at Todmorden, 1881. Several instruments of ordinary modelling, and a few of fanciful design. Oil varnish of different shades, mostly dark red. Heavy tone but not disagreeable.
HRDINA, EDUARD FR.
Worked at Warsaw, 1925. Splendid violins, no capricious innovations, varnish applied with subtlety and an agreeable tone. Also cellos and guitars.
HUBER, HANS
Born at Schaffhausen (Switzerland), 1899. Pupil of Meinel at Basel, 1917-1920. Worked with Sprenger at Frankfort; and with Westerling at Hamburg. Constructed first instrument, 1923. Productivity about eight instruments yearly. Strad modelling of transcendent merit. Splendid arching, and fine finish of the edges. No shortcomings whatsoever detract from the dignity of the scroll. Sound-holes have no infirmities sometimes associated with the ambitious young maker. In the application of the red and reddish-yellow varnish there is a maturity of purpose. Altogether very desirable instruments with an equally desirable tonal quality.
-------------------------
Hans Huber H
Geigenbauer
Schaffhausen 1925
-------------------------
(yellow tinted paper)
HUBER, JACOB
Born 1893. Pupil of Meinel and Zst at Zurich. Established at Ganterschwill (Switzerland), 1918. Very good workmanship.
HUBER, JOHANN GEORG
Born 1741. Died 1770. Worked at Vienna. Violins rather liked in his day, but now deteriorated owing to thin wood. Productivity not considerable owing to premature death in 29th year. Workmanship indicates a capable hand. Most of the wood taken from old viols. Originally golden-brown varnish, now gone very dark. Clear tone, but no vitality whatsoever.
------------------------------
Joannes Giorgius Huber
fecit Viennae 1761
------------------------------
HUBICKA, JULIUS A.
Born at Josefov (Bohemia), 1886. Pupil of F. Spidlen at Moscow. Established at Prague, 1925. Modelling somewhat after the old Cremona makers, but has reference to Austrian style and a little bias towards the Lupot manner. In no instance did he build poorly-imitated instruments. All details splendidly accurate. Dark yellow and red shades of varnish.
------------------------
No. 107
Julius A Hubicka
Prague Anno 1926
------------------------
(large, with a picture of Prague in background)
------------------------------
Julius A. Hubicka
fecit Prague Anno 1919
------------------------------
(Coat-of-Arms on left)
------------------------
Cis 195
Julius A. Hubicka
Prague Anno 1925
------------------------
(with Coat-of-Arms)
------------------------
C 225
Julius A. Hubicka
Prague anno 1927
------------------------
HBLER, JOSEPH
Austrian. Worked 1785-1800. Violins of fair tonal quality, sweet but not powerful. Common Tyrolean style. Brownish varnish. 15 (1925).
HUDSON, GEORGE
Born 1859. Died 1916. Worked at Cremona House, Skegness (Lincolnshire). Produced about 100 instruments. Studied the technicalities of violin making and the problems of varnishing for ten years before producing first instrument. Brought the confluence of ideas into creating a somewhat original outline with arching of geometrically fundamental principles. Amber oil varnish of various shades from yellow to ruby-red, very well applied. Workmanship entirely satisfactory. Branded and labelled. Each instrument numbered. 65, 1959.
HUDSON, GEORGE WULME
Born at St. Pancras (London), 1862. Followed the occupation of jewellers assistant. Studied violin playing with Arthur Payne at the Guildhall School of Music - attained a good reputation as a professional violinist and viola-player. Fascinated with reading Heron Allens well-known book, created ambitions to construct instruments. Produced first violin in 1897. Showed it to the violin maker T. J. Holder upon whom it created an impression so favourable that he recommended him to put his whole heart and time into the art; also extended to him his expert advice, support, and interest. Led thereby to relinquish the jewellery trade, and henceforth his avocation became vocation, thus obeying the call of his musical and artistic faculties and the interesting combination of violinist and maker. Resident at Lower Clapton (London), 1925. Happily working in 86th year at Chessington, 1948. Died 1952. Known to the trade as Carressi. Stands in the front rank of master craftsmen in the creation of his class of work, namely, the unique reproduction of old master instruments. Miracles of the imitators art, practically unsurpassed by any contemporary. Attainment of the highest degree of excellence has placed him in the school of Vuillaume and John Lott. Actually sobriquetted John Lott the second. His stock of old wood often named the pick of the forest. Few words adequately describe these instruments. They are things of beauty, seeing is admiration and hearing is ecstasy. Splendid quality of tone inspiring the performer to reach ideality. Fortunate in having among his friends and patrons, several of the leading professional players who have afforded him very valuable help in the way of suggestions for experiments in tone problems, the most vitally important thing of all, and he truly appreciated their collaboration. Worked very assiduously and produced a very large number of instruments, yet there have been many prospective purchasers waiting for a chance of possessing one. Various shades of finely textured varnish, and application so artistic as to induce forgetfulness that it was done in fairly recent years.
------------------------
G. Wulme-Hudson
1903
------------------------
------------------------
George W. Hudson
London 1915
------------------------
------------------------------
Carressi
George Wulme-Hudson
Fecit London 1924
------------------------------
Some instruments branded. Many specimens bear labels of the masters imitated. Every word we have written is perfectly sincere and true, and (though our estimate may appear very complimentary), not overdrawn, coloured, or exaggerated. Our only regret is that so consummate a craftsman had to traverse the path leading away from classic originality, and thus deprive his name of the exalted status to which it would have undeniably ascended in the future. By imitation, however perfectly rendered, genius cannot realise fully its intensity of desire to express itself. Self expression is the essential to and the quintessence of genius, whereby its manifestation is perfected. To imitate skilfully is a notable achievement, but the imitator still remains a copyist, and cannot hold premier position. What should be hoped and striven for is the triumph of a succession of makers who can create individuality on a rational basis. Many makers direct their attention to the Stradivarian and Guarnerian measurements, etc. but would probably achieve more if they tried to probe what these masters studied. If Bernard Shaw had studied Shakespeare only instead of seeing what Shakespeare had studied, he could not have produced the great play St. Joan, which, for its psychology, is as greatly original as those of the Stratford bard. We feel sure that it must be possible for a modern English maker to construct something truly inspired, something to confound the solemnly bombastic and persistent allegations that modernisms can never equal the ancients no matter how many years are allowed for tonal maturity. 90, 1959.
HUEBER, ANDREAS
Worked at Pesth (Hungary), 1740-1760. Well formed outline, rather identical with the Viennese school. Instruments not showing anything beyond ordinary workmanship, yet there is something pervading the general contour that never fails to win attention, though never forcing it. Also experimented with an original model which has some affinity with that of a Maggini. Varnish of rather poor quality, now gone very dark and opaque.
HUEBER, JOHANN
Worked at Munich, 1692-1713. Workmanship much below the standard of his contemporaries. Wood seldom of good figure.
--------------------------------
Johann Hueber, Lauten
macher in Mnchen 1698
--------------------------------
HUEL, HENRI
Worked at Paris, 1770-1800; also at Rennes. Pupil of Lacote in guitar making. Instrument maker to the French Court. Produced a few violas that show considerable influence of artistry in design. One or two slight blemishes in workmanship are perhaps veniable viewed from his period. Yellow-brown varnish. Better known for large productivity of guitars.
---------------------------------
Au Roi des instruments
Huel
Matre Luthier
Paris
--------------------------------
Some labels very large, and state that he made all sorts of instruments and dealt in every accessory. 80, 1959.
HUET-JACQUET, C.
Worked at Lige, 1927.
HUETTER, LUDOVIC
Worked at Montpellier (France). Died 1930.
HUETTER, MARTINO
Tyrolean. Worked at Rome, 1860. Amatese-Klotz style, violins earning a generous measure of approbation for crystal-clear tone. 150, 1959.
HUFENREITER, FRITZ
Born 1868. Worked at Dessau, 1890-1926. No lack of neat workmanship on these Italian model violins. Brownish red varnish. Excellent tone.
HUFENREITER, WILHELM
Born 1900. Son and pupil of Fritz. Worked at Buenos Aires, 1924. Much esteemed for good workmanship.
HUFNER, THEODOR
Born in Bavaria, 1847. Oboist in the Monaco Symphony Orchestra. Died in 80th year, 1927. Made 20 violins of indefinite workmanship. Strad designs, often thick and muddy varnish.
HUGELSCHAFER, KARL
Born 1877. Worked at Nrnberg. Died 1942. Made good modelled violins, also spent several years investigating problems of varnish and varnishing.
HUGHES, W. GRANT
Born at Quebec, 1877. Resident at Warwick (Canada). Stradivarian and Guarnerian outlines; various archings; effective varnish.
------------------------------
Made by W. G. Hughes
Warwick. Alberta
------------------------------
(H circled; undated)
HUGILL, JOSEPH
Born in Wales about 1838. Emigrated in early years to Canada. Played the fiddle at various dance parties in Ontario. Established a repair shop at Toronto. Died 1910. Produced more than 200 instruments, not particularly ambitious workmanship. Though not beautifully neat, the various difficulties of graceful scrolls and sound-holes have been fairly successfully disposed of, but he might, with advantage, have finished the inside work more minutely. Later dated violins covered with a dark ruby-red oil varnish of good texture. One of his instruments was accepted by Ysaye.
-----------------------
Joseph Hugill
Maker
Toronto. Canada
Anno 1905
----------------------
HUGUNIN
Born at Mirecourt. Worked at Le Havre 1809-1815. Name frequently misspelt as Hugerenin and Hugirenin.
-------------------------------
Hugunin
fecit Portus Gratia, 1810
-------------------------------
HUGUENIN, JOSEPH
Worked at Mirecourt, 1766-1794.
Branded in block letter-
-------------
Joseph
Hvgvenin
-------------
HULINSKI, THOMAS ANDREAS
Born 1731. Died 1788. Pupil of Eberle. Worked at Prague.
Modelling fairly original although he has admirably arranged a touch of the Amati in outline. High arching which creates uncertainty regarding the permanence of a full sonority tone. Finely finished workmanship, not a prominent requisite of his, although we cannot find any absolute blemishes. Scrolls look timid, though fairly graceful, on which the carver seems to have been in continual dread of doing wrong. Small sound-holes. Sometimes a pretty tinted reddish golden varnish, also a yellow and a darkish red, occasionally a brown spirit varnish greatly inferior. Tonal quality never penetrating and round, sometimes of a certain kind of weak sweetness. 20 (1930). Also produced violas, cellos, lutes and harps. Some instruments dated 20 years before he was born. Deception attributable to vendors, and not to any pre-dating by the maker.
-------------------------------
Thomas Hulinzky
fecit Pragae. Anno 1770
-------------------------------
(bearing design of a Griffin holding a lute-shaped instrument, in centre)
----------------------------------
Thomas Andreas Hulinzky
fecit Pragae. Anno 17-
----------------------------------
(without design)
HULL, JOHN JUSTUS
Born 1861. Resident at Forty Fort (Pa.), 1882; Scranton and Kingston later. Selftaught. Guarnerian, and own modelling. American woods. Varnish of own formula - elastic and velvety, golden to red shades, claimed to give an Italian quality of tone. Received praises and testimonials from soloists.
--------------------------
Made by
John Justus Hull
in Kingston Pa-1928
U.S.A.
--------------------------
---------------------------
Made by
John Justus Hull
in Scranton. Pa. 1912
---------------------------
(both written)
HLLER, JOSEPH
Worked at Vienna, 1810-1830. Noted as a maker of pianos. Traded in violins of the ordinary type, probably made for him at one of the factories in Saxony. Three-lined label.
HULSKAMP, G. H.
Born in Westphalia. Settled in New York. Exhibited a new form of violin at the London E position, 1862. Elasticity of the violin body affected by a simple arrangement inserted in the interior of instrument, and brought, by means of a key, into proper relationship with tuning of the strings. Belly and back without any arching, a plan to save the maker from exercising the skill that usually encourages him to build at all. Instead of the ordinary sound-holes, one round hole is placed in the middle just below where the bow moves across the strings, vibrations of the strings being thus brought into direct connection with the body of air within. One foot of bridge rests on belly, the other on a post set upon a rib glued to the back through a hole cut in the belly, without however, coming into contact with the latter. Pressure of strings thus equally divided between back and belly and secures (according to the inventor), larger and freer vibration of resonance body. Altogether an ugly contrivance resulting in nothing but unattractive, unsympathetic, hard and inflexible tonal quality. An absurd innovation meeting its deserved fate in oblivion. Yet, it was highly praised by Joachim, Laub and Becker.
HUMBER, EMILE L.
Born at Epinal (France), 1872. Gained experience at Mirecourt in the workshops of Derazey, Mougenot and others. Worked for Blanchard at Lyons, and for Jombart, Bernadel and Silvestre at Paris. Established own workshop, 1906. Scarcely admits of a doubt whether among all the Parisian makers there is one who produces more attractive instruments than LHumbert. Fine modelling (inspired by Stradivarius, Guarnerius and Amati), altogether enlarging our appreciation of the modern French school. Workmanship carried out in a manner as neatly as it is accurate. Tonal results altogether happy. Oil varnish of various shades from light red to orange red. 100, 1959.
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Emile LHumbert LH
Luthier. 34 rue de Passy
Paris. Anne 1923. No. 56
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Also signed LHumbert.
HUMBERT, LUCIAN L.
Born 1907. Son and pupil of Emile. Splendid modelling, same varnish as that of father.
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Fait par Lucien LHumbert Luthier
34 Rue de Passy. Paris. annee 1949
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HUME, ALEXANDER
Born at Dumfries. Studied the violin with Prosper Sainton in London. Lived at Dumfries, 1884-1912, as a teacher and orchestral player. Pursued violin making more or less as a hobby. Paid yearly visits (in summer months), to the violin centres in Saxony and Bohemia, where he attained considerable skill and mathematical proficiency in construction. Succeeded, in 1907, in manufacturing an absolutely pure gum varnish which forms a perfect preservative against atmospheric decay, and is unsurpassed for its fine soft elasticity, purity and tone ennoblling quality. Worked at Peterborough, 1915. Settled in London, 1917. Died 1941. Produced excellent designs of the Stradivarius, Guarnerius, Guadagnini, Amati and Maggini. Also made a series of violins under normal full size in order to test his theory that a smaller instrument frequently had a clearer and more responsive tone than one of larger dimensions. Until the year 1908, instruments were varnished in uniform shades, orange, red and brownish red, but after that date he favoured facsimiles of old violins, and consummately varnished them accordingly. All details of workmanship very cleanly carried out; every instrument of very handsome wood. Several well-known artists have played on certain of his specimens, and have pronounced them to be truly excellent in every respect and regarded them as splendid substitutes for the ancient types. Each example also meets the exacting requirements of critical connoisseurs. The Amati models voice the tonal quality corresponding to an ideal in quartets, thereby creating the benison of pure delight - master craft conceptions inviting fair trial and comparison, whereby the apportunity is made for players to solve for themselves unaided, the controversial question of the elusive Italian tone, simply by the indubitable evidence of the players own ears, a test open and accessible to all, and in such a test abides the only authority of real and practical value to players and their audition. The so-called oil varnishes in use for the past century, which makers claim to dry in a few hours, must of necessity be of a very hard nature, not conducive to a full and soft tone such as the old violins have. The fact that from 10 to 20 applications are applied in order to get body and brilliance is sufficient condemnation, further, it is nothing more or less than a form of glorified resin, and when once scratched becomes an eye-sore, also has no healing quality owing to its hardness. Hume preferred to use 2 or 3 coats only of the mixture made personally, the body resiliency and soft lustre after the first application considered by him to be quite sufficient except for the particular shade of colour desired. Certainly his Class A instruments have an especially fine brilliancy and easy response, also never anything of the scrappy surface tone often associated with new productions. Bows likewise exhibit his perception of medium weight to get strength and elasticity, usually octagonal sticks.
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Artist Violin
A. Hume
London Anno
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A Hume
Maker
Dumfries
Anno. .
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Akustik Theory
A. Hume. Violin Maker
London. Anno. . No. . .
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A. Hume London
Maker. Anno 19-
Highest awards, London. 1918-24-25
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(with designs of three medals)
As the result of over 30 years experiments and observations he was convinced that the old Cremonese makers used (for the preservation of their violins) a simple gum formula in a partly prepared state as a first application, which preparation certainly impregnated the wood completely. Any further coating must have been the very same mixture probably heated for certain periods in order to produce varied colours - a considerable period being allowed to elapse between the applications, after the primary application especially. Not more than two to four applications having been made in all - the softness of its texture being a prominent feature even today. 80, 1959.
HUME, CHARLES DARLEY
Born at West Hartlepool (Durham), 1865. Gained considerable experience in violin making at Manchester, as well as with Bela in London. Also became a proficient violinist. Produced first instrument at Liverpool, 1883. Went to Australia 1889. Settled at Hawthorn (near Melbourne) as a teacher and orchestral player. Resumed violin structure, 1897. Contra bassist in the Symphony Orchestra, 1924. Completed about 59 violins, violas and cellos. Original and well thought modelling with especially artistic sound-holes somewhat Stradivarian.
Wood tested and chosen for its acoustical excellence which had been carefully stored until brown with age. Clever and painstaking grading of the plates to ensure a responsive tonal quality. Designs of perfect curvature splendidly arched, neatly purfled, amber oil varnish of various shades but mostly reddish brown. Recipient of several certificates of merit at the Melbourne and other exhibitions. Frequently received 35 for a specimen. Nearly every example bears a name such as Kubelik, Marie Hall, Melba, Verbrugghen, etc., and the several virtuosi visiting that country honoured the maker by playing his instruments.
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Charles D. Hume, Maker.
Morang Rd. Hawthorn.
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Gold Medal Melb. Exhibition.
Chas. D. Hume.
No. 39. Maker 1924. Melbourne
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Also made bows up to the year 1918, but none since.
HUMMEL, MATTHIAS
Worked at Nrnberg, 1684-1708.
Viols and guitars - often richly decorated.
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Matthias Hummel.
dauten und Geigenmacher
in Nrnberg. Anno 1701.
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HUMMEL, RICHARD OSCAR
Worked at Markneukirchen, 1895. Killed in the war, 1916.
HUMPHREY, GEORGE
Born 1904. Resident at Arlington (Mass), 1939. Viola player in the Boston Symphony Orchestra, 1949. Specialist in making violas, body length, 16-1/2, impeccable workmanship, all hazards in scroll cutting very successfully overcome. also sound-holes and oil varnish. Deep sonority as well as brilliance in tonal quality. Three models, Guarneri, Landolphi and his own.
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George Humphrey No ( )
Arlington, Mass. 19-
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HUMPHREYS, ROBERT
Born 1859. Resident at Timberland (near Lincoln), 1888-. Strad and Guarnerian modelling - splendid woods, average workmanship.
HUMS, ALBIN
Bow maker at Markneukirchen, 1925. Pupil of Knorr and Prell. Fine artist bows, used by several virtuosi. Some stamped with the name Henri Marteau in addition to his own. 20, 1959.
HNDGEN, MATTHIAS JOSEPH
Born 1805. Worked at Dren (Germany). Organ builder and repairer of stringed instruments. Died 1874. Produced a few very ordinary violins.
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M. J. Hndgen.
Instrumentenmacher
in Dren, 1865.
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HUNDT, HUGO
Resident at Hampstead (London), 1922. Went to Germany, 1923. Modelling and workmanship quite elementary. Wood equally unsatisfying. Reddish varnish, dull and very amateurishly applied. Tone rather surprisingly good. Did not label the first six instruments.
HUNGER, CHRISTOPH FRIEDRICH
Born at Dresden, 1718. Died 1787. Son of Samuel. Pupil of Jauch. Worked at Borstendorf until 1760; then at Leipzig. One of the few makers of that country at that period who successfully symbolised the Stradivarius traits. Due regard given to the symmetrical proportions. Contour, regarded aesthetically, certainly splendid if we are prepared to overlook the slightly stiff appearance of the sound-holes. Scroll beautifully designed, one that should abundantly satisfy by its elegance, the most fastidious of critics. Regularity of purfling quite good. Varnish, originally a clear yellow, now of dark brown appearance altogether rich. Tonal quality generally sonorous and rather large, but never of Italian mellowness. Best period, 1770-1780.
Violas of similar appearance and splendidly wooded. Cellos frequently find a home with solo players. Altogether instruments of considerable beauty and thoroughly excellent tonal quality labelled with Italian names.
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Christoph Friedrich Hunger.
machte mich in
Borstendorff bey Augustusburg, 1755.
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Christoph Friedrich Hunger
als Nachfolger des sel: M.
Hoffmann in Leipzig, 1781.
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HNGER, SAMUEL
Born 1684. Died 1758. Worked at Borstendorf (Saxony). Violins not of particular interest. Talent better employed in the production of violas and cellos, both worthy of consideration.
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Samuel Hnger.
machte mich Borstendorf
bey Augusteburg, 1737.
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HUNGER, RICHARD
Pupil of Hermer. Worked at Halle-sur-Saale (Saxony), 1865. Ordinary designs and workmanship, glossy varnish sometimes, often quite a fresh tone.
HUNNICUT, CHARLES
Born at Wilmington (Ohio), 1867. Pupil of Struble (Washington). Made 60 violins up to the year 1938. Cremonese models. Oil varnish of golden red or orange red. Splendid workmanship in all minute details. Capital tone. Frequently spoken of as The leading maker in Ohio State.
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Copy of Alard Strad.
made by
Chas. Hunnicut.
Wilmington, Ohio.
1928. No. 43.
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(photograph on left)
HUNT, W.
Born in Germany, 1875. Worked at Wanatah (Indiana). Generally Stradivarian modelling, except scroll. Oil and spirit varnish of own formula, also a filler of his own.
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William Frederick Hunt.
Violin Maker.
Wanatah, Indiana, U.S.A.
No. 16 1920.
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(decorative border)
HUNTER, G. FRANK
Born at Bellefonte (Pennsylvania), 1878. Worked with and learned the art from Frederick P. Williams, 1900-1910; and assisted Frank Barstow at the Conn Factory at Elkhart (Indiana), 1915-1926. Head of the factory, 1927. Produced first violin, 1915.
Larger proportion of instruments made for the firms who have employed him, and do not bear his label. Stradivarian and Guarnerian modelling. Workmanship particularised by exactitude and refinement. Various shades of varnish from orange to dark mahogany, but preference shown for golden orange. European woods used, as he found they were easier to work on and gave better tonal results than the American.
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G. Frank Hunter,
Maker.
Elkhart. Ind. U.S.A.
Anno. 19-
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(brown tinted paper, with monogram double-circled)
HUPFER, MAX ALBIN
Born at Sohl (Germany), 1873. Pupil of Todt. Worked for Zimmermann at Leipzig and St. Petersburg.
HURIL, JACOB
Trade instruments purporting to be representative of Jacob Horil. Modelling not particularly attractive.
HURLEY, ARTHUR
Worked at Tondu (Glamorgan), 1880-1900. Several violins, slightly individualistic model.
HUSSON, ALEXIS
Born 1729. Died 1784. Connected with the Thibouville lamy factory at Mirecourt.
HUSSON, AUGUSTE
Born 1872. Worked in London, Lyons and Alfortville (near Paris). Known by the name Suzette. Died 1926.
HUSSON, CHARLES CLAUDE (1)
Worked at Mirecourt, 1845-1872. Specialised in bow making. Stamped Ch. Husson. 15, 1959.
HUSSON, CHARLES CLAUDE (2)
Born at Mirecourt, 1847. Worked for J. B. Vuillaume, Voirin and others. Died 1915. Bows which have found a high reputation. Soloists happily appreciate the comfortable holding and the splendidly balanced strength. Stamped Ch. Husson. 20, 1959.
HUSSON, THODORE
Born 1858. Pupil of Mougenot. Associated with Bonnel at Rennes, 1887. Died 1907. Made 100 violins and 10 cellos - nearly all having the label of Bonnel. Splendid modelling and refined workmanship. Yellow red varnish. 80, 1959.
HUTCHINS, CARLEEN MALEY
Born May 24th, 1911, in Springfield, Massachusetts. Niece of William Harvey Fletcher. Taught science in the New York City schools, then turned to raising two children with violin making as a hobby. Learned violin making first, out of Heron-Allen, then under the instruction of Karl Berger and Simone Sacconi of New York City. To date made 40 violas, 5 violins, 1 cello. The violas follow mainly the models of Gasparo da Salo and range in size from 12in to 17-1/4in. The tap tones of the top and back plates are analysed by an electrical method and the relation of tap tone frequencies is adjusted by careful graduation of top and back for good tone production. (A Study of Tap Tones by C. M. Hutchins, A. S. Hopping, F. A. Saunders; published in The Strad, August and September, 1958.)
The violas have been bought by leading artists both in symphony orchestras and chamber music ensembles.
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Carleen Hutchins
Sus M No.
C H
Montclair, N.J. 19-
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HTTEL, H.
Born at Klingenthal, 1783. Died at Lbeck, 1841. Common work - very dark and unpolished varnish - hollow and shrillish tone.
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Christian Heinrich Httel
Musikal. Instrumentenmacher
in Lbeck, 1826.
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HTTEL, JOHANN HEINRICH
Born at Lubeck, 1816. Son and pupil of C.H. Died 1850. Superior work to that of father, happier in woods and tone, red brown opaque varnish.
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Johann Heinrich Httel
Lbeck, 1845.
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HUTTER, JOHANN
Worked at Gratz (Styria), 1798-1813.
HUTTL, V.
Worked at Reichenberg (Bohemia), 1835-1850. Very ordinary in design and varnish, tonal quality often thin.
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Vincenz Huttl
Reichenberg, 1845.
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(German lettering; decorative border)
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Vincenz Huttl
fecit 1843. Reichenberg No. 7.
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HTTSTEN, OSKAR ALEXANDER
Born 1905. Amateur at Akersjn (Sweden). Excellent modelling. Reddish yellow and reddish brown varnish of brilliant effect.
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O. A. Httsten.
Hotagen. 1950.
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HUYGHEN, THOMAS
Worked 17th century. Viola-da-gamba known, also kits. (One in Stockholm Museum.)
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Thomas Huyghen,
Utrecht, 1662.
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HUYSMANS, AEGIDIUS
Worked at Antwerp, 1670-1695. Unpretentious exemplary designs, splendid red brown varnish, and a warm tone deserving greater acknowledgement than has hitherto been accorded. 35 (1925). 100 (1959).
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Aegidius Huysmans
fecit Antwepiae.
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HYDE, ANDREW
Born 1842. Mechanic whose discoveries assured him a good revenue. Also played the violin from 12th year. Subsequently became fascinated with violin building and with unabated ardour made several instruments solely for pleasure. Ultimately decided on being a professional maker, and settled at Northampton (Mass), 1886. Died 1923. Produced over 1,200 violins, violas and cellos. Many of them magnificent replications of Stradivarius, Guarnerius, Amati, Maggini and Guadagnini. Reproduced the varied characteristics of Italian tonal quality, and the general ensemble proves that he had the real soul as well as handicraft to rival any maker. Varnish also perfectly imitated. Players have eagerly, almost hysterically and triumphantly proclaimed them to be matchless in form and tone.
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Made by Andrew Hyde
Instrument Maker
in Northampton, 1894.
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