LABERTE, MARC
Born at Mirecourt, 1880. Director of the expansive Laberte-Humbert Freres firm. Youth and activity, and a passionate desire to emulate and copy the Cremonese, acted as a spur to conquer the difficulties. Realisation of successful results (totally different from the several hazardous imitations of Mirecourt predecessors) necessitated the possession of valuable masterpieces. Spent two years assembling impeccable specimens of Stradivarius (1702), Guarnerius (1736), Amati (1650), Ruggerius (1690), Guadagnini (1755), Stainer, Gagliano, Testore and others. Undertook the delicate procedure of temporary dissecting these characteristic specimens. Then came the question of choice of woods, so made it essential and indispensable to search for old material seasoned by nature and the open air, having such qualities as to avoid any artificial preparation to obtain resonant mellowness such as practised by some of his predecessors. Compounded a warm and transparent varnish, favourably comparing with the Cremonese. By persistent effort and astonishing conception he then brought out his imitative revelations wondrous replications of the original contours and varnishes, also a definite charm of variegated tonal qualities. Likewise built ’cellos from a Joseph Guarnerius (1713), certain specimens attracting the attention of French virtuosi.
--------------------------
Fait sous la Direction
de
Marc Laberte
Maitre Luthier
Mirecourt France
(Vosges) No. . .
--------------------------
(with two designs of violins)
--------------------------
Copie exacte de mon
Stradivarius 1702
Marc Laberte
No. 88 1922.
--------------------------
(written)
-------------------------------
D’apres mes Stradivarius
1677-1702-1720.
--------------------
Marc Lamberte.
No. XXXX
--------------------------------
(written)
Also bows stamped “Laberte” - fifty shillings.

LABERTE-HUMBERT FRERES
Founded at Mirecourt, 1780, by an ancestor of Marc Laberte. Later expanded by Maurice Emile Laberte (1856-1898). Subsequently united with other firms and advanced to great magnitude, 1920. Owners of the Nicholas, Derazey and other brands. Production of all Italian and French models, violins up to contra-basses. Every conceivable shade of varnish. Everything consistently excellent according to its grade.
----------------------------------------------------
Laberte Humbert Freres.
1922. Mirecourt. No. 850.
Exposition Internationelle. Bruxelles 1910.
Grand Prix.
-----------------------------------------------------
---------------------------------------------
Perfectionne par la Barre l’Harmonie
rationelle. Brevete de L.H.F
---------------------------------------------
With “L.H.F.” in a circle branded in centre of belly.
Also V.J.C.M. branded each side of bass bar.
BLc. S.G.D.G.
Further extension by amalgamation with the Fourier-Magnie Firm, 1925. (See this name.)
All instruments marked “Lutherie d’Art, L.F.M.”

LACARRERE, DOCTOR JULIS LOPEZ
Enthusiastic amateur. Made a quartet of instruments, 1948. Meticulous workmanship and remarkable uniformity of tone.

LACCHINI, LUIGI
Born 1879. Amateur at Lugo (Romagna). Constructed several carefully made violins, good varnish on very old woods, excellent tonal quality.

LACHMANN, ERICH
Born 1886. Worked at Berlin, 1909-1932. Copies of Cremonese and Tyrolian models, workmanship of splendid assurance, scroll and sound-holes deftly cut, varnish (own formula) of warm vitality. £80, 1960.
------------------------------
Erich Lachmann.
fecit Berlin, Anno 1925.
------------------------------

LACOMBE, FILS
Worked at Mirecourt, 1850-1885. Intentional copying of the Vuillaume style and varnish, but rather commonplace representations. Strong and unsympathetic tone. £10.
------------------------
Fabrique de
Lacombe Luthier a
Mirecourt, 1883.
------------------------
-------------------------------------------
Fabrique de Lacombe Fils
Luthier a Mirecourt, Vosges, 1862.
-------------------------------------------

LACOTE, RENE
Guitar maker, called “Stradivari of the Guitar”. Worked at Mirecourt and Paris, 1818-1850. Some violins known, branded “Lacote a Paris”.

LA CROIX, JOSEPH NICHOLAS
Born at Northfield (Minnesota), 1870. Studied independently through books and models. First instrument produced in 1888. Subsequent models principally Stradivarian in outline but of variegated arching according to the particular type of tone desired. Installed modern machinery for making violins at Havre (Montana), 1920. Instruments produced at the rate of ten per day. All tonal qualities from the Amati to the Guarnerius, soft, sweet, clear, brilliant and vigorous, or weak if wanted, apparently nothing impossible. But did not assert that he could impart the extreme mellowness of a grand old violin but in respect of workmanship he claimed at least an equality. Re-discoverer of the glorious old Cremona varnish in all its beauties of shade, transparency and texture. Attained the reputation of being second to none as a craftsman on the west coast of the United States.
------------------------------
J. N. LaCroix.
Havre. Montana.
Model. . No. . A.D. 19-.
------------------------------

LACROIX, SALOMON (CHEVALIER)
Worked in Paris, 1810-1831. Presumably an aristocrat who suffered in the Revolution and subsequently forced into trading. Style and workmanship fully exhibit slight aptitude. Darkened varnish unpleasantly thick. £10. Also indulged in trying to establish a certain new theory of structure which ultimately proved futile.
-------------------------------
an 1814, 1 avril
Tous les défauts ont étécorrigés par moi, Lacroix
réparé avec soin
-------------------------------

LACROSSE
Ordinary bows branded with this name. Worked at Mirecourt, 1840-1865.

LAFARGUE
Amateur at Paris, 1818-1827.
-------------------------
Lafargue
rue de la Harpe 104
à Paris 1822
-------------------------

LAFLEUR, JACQUES
Born at Nancy, 1757. Went to Paris, 1780. Established the “Alliance Musicale” (publishing of works for Dance and Casino bands). Subsequently engaged a staff of workmen for instrument making. Died of cholera, 1833. Personal work consisted principally of bow making. Outstandingly fine imitations of the Tourte, and so finely balanced, etc., as to frequently pass for origihal Tourtes. Seldom stamped with his own name. Several violins also bear his name, usually red varnish, very similar to the early productions of Vuillaume, catalogued at £15. ’Cellos of medium arching, brownish yellow varnish, typically French tone. £30. (Bows).

LAFLEUR, JOSEPH RENÉ Born 1812. Son of Jacques. Died 1874. Carried on the traditions of father’s firm. Violinist in early youth, subsequently assisted in the making of instruments, finally, trained his hand and eye to the production of superlatively fine bows for solo players. Bows that splendidly preserve the style of Tourte, second only to the original genius. £20. (Bows).

LA FOSSE, LEON
Resident in Waterloo, Iowa (U.S.A.), 1959. Head of the firm - La Fosse Music House. Well known throughout the U.S.A. Strad modelling, also J. B. Guadagnini, a fine replica of the latter made in 1956. Excellent workmanship, varnish and tone.
---------------------
Leon La Fosse
Mittenwald, Kar.
1956
---------------------

LAFRANCHINI, JACOB DE
Apprenticed to Gasparo da Salo. Assistant to Maggini, 1614. Local records describe him as “Maestro di violini”. Style and workmanship not of the same standard as achieved by his teachers. Tonal quality however, has far-reaching power in mellowness.
---------------------------
Jacopo de Lefranchini
in Brescia.
---------------------------

LAGARDE, ANTOINE
Born 1798. Bow maker at Mirecourt. Died 1840. £15.

LAGARDE, HENRI
Born at Mirecourt, 1865. Worked thirty-five years for Audinot. Established at Paris, 1918. Stradivarian modelling, delightfully neat workmanship; reddish orange varnish, sometimes new looking, also as though worn.
-------------------------
H. Lagarde. Luthier
47 Rue de Cléry
Paris.
-------------------------
(printed; signature at foot)
Also a manuscript label, fantastically bordered; similar wording.

LAGARENNE, LOUIS AUGUSTE
Born at Mirecourt, 1889. Apprenticed to Derazey. Son-in-law and partner of Hilaire Darche at Brussels, 1908. Recipient of gold medal at the Ghent Exhibition, 1913. Died 1928.
Branded -
------------------
A. Largarenne
Bruxelles
------------------

LAGETOO, LUIGI
Born in Italy. Worked at Mirecourt and Paris, 1724-1753. Shop sign - “The City of Cremona”. Andrea Amati design of rather broad dimensions. Workmanship without that care and correctness we all expect. Scroll particularly slovenly in the region of the boss. Very ordinary wood, one-piece backs. Yellow brown or a pale orange red spirit varnish, certainly adding to the mediocre appearance. Tonal quality of moderate strength and entirely without warm mellowness. Reports have circulated the fact that these violins were once much sought after, today they belong to the large unwanted selection. £10. £45, 1960.
----------------------------------------
L. Lagetto anno 17. .
à la ville de Crémone, Mirecourt.
----------------------------------------
-------------------------------------------------------
Louis Lagetto, Luthier
rue de Saints-Pères, faubourg Saint-Germain
à Paris 1753
A la ville de Crémone
-------------------------------------------------------
Also signed “Lagetto”.

LAGNEAU
Double bass player at Paris, 1818-1829, amateur maker of violins.
----------------------------------
Fait par Lagneau
rue Croix des Petit-Champs
à Paris. 1824
----------------------------------

LAIDLAW, JOHN WILLIAM
Born at Haggerston (Northumberland), 1864. Resident at Newcastle, 1924. Guarnerian modelling with a few tiny originalities. Edges unusually broad, with a strong purfled bead, an innovation supposed to help the carrying power of the tone. Oil varnish of own preparation generally reddish orange, occasionally golden brown. Workmanship satisfactorily accurate. Scroll rather too heavy looking, but well carved. Tonal quality of reasonable resonance and entirely free from harshness.
--------------------------------
John W. Laidlaw
East Boldon
Newcastle-on-Tyne, 1922
--------------------------------

LAIDLAW, J. N.
Resident in Hanwell (London), 1950. Employed by W. E. Hill & Sons for six years. Violin maker and repairer, much esteemed.

LAISNÉ, MARCEL
Born at Paris, 1907. Pupil of Paul Audinot-Mourot. Worked for a short period at Algiers. Various standard Italian designs, immaculate workmanship, excellent varnish of pale yellow, orange yellow or reddish brown shades.
----------------------------------
Marcel Laisné19 Rue J-J-Rousseau, Paris
Fait l’année 19. .
----------------------------------
-------------------------------------
Marcel Laisné, Paris
19 rue Jean Jacques Rousseau
fait l’année 1929
d’après Andrea Amati
-------------------------------------

LAMAGNI, ROSOLINO
Born at Seandolora Rovara (Cremona), 1925. Studied at the violin making school, Cremona, 1945.

LAMB, JOHN (1)
Born at Newcastle-on-Tyne, 1823. Resident at Shiremoor, 1870-1902. Ordinary amateur modelling, often indifferent varnish, fluctuating tone quality.

LAMB, JOHN (2)
Born 1855. Son of preceding. Resident at Shiremoor, 1927. Produced 60 violins, varied modelling, not designs of a high order nor of faultless workmanship. Tone sometimes sluggish.

LAMBERT
Name of a fairly prolific family of makers working at Val d’Ajol (Vosges, France). Made all kinds of stringed instruments.

LAMBERT
Worked with James Brown in Spitalfields, London, 1824-1860. Flattish model yet there is a kind of ugly bulginess. Straight sound-holes uncouthly cut. Medium grain belly wood, not much figure in wood for backs. Bold scroll of rather rough workmanship. Dark brown varnish. Branded “Lambert” in very small capitals at the top of back.

LAMBERT, C.
Worked at Paris, 1800-1820. Rather high arching. Moderate workmanship. Trifle thin in wood, obviously faked to get a sweet tone. Yellow or yellow brown varnish. Branded outside and inside. Instruments of the ordinary “trade” type. £12.

LAMBERT, DOMINIQUE FRANÇOIS
Worked at Mirecourt and Nancy, 1772-1785. Received the sobriquet of “Charpentier de la Lutherie” (musical instrument carpenter), on account of the hundreds of instruments he turned out for the trade. Employed chemicals to get an oldsounding tone. Also indulged in pernicious scraping under the bridge. Yellow varnish somewhat muddy looking. Tonal quality altogether feeble.

LAMBERT, J. A.
Probably son of J. N. Established at Berlin, 1760, and owing to the reputation Mirecourt makers then had, attracted buyers throughout the German Empire. £10 instruments indubitably productions from the French town supplied through the usual trade channels.
------------------
J. A. Lambert
Geigenmacher
Berlin. 1760
------------------

LAMBERT, JEAN
Worked at Douai (France), 17-. Another of those numerous makers who attained a certain level so easily that they were tempted to refrain from scaling the heights of success in favour of making nondescript instruments for dealers.

LAMBERT, JEAN NICOLAS
Worked at Paris, 1731-1785. Style somewhat similar to the Guersan. Smallish model and flattish arching. Occasionally a model of larger proportions, sometimes even heavy-looking. Best specimens (smaller ones), have the requisite amount of consideration and accuracy always attainable by the man who employs the mind as well as hand. Cutting of sound-holes perhaps less satisfactory. Brownish yellow varnish. Often handsome slab backs. To be regarded as the normal type produced by the old French makers. £20 not an unprofitable investment (1925). Labels quite gorgeous affairs, wording being surrounded by a rich arabesque scroll, further ornamented with a lute and violin and emphasised by a plain border.
--------------------------
J. N. Lambert
rue Michel-le-Comte
A Paris. 1745
--------------------------
-----------------
Lambert
à Paris. 1783
-----------------
Sometimes branded “Lambert à Paris” in various places, but mostly on the back, inside. £35, 1960.

LAMBERT, JONATHAN
Worked at Norwich (England), 1751. The difficulties of violin making are readily conceivable, and a man expecting fame when he is nothing but a novice in the use of tools is unquestionably bold, but not wise. Anything in the nature of a graceful outline was too much a hill for this man to surmount. Hideously ugly sound-holes, very wide at the middle. Clumsily cut scroll. Entire structure altogether indelicate Bright yellow varnish of fair appearance.
----------------------------------------------------------
Made and sold by Jonathan
Lambert, Instrument maker, near
the Duke’s Palace in St. John’s Madder Market
Norwich. 1751
----------------------------------------------------------

LAMBERT, N.
French. Period 1902. Nicely balanced bows of refined workmanship. Silver mounted, £5, gold mounted, £10. Stamped “Lambert”. £20 to £30, 1960.

LAMBERT, W.
French. Period 1902. Strong and splendidly flexible bows. £20, 1960.

LAMBERTE, PIERRE
French - 1930. Violins probably made at Mirecourt, shaded amber varnish, pretty backs, various models.

LAMBOTTE, CHARLES
Medical doctor at St. Josse-Tennoode (Brussels). Made 100 violins, violas and ’cellos from 1884. Cremonese, Maggini and Tyrolian models. Ysaye and other Belgian virtuosi praised the “enchanting” tone and “superfine workmanship”. “C.L.” branded below button. £80, 1960.

LAMGEJUST, JAN
Worked at Amsterdam. Model of small proportions, Stainer outline. High arching with a very pronounced and abrupt rise from deep channelling near the edge. Fine grain belly wood, rather plain material for backs, not purfied, reddish brown varnish. Well carved scroll, volute well conceived. Sound-holes rather of the Stainer type, almost straight, upper and lower curves very broad, wings slovenly manipulated, wide in-artistic notches.
----------------------
Jan Lamgejus
Amsterdam. 1750
----------------------
(without border)

LAMOTTE
Worked at Amiens (France). Violas of non-attractive modelling. Workmanship suffers from a definite limitation in skill. High arching. Deep marginal grooving. Waist curves of Bressican style. Varnish of yellow hue. £15 (1925).

LAMOT, L.
Viol d’amour preserved at the Museum, Salzburg.
-----------------------------------------
Louis Lamot Me fecit Salz, 1738.
-----------------------------------------
Carries the coat-of-arms of the Court of Salzburg.

LAMY, ALFRED
Son, pupil and successor of A.J. Worked at Mirecourt. Died 1944. Replicas of the fine bows of father. Stamped “A. Lamy. Paris”. £15, 1960.

LAMY, ALFRED JOSEPH
Born at Mirecourt, 1850. Worked for Gautrot at Chateau-Thierry, 1866-1877, and for Voirin at Paris. Opened own atelier in the Rue Poissonniere, 1885. Died 1919. Conscientious workman, incontestably skilful in refinement, but his bows sometimes fall short of perfect equilibrium and elasticity. Stamped “A. Lamy a Paris” or “A. Lamy”. £20, 1960.

LAMY, EMILE
Born 1880. Worked for Thibouville-Lamy at Mirecourt. Died 1925.

LAMY, JULES
Born at Mirecourt, 1853. Worked for Thibouville-Lamy. Established at Paris, 1890. Orange brown varnish, good wood, powerful tone. £30. Branded “Lamy”.

LAMY, LOUIS
Born 1870. Pupil of Cuniot. Worked at Mirecourt. Died 1922. Excellent bows of various grades. £10 to £20, 1960.

LANANNI, A.
An old pupil of Antoniazzi. Worked for many years in San Jose, California, 1900.

LANARI, G.
Worked at Fiesole (Italy). Large modelling, everything brought to a successful issue by a hand well trained to use the necessary implements. Bold but satisfactory scroll, sound-holes well positioned. Yellowish brown red varnish nicely applied. Good belly wood though of wide fibre. £25. (1924).
----------------------------
Giambattista Lanari
in Fiesole. Anno 1905.
----------------------------

LANARO, LUIGI
Born 1920. Worked at Padua. Splendid modelling, tender resinous varnish of golden red shades. Some specimens with rich inlay. Also ’cellos.
---------------------
Aloysius Lanaro
me fecit Patovil
Anno Dni, 1948.
---------------------
(with signature)

LANCASTER, ARTHUR COTTON
Born 1869. Worked at Colne (Lancashire), 1890-1925. Stradivarian and Guarnerian modelling. Workmanship distinctively free from minor blemishes. Wood of good figure, varnish of splendid texture. Tonal quality bright and generous in smoothness. Made one instrument to commemorate the Titanic catastrophe, 1912. On the back, painted in oils, is a portrait of Wallace Hartley (violinist conductor of the Titanic band) as well as a representative of that vessel.

LANCELOTTI, BERNADINO
Worked at Barigatto (Italy), 1865-1887. Specialised double basses, much esteemed in native country.

LANDI, N.
Amateur in the parish of San Maria (Fiume). Very ordinary violins no curve really well shaped, mediocre application of varnish.
-----------------------------------
Narzareno Landi
Parroco di S.Maria di Fiume
fabbrico l’anno, 1889.
-----------------------------------

LANDI, PIETRO
Worked at Sienna, 1760-1780. Splendid Stradivarian modelling. Specimen realised £400 (1928).

LANDOLPHI, CARLO FERDINANDO
Worked at Milan, 1734-1787. Beauty of workmanship, as well as the material of his violins, cannot come into competition with some others of the Italian school, although there are a few specimens having fair claims to be placed on something of an equality, surpassing them in some things if in others they fall short. The instruments (varnished in a brilliantly transparent but thickly spread orange red) both for beauty of proportion and tone, are admitted to be really splendid; but those having a thin and hard yellow varnish cannot be said to afford the same pleasure. It is a matter of surprise and regret that his work is so unequal, and experts have found a difficulty in reconciling the variableness between degeneracy and perfection. So obvious is this that some writers have believed there were two makers of the same name. The fact that he had to make a living, and consequently was forced to accept what he could get from his prospective purchasers admits of no controversy. And this is the only reason for much of his later work being scampered. Good acoustical wood, invariably grateful for the eye, though it may be sometimes somewhat plain. Occasionally the ribs and backs are f that material showing the so-called nutmeg slots and pine of broadly even grain for tables. General outline, patterned on broad principles, has a certain character of originality particularly in the rather full yet not over pronounced arching of a really fine gradient. Careful scrutiny will find that the middle bouts are long and deeply cut, thus giving the lower part a spread out appearance which, in its turn, makes the upper part look narrower than actually. Weakness (far too common) lies in the scroll, which always falls a long way short of perfection, though there is unmistakeable individuality. Weak looking and indifferently cut sound-holes, set widely apart and not always accurately or uniformly positioned. Frequently one coat of varnish satisfied him. Did not bother much with the purfling, some specimens have none at all, others inlaid with ivory. Nevertheless, his violins find considerable sale. Tone never absolutely without some fair quality of warmth, although that of the yellow varnished ones sounds as if it were muffled by a piece of muslin; but on the other hand, there are just a few lucky purchasers of the red varnished ones who perhaps have justification for thinking that they own instruments in which there are several points of distinction. Some specimens have Joseph Guarnerius labels. Some writers have reputed him to be a pupil of the great man, but certainty on this point has never been established. Other superficial connoisseurs claim that the Landolphi resembles (though not minutely) the Guarnerius. Quite a good number of Landolphis have been critically examined by us, and we have looked in vain for any similarity with a Guarnerius, even the outline is wholly different and though the sound-holes are sometimes pointed there is no absolute resemblance. There is generally, plenty of wood in the plates. Measurements of one dated 1750: -
Body length, 14 inches; upper bouts, 6-1/4; lower, 8-1/8; ribs, 1-1/8 to 1-3/16.
One dated 1760: -
Body length, 13-7/8 inches; ribs, 1-7/8; length from top of belly to the notch in sound hole, 7-5/8; scroll to button, 4-1/2.
One very fine example (dated 1752) was offered for sale at the flighty figure of 1,800 dollars in America, 1920. Formerly in the collection of Carl Zach (Viennese dealer) who exhibited it at the Musik Anstellung in Vienna, 1892. Perfect preservation, broad and flat model, strong in wood and a tone of beautiful richness.
Excellent violas frequently under the normal length. ’Cellos of handsomely marked wood, also a little under regular size. Broad and flat Stradivarian modelling. Light orange red varnish, rather lustrous.
---------------------------------------
Revisto dame Garlo Ferdinando
Landolphi, Anno 1744.
---------------------------------------
-------------------------------------------
Carolus Ferdinandus Landolphus
Fecit mediolani in Via S.Margaritae.
Anno, 1755.
--------------------------------------------
-------------------------------------------
Carlo Ferdinando Landolphi
nella Contrada di Santa Margarita
at segno della Sirena. Milano, 1758.
--------------------------------------------
Name sometimes given as Landulphus. £450 to £600, 1960.

LANDOLFI, PIETRO ANTONIO
Son and successor of the preceding. Worked at Milan, 1775-1801. Instruments often praised for their tone, but we are inclined to assert that this is purely a fatuous doctrine that connoisseurs sometimes conceive towards anything coming from Italy. Whatever splendid guesses or intuitive convictions these philosophic individuals may be inspired with, they cannot surely ignore the uncultivated instincts and roughly unfinished workmanship of this Landolphi. Yellowish red varnish of little brilliance, opaque and dull, also impresses us with the fact that the dawn of his artistic horizon never arrived at any meridian. Amati outline, highly arched and longitudinally slim. Slightly pointed sound-holes. Deeply cut scroll and rather distinctive. £300, 1960.
-------------------------------
Pietro Antonio Figlio di
Carlo Fernando Landolfi
in Milano al Segno della
Serena. L’anno 1780.
-------------------------------

LANE, E.
Amateur who wor ked at Canterbury (England), 1926. Used Angel’s (Bristol varnish.

LANG, BENEDIKT
Worked at Mittenwald, 1925. Specialist in making double basses.

LANG, FERDINAND
Born 1867. Son and pupil of Joseph. Worked at Schönbach, 1891. Committed suicide, 1910. Excellent double basses, won diploma, 1892.

LANG, HEINRICH
Worked at Nurnberg (Bavaria). Good class trade violins which had considerable popularity in Great Britain.
------------------------------------------------
Heinrich Lang. Geigenbauer, Nurnberg.
Copy of Joseph Guarneri.
Made for R. Casey. Bexhill on Sea.
Anno : 1928.
------------------------------------------------

LANG, JOSEPH
Born 1837. Worked at Schönbach. Died 1896. Made bellies, backs and scrolls for many dealers in his town. Built some ordinary double basses and in his later years, ventured on a few violins and ’cellos, marketed at very cheap prices.

LANG, KARL FERDINAND
Worked at Lemberg (Poland), 1895. Violas and violins of robust construction but with no touch of the inelegant at any point. Scroll well poised, no deficiency in the varnish.

LANG, SEBASTIAN
Born 1703. Worked for Edlinger, established at Prague. Died 1765. Not much value. Written label.

LANGENHAAR, JOHANN ANDREAS
Worked at Crawinkel, 1880-1902.

LANGER, NICHOLAUS
Worked at Mannheim, 1799-1827. Happy attainment of structural excellence or elegance did not proceed from his generally in-artistic mind and unfacile hand - particularly with regard to the violins. Conceived a non-striking original model of broad proportions. Medium arching of breast, high vaulting of back. Stumpy corners, strange type of scroll, sides of peg box grooved. Large and plump sound-holes, ribs somewhat deep. Often indifferent wood, generally one-piece backs. Thin reddish brown varnish. Better design and workmanship attend his medium arched violas, also one-piece backs and a trifle thicker varnish of the same shade as the violins. Tonal quality surprisingly full of silky smoothness. Catalogued at £40 (1927). Also produced ’cellos, double basses, viols and lutes.
--------------------------
Nicolaus Langer
Hof Lautenmacher
in Mannheim, 1814.
-------------------------
(Coat-of-arms in centre)

LANGEVOORT, H. J.
Born at Voorburg (near The Hague), 1895. Amateur. Strad and Guarnerian modelling, fair workmanship and good varnish.
-----------------------------
H. J. Langevoort. fecit.
Voorburg. Ao. Di. 19-.
-----------------------------
(with small design)

LANGHAMMER, C. ANTON
Worked at Bremen, 1875. Died 1910. Violins well made and artistically varnished.

LANGONET, ALFRED CHARLES
Born in London, 1917. Served his apprenticeship with father, Charles Frank, in the workshop of Messrs. W. E. Hill & Sons. After war service, 1939-1945, established his own business with father, in London. Won silver medal at Stradivari’s Commemoration Exposition at Cremona, and winner of British Violin Makers’ Exhibition in 1952. Excellent violins in every respect with fine tonal quality. Resident at Kilburn (London). First-class repairer, expert and dealer, renowned throughout the world, many of the valuable master instruments having passed through his hands.

LANGONET, CHARLES FRANCOIS
Born 1861 in Mirecourt. Resident at Hanwell (England). Commenced violin making at a very early age and soon showed signs of becoming a very clever worker. It was whilst he was still an apprentice that J. B. Vuillaume, who was visiting his place of employment, remarked on examining his work - “This lad is a future Stradivarius”. At the age of 19 he met Alfred Hill who persuaded him to come to England, and here he worked for the late William E. Hill until he was 21 years old, returning then to France to do three years military service. He served in the 94th Regiment of Infantry stationed at Bar-le-Duc, and during this period, kept in touch with his work, often carving scrolls in his spare time, a section of the work at which he excelled. He played the clarinet in the Regimental Band. After completing his military service he returned to Messrs. W. E. Hill & Sons and remained in their service for over 48 years. During these many years hundreds of valuable violins, ’cellos and viols passed through his hands, and many men were trained under his supervision, including his own son. Besides being gifted in his art he had every opportunity of learning as his father was in the trade and many of his relatives; his brothers also were connected with violins. Emile, who died in 1925, was nearly all his life with Thibouville-Lamy, receiving a gold medal for long service some time before his death. Another brother, Louis, was a bow maker, and his youngest brother, Eugene, was in business at Nantes having previously been with Messrs. Hill & Sons, and Sylvestre of Paris.

LANGONET, CHARLES FRANK
Son of preceding. Born in England, 1888. Served his apprenticeship in Mirecourt, and returned to London to work with Messrs. W. E. Hill & Sons. Served with this firm for 36 years and during that time restored many of the finest instruments in the world, also made many violins for Messrs. Hill’s. Established his own business in 1946 with his son Alfred Charles, and specialised in the restoration of fine instruments. Superb artist, held in much esteem here and abroad. Retired to Rottingdean, Sussex, where his advice and opinions on instruments is still sought by many (1960).
------------------------------------------
Made by Charles Frank Langonet
Employee of W. E. Hill & Sons
London. 1925
-----------------------------------------
(written)

LANGONET, EMILE
Born 1880. Brother and pupil of Charles Francois. Worked for Thibouville-Lamy at Mirecourt.

LANGONET, EUGENE
Born at Mirecourt. Apprenticed to Chipot-Vuillaume and worked for Paul Mangenot. Employed for several years by Messrs. W. E. Hill & Sons. Returned to France and worked for Sylvestre and Maucotel, Paris. Established own premises in Nantes, 1910. Won silver medal at Nantes Exhibition, 1924. Modelling rather original, something more than mere imitation. Whole contour very harmonious indeed. Warm looking, transparent brown varnish. Excellent tonal quality.
----------------------------------
Atelier E. Langonet
Luthier - Nantes - L’an 19-
----------------------------------
----------------------------------
o Fait par Eugène Langonet
Z Luthier à Paris, L’an 19-
----------------------------------
(bearing signature obliquely on right)
--------------------------------
Fait par Eugène Langonet
à Paris, l’an 1906
--------------------------------
(copper-plate)
Some instruments made at Nantes have Paris crossed out and “Nantes” inscribed above it.

LANGONET, FRANÇOIS
Born at Miretourt, 1825. Died 1899. Made many violins for various firms in that town.
-----------------------
François Langonet
à Mirecourt.
-----------------------

LANGONET, LOUIS
Born 1870. Bow maker at Mirecourt, Pupil of Cuniot. Died 1922. Made many bows for different firms. Only a few bear his stamp - “L. Langonet”.

LANINI, ALFRED
Born in America. Swiss-Italian parentage. Pupil of Antoniazzi at Cremona, and Farrotti at Milan. Worked at San Francisco, 1916. Established at San Jose (California), 1920-1928. Violins, violas, ’cellos and double basses. Modelling absolutely goes the way of the inveterate Cremona realism. One of the ablest of workmen who fiddles not with the chattels of vagaries of originality which lie in every man’s mind. Varnishing also shows superlativeness of the artist.

LANINI, LORIS
Born at Marti (Pisa), 1908. Studied violin playing and construction. Resident at Pontedera, 1927. Produced 130 violins, 8 violas, 8 ’cellos and 2 double basses. Individualistic model, golden yellow oil varnish.
-------------------
Loris Lanini
in Pontedera
fece anno 1948
-------------------

LANKL, GEORG
Worked at Schönbach, 1878-1914. Pupil of Sandner. Trade instruments. Four of the same name worked similarly in same town - Anton, Franz, Joseph and Roman.

LANNOY
see DE LANNOY.

LANSA
see LAUSA.

LANT, ERNEST F.
Born in London, 1901. Pupil of Bidulph. Resident at Sevenoaks, Kent, 1950. Violins, violas, ’cellos and double basses. Also bows.

LANTER, JOSIP
Born at Korlovszi (Serbia), 1896. Worked at Peczui, Budapest and Zagreb. Died 1928. Made few instruments, Amatese modelling and reddish yellow spirit varnish.
-----------------
Josip Lanter
Zagreb, 1923.
-----------------

LANTEZ, M. E.
Worked at Mirecourt, 1855-1880. Son-in-law of Grandjon senior. Many of his instruments have a tone that might give the sensitive player protracted indigestion. Cheap affairs only appreciated by ninnies. A very few are of better design and varnish, showing he was a good workman, whose other inferior productions were necessitated by having to make a livelihood.

LANTNER, BOHUSLAV
Born 1862. Son and pupil of Ferdinand. Worked in several German cities. Established at Prague, 1891. Died 1918. Modelling after Stradivarius and Guarnerius - also some designed very similarly to those of Carl Hellmer. A man whose generalising powers have given free play apart from the particular model that inspired him. Early instruments have Spirit varnish - later, a handsome red brown of soft texture. Excellent tone, fairly robust and undeniably mellowish.
----------------------------
Bohuslav Lantner
fecit Prague, anno 18-
----------------------------
(bearing the device of the Griffin and Lute)
Other labels in Bohemian language.

LANTNER, FERDINAND MARTIN
Born 1833. Died 1906. Pupil of Lehner. Worked in several Bohemian towns. Established at Prague, 1862. Modelling not chained to mere copying, striking individuality very pleasing. Workmanship the essence of minute exactness. Whole contour and varnish very effective.
-----------------------------
Ferdinand Lantner.
Houslar y Parze. 1848.
-----------------------------
(outstandingly original with its six waves and two designs of a violin and bow encircled)
-----------------------
Ferdinand Lantner
in Prag. 1861.
-----------------------
------------------------
Ferd. Lantner.
fecit Pragae, 1882.
-----------------------

LANTONET, ANTOINE
Worked at Commercy (France), 1745-1770. Nice work.
----------------------------------
Fait par Antoine
Lantonet a comercy, 1765.
----------------------------------
(written)

LAPAIX, J. A.
Worked at Lille (France), 1838-1859. Made various experiments with the subsequently proved farcical idea of improving on the established form. Passed through the chaos of mania and perpetrated things in the cause of pretentious originality, but reached no clear vantage ground. With all our catholicity and latitudinarianism we cannot approve of the exaggerated model No. 1 which he created in 1840 - oval shaped outline with scarcely any corners. Harmony and unity of true art not happily illustrated. Produced other instruments which differ less from traditional form. Some of ordinary outline and arching, of large and small proportions which sometimes show his heterodox leanings by having sides made of Swiss pine instead of the usual maple. Another experiment was to cut the ribs out of one piece of wood, hollowed out and carved in the customary shape, so that there were only 6 pieces instead of the usual 24 to join together. Workmanship never reaches a high standard of merit. Oil varnish which seems to have escaped from his inventive proclivity. Awarded, 1848, a medal by the Society for the encouragement of National Industries. The Imperial Society of Lille signalised the merits of his instruments, 1852, and published a critical report of his aims. Obtained a medal at the Paris Exhibition, 1855.
-----------------------------
Fait par Lapaix
Luthier a Lille en 1843.
Brevete.
-----------------------------

LAPERDRIX
Double bass player. Resident in Paris, 1815-1825. Amateur maker.
----------------------
fait par Laperdrix
rue de Jouy, 18.
à Paris. 1823.
----------------------

LAPIERRE, MARCEL
Born 1907. Established at Mirecourt, 1947. Maker of very fine bows much sought after by soloists. £15 to £20, 1960.

LAPOSTOLET, H.
Born at Mirecourt, 1828. Worked at Dijon. Died 1894.
--------------------------
Henry La Papostolet
Luthier à Dijon
rue des Etioux 10
1851
-------------------------

LAPREVOTTE, ETIENNE
Worked at Marseilles, 1830, and at Paris, 1837-1857. Maker to the Duke of Bordeaux. Some violins (Italian models) have nice looking warm varnish and reasonably good workmanship; others unhappily are distinctly mediocre. Better reputation for splendidly made guitars.
-----------------------------
La Prevotte
dédié aux Dames
Luthier breveté, auteur
rue du Bac 38, Paris.
1839
-----------------------------

LAPWOOD, RONALD E.
Amateur. Born 1904 at Willesden (London). Still resides there (1960). Learnt to play the violin and mandoline at 12 years of age, and has played in orchestras and at concerts a great deal. Repairer of many kinds of instruments. Now engaged in making violins with special attention to tone. Only best materials used, and Harris’s Amber Oil Varnish. Founder member of the British Violin Makers’ Association, and Associate of Don White’s Violin Makers of British Columbia Society. Few violins made as yet - concentrating on quality rather than quantity.

LARCHER, JEAN
Born 1901. Worked at Mirecourt. Pupil of Collin Mézin. Outline of old Italian models, but always with archings of own conception.
------------------------------------
Lutherie d’Art
Jean Larcher, Maitre-Luthier
Ingénier des Arts & Métiers
No. d.ordre: 93. Annee: 1926
------------------------------------

LARCHER, PIERRE
Worked at Paris with Guersan, 1752. Established at Tours, 1770-1787. Modelling not classic and widely different from that of his teacher. Workmanship not particularly striking. Inferior brown varnish. Pretty belly wood but not so nice material for backs. Tonal quality neither powerful nor especially sweet.
-------------------------------------------
Larcher Pierre, luthier de Paris
élève de Guersan, Grande-Rue, au
Grand Dauphin, à Tours, 1780.
------------------------------------------

LAROCHE
Worked at Paris, 1820-1830.Well constructed violins on the form of Savart.
------------------------
fait by Laroche fils
A Paris. L’an 1821
------------------------


LARSEN, C. F.
Worked at Odense (Denmark), 1871-1909. Modelling having something decidedly uncommon and perhaps not entirely commendable. Workmanship not very refined. Sound-holes lack that certainty in drawing which results in perfect symmetry. Rather well worked and graceful scroll. Varnish sometimes (particularly on the instruments dated 1881-1889) looks like ordinary furniture polish. Backs often of Danish maple without flame.
Branded -
----------
Odense
Larsen
----------
Also the year (zB 1887) and the number (zB. 130).

LARSSON, CARL EDVIN
Born 1901. Amateur at Högstrand (Sweden). Excellent Strad modelling. Signed on the back, inside.

LARSSON, JOHANN ALFRED
Born 1888. Locksmith at Eskilstuna (Sweden), who developed into a professional violin maker, 1947. Strad and Guarnerian modelling conceived by that nice intuition of a clever craftsman. Yellow brown or reddish brown varnish applied as though a definite purpose for effect guided every stroke of the brush. Not a powerful tone but with considerable clarity. Signed on the back, inside.

LARSSON, KAREL ISRAEL
Born 1872. Amateur at Handen (Sweden). Instruments signed on the back, inside.

LARSSON, KARL ARVID
Born 1882. Amateur at Stockholm. Won gold medal, 1925. Good workmanship and tone.

LARSSON, OSCAR G. G.
Born 1899. Amateur at Hedemora (Sweden).

LARSSON, R. A.
Born 1881. Amateur at Handen (Sweden). Won gold medal at Stockholm, 1925. Splendid Strad modelling, reddish brown varnish.
------------------
R. A. Larsson
Anno 1925
------------------

LARSSON, SVEN ERIK
Born 1922. Amateur at Västeräs (Sweden).
-----------------------
Sven Erik Larsson
8 Västeräs 1950
-----------------------

LARSSON, THURE
Born 1911. Amateur at Svarta (Sweden).

LASKE, JOSEPH ANTON
Born at Ruhmberg (Bohemia), 1738. Pupil of J. Kolditz. Gained experience in workshops at Dresden, Berlin, Vienna and Brunn. Settled at Prague, 1764. Shop sign “Au Petit Serpent d’Or”. Died there, 1805. Modelling always reaches maturity of style. Outline sometimes Stainer-like with arching slightly high; other times broader and flatter. Usually fine-grain material for top, and frequently rather plain maple with a slight figure extending straight across. Occasionally more handsomely figured wood. Deep plum red varnish on those dated after 1790 - light brown on earlier specimens, both of very fine texture. Full tone with considerable appealing warmth. Violas, ’cellos, viola-d’amores, and mandolines, all greatly appreciated in Bohemia, Saxony, and Poland.
------------------------------
Josephus Laske, Lauten
u Geigenmacher in Prag
Anno 1772
------------------------------
-------------------------------
Josephus Antonius Laske
fecit Pragae. Anno 1791
-------------------------------
Some labels with decorative border, others without. “Anno” occasionally omitted. Name often given as “Laska”.

LASSI, ENZO DI FRANCESCO
Born at Faenza (Italy), 1907. Son of Francesco. Studied entirely under the experienced guidance of his father. Modelling generally favours the Stradivarian and Guarnerian.
-----------------------------------
Lassi Enzo di Francesco
Faceva in Faenza anno 1925
-----------------------------------

LASSI, FRANCESCO
Born at Faenza, 1874. Did not study or work with any maker, but acquired necessary knowledge from careful measurements of valuable instruments. Produced first instrument in 1906. Completed about six yearly as time was largely occupied with repairing, an art which brought great local renown. Made about 400 up to 75th birthday. Followed the Stradivarian and Guarnerian in thicknesses and choice of wood, though occasionally departing from those standards when creating what he termed “his own design”. Attained particularly good results in tonal quality. Varnish varies from orange-yellow to reddish-brown. Some specimens have realised £100.
---------------------------
Francesco Lassi
fece in Faenza - 1922
---------------------------
-----------------------
Francesco Lassi
Faenza - An. 1949
-----------------------

LATOUR, ARMAND
French bow maker, 1925. Light brown sticks, octagonal without sharp edging, refined workmanship. Stamped “Armand Latour”. £20, 1960.

LATTEN, H. G.
Watchmaker and jeweller. Resident at Lewisham (London), 1924. Studied violin making with Frank Howard; Structurally very satisfactory, all details of workmanship nicely finished. Large, but well-cut scroll, sound-holes also neatly traversed; careful varnish and tone of average merit. Written label.

LATTERELL, GEORGE H.
Born in New York State, 1862. French descent. Amateur violinist from 13th year. Resident at Paynesville (Minnesota), 1925. Intelligently comprehended the authoritative hints in Heron Allen’s book; gathered information from studying master violins; produced first instrument in 1912. Satisfactory result; spent three years experimenting with old and new woods, models, archings, wood densities and graduation, ultimately found he had a strong foothold in constructive art. Held the firm opinion that the Cremonese used a treatment which they applied previously to varnishing their instruments, hence the sweet velvety tone. Produced over 160 first-class creations, Stradivarian modelling, very flat arching, workmanship very exact, yellow-brown varnish, and a tonal quality of refreshing clarity. Achieved excellent results with the application of Horvath’s Philamonia process.
-------------------------
No. 138 Made 1925
By G. H. Latterell
-------------------------
--------------------------
No. 153. Made 1927
A.P. U.S.A.
By Geo. H. Latterell
--------------------------
Both with G.H.L. wreathed.
His father, amateur violinist, also made a few violins.

LAUD, HERMANN
Period 1783 (German). Dark brown varnish, outline df pretty curvature.

LAUBE, JOSEF
Worked at Iglau (Moravia), 1899-1908. Ordinary instruments.

LAUGHER, WILLIAM
Pin manufacturer. Resident at Redditch. Born 1830. Worked until 1907. Made 50 violins and 10 violas solely as a hobby, many of them built on the Reichers system. Products of splendid intelligence, no variableness in workmanship, and a very effective varnish.
---------------------
William Laugher
Maker. Redditch
No. 1899
---------------------

LAUMANN, ROBERT
Born 1870. Pupil of Brückner. Established at Budapest, 1895-1928. Medals gained at Paris, Budapest, and Vienna. Careful modelling of the Stradivarius. Workmanship good, but without especial neatness. Yellow and red-brown varnish, rather supple. Often wide grain belly wood, and small figure maple. Responsive tonal quality, and fairly mellow for its age.
----------------------
Laumann Robert
Budapest, 18. .
----------------------

LAURENCE, K. M.
Resident at Worth Matravers, Dorset. Commenced making violins in 1934 in a wooden hut in her garden facing the sea. Said to be Britain’s only woman violin maker.

LAURENT, ALBERT
Born at Mirecourt, 1884. Son and pupil of Emile. Succeeded him in 1914. Established at Brussels. Died 1924. Fine modelling after Stradivarius and Guarnerius (Joseph). Also interesting replicas of Andrea Guarnerius. Scroll, sound-holes and general contour all united with boldness yet great delicacy of execution.’ Brownish red and yellow-brown shades of oil and lac varnishes. Refreshing tone of a vigorous modern instrument. Sometimes used father’s labels, but inscribed “Laurent Fils” with date across them on right-hand side.
----------------------------------------------------------------
Albert Laurent, luthier expert
47, rue de l’Hôpital. Diplôme d’honneur, Gand 1913
----------------------------------------------------------------

LAURENT, EMILE (PËRE)
Born at Mirecourt, 1854. Apprenticed to Auguste Darte; worked for Joseph Hel at Lille. Established at Brussels, 1900. Died 1914. Produced a very large number of instruments. Well-nigh inimitable modelling after Stradivarius and Guarnerius. All details splendidly carried out. Oil varnish in shades of brownish red or golden-yellow, sometimes applied a little too thickly, also having a tendency to crackle. Tonal quality strong, and agreeable.
-------------------------------------------------------------------
Exposition Universelle, Liege 1905: Diplome d’honneur
Exposition Universelle, Bruxelles 1905: Médaille d’Or
Emile Laurent. Luthier
11 Rue de la Clé. 11
No. . . . Bruxelles 19. .
-------------------------------------------------------------------
Also one more oblong, similar wording, plain border, with a design of a violin and bow (over the scroll of which is the signature Emile Laurent), and reproductions of Exhibition medals. The above label has a pretty decorative border.
-----------------------------
Emile Laurent, Luthier
11 Rue de la Clé.
No. . . . Bruxelles 19. .
-----------------------------

LAURENT, EMILE (Junr.)
Born at Mirecourt, 1875. Son and pupil of Emile; also worked for E. Germain. Established at Bordeaux, joined his brother Albert at Brussels, 1912-1924; moved to Paris, 1925. Medallist at Liege and Brussels. Instruments highly esteemed by professional violinists. Received numerous attestations of the strong tonal sonority and its “homogenous” timbre. Inspired modelling and imitations of the master instruments of Stradivarius, Guarnerius, Seraphino, and Guadagnini. Very effective oil varnish of different shades. One of his Guadagnini copies catalogued at 400 dollars in America, 1930.
----------------------------
Fait par Emile Laurent
à Bordeaux. L’an 19. .
----------------------------
(with signature)
----------------------------
Fait par Emile Laurent
à Paris l’an 1926
----------------------------
(with monogram)

LAURENT, J. E. A.
Worked at Brussels, 1924. Invented a system of harmonic plates to reinforce and multiply the vibrations so as to give fuller sonority. Rectangular plates of pine wood (2 mm. thickness fixed in the bass bar, and placed 1 cm. apart). Six plates from the upper part of sound-hole, the first very short, the others gradually longer, and six from the neighbourhood of the notch to the lower part of bass bar of the same graduated lengths.

LAURENTI, ALFREDO
Born 1882. Employed on tramways at Terni (Italy), 1920. Produced 50 violins up to year 1950. Individualistic model. Also guitars and mandolines.
------------------------------------------------------------
Laurenti Alfredo Premiato
Con Gran Premio e Medaglia d’oro
all’ Esposizione di Terni, Todi a Firenze nel 1923
fece in Terni nel 1951
-------------------------------------------------------------

LAURIOL
Worked at Bordeaux, 1850. Specimen realised £10 (1925).

LAURO, ANTONIO
Worked at Rome, 1608-1612. Announced in the local directory as “Antonio Lauro liutaro al Pasquino”. Generally assumed that he came from Belgium.

LAUSA, ANTONIO MARIA
Worked at Brescia, 1650-1715. Name Sometimes given as “Lansa” and “Lauza”. Dealers have found opportunity of playing about with dates - some being dated 1550, 1774 and 1837. Copied styles of Gasparo da Salò and Maggini rather accurately, particularly the latter. Double purfled instruments, splendid flat arching, body length, 14-1/8 inches. Dark golden yellow varnish almost like boxwood, also a brownish red shade. Scroll finely executed. Tonal quality rather strong and sonorous but sometimes thick and never really mellow. £40 to £70 (1920).
------------------------------
Antonio Maria Lausa
fecit Bresciae. Ao. 1656
------------------------------

LAUZA, W. T.
Worked at Vienna. Modified Stradivarian modelling, nothing dishonouring that style, workmanship with few indelicacies. Scroll suitably developed. Reddish brown varnish giving brightness to the finely figured wood of back. Breast of rather broad fibre. Tonal quality rather brilliant and strong. £20 (1924).
----------------------------------
Wilhelm Thomas Lauza
Geigenmacher in Wien 18-
----------------------------------
(Austrian double eagle in centre)

LAVALLE, AUGUSTIN
Born at Vercheres, 1816. Worked 50 years at Montreal. Died 1903. Recognised as the first man to make violins professionally in Canada. Entire fabric of his art intimately bound up with faithfully adhering to the Cremonese principles. Many instruments have the essential perfection of design, proportions and varnish. Greatly esteemed in Canada, also valued in France.

LAVAZZA, ANTONIO MARIA
Worked at Milan, 1700-1723. Violins of real artistry. Stradivarian outline and soundholes. Arching inspired by rational originality. Thick pale reddish or golden brown (on later specimens) varnish. £100, 1924. £300, 1960.
--------------------------------------
Antonio Maria Lavazza fece in
Milano, habita in contrada
Largha 1703
--------------------------------------
-----------------------------
Antonio Maria Lavazza
fece in Milano in con-
trada Larga 1721
-----------------------------
Some writers have falsely given name as Lacasso.

LAVAZZA (LAUAZZA), SANTINO
Worked at Milan, 1718. £200, 1960.
------------------------------
Santino Lauazza fece in
Milano in Contrada
Larga 1718
------------------------------
Some instruments dated 1775-1780 - perhaps made by a son.

LAVAZZA, MATTEO
Worked at Guastalla (Italy). Uninteresting in design and workmanship. Some breasts of irregular veined wood. Red varnish. £250, 1960.
-------------------------
Matteo Lavazza
fecit Guastalla 1918
-------------------------

LAVELLO, JEAN
Born at Rennes, 1908. Studied with Pierre Audinot. Established at Paris. Won gold medal, 1930. Repairer to the Conservatoire and Colonne Orchestra. Very attractive designs, oil varnish of splendid texture. Also fine bows stamped “Lavello Paris”. Bows, £10. Violins, £80, 1960.
----------------
Jean Lavello
Paris 19 No.
----------------

LAVENAZZI, ANTONIO
Worked at Bergamo, 1925. Little known work.

LAVIGUETTA, A.
Worked at Milan. Gagliano modelling, warm looking golden varnish.
-------------------------------
Antonio Laviguetta
fece in Milano - An 1900
-------------------------------

LAZZARO, G. (called ROSARIO)
Born at Messina (Sicily), 1913. Studied with Uncle Pettinato. Strad and individualistic modelling of fair achievement. Golden yellow and brownish yellow varnish.
----------------------
Giovanni Lazzaro
Messina A. 1937
----------------------
-------------------------
Giovanni Lazzaro
Messina anno 1919
-------------------------
(with initials)

LEADER, JAMES HENRY
Resident at Bristol, 1825-1840. Commendable workmanship, unusually large scroll in width and length.

LEAKE, H.
Resident at Huntley (Scotland), 1810-1825. Praiseworthy designs, Sometimes pale yellow varnish.

LEAVY, B. J.
Born 1893. Resident at Williamsport (Pa.), 1912. First instrument dated 1914. Cremonese models, scrolls and sound-holes well set. Orange to deep red oil varnish of own formula.

LEBÈGUE, FILS
Worked at Toul (France), 1800. Branded “Lebègue fils à Toul”.

LE BLANC, CHARLES (1)
Worked at Mirecourt, 1764-1820. Branded instruments as though emanating from Paris. Stradivarian modelling generally. Of no particular merit but excellent workmanship. Dark red or brown varnish. Clear, sharp tone but unsympathetic. £15. Branded -
------------
Le Blanc
Paris
------------
£60, 1960.

LE BLANC, CHARLES (2)
Worked at Mirecourt, 1790-1830. Stradivarius model of rather large measurements. Good wavy grain spruce and maple of wide curl figure. Orange varnish, rather cold looking. Large tone, freely responsive but not very mellow. £30. £75, 1960.

LE BLANC, CLAUDE
Born 1759. Died 1843. Worked at Mirecourt. Model and workmanship wholly of the Mirecourt style. Mostly Stradivarian outline and arching. Wood not always happily chosen. Brown varnish thinly applied. Branded “Leblanc Aine”.

LE BLOND, GUILLAUME
Worked at Dunkerque, 1765-1792. Several interesting violins of Stradivarian design. Also ’cellos somewhat similar to a Rogerius, reddish brown varnish.
------------------------
Le Blond Luthier
à Dunkerque, 1772
------------------------
--------------------------
Fait par G. Le Blond
à Dunkerque. 1789
--------------------------
Sometimes branded “G. Leblond, Dunkerque”.

LEBRAULT, MARCEL
Born 1880. Amateur at Angoulème (France). Produced several fair modelled violins.

LEBRETON, GUILLAUME
Born at Caen. Amateur. Resident at Rouen, 1824. Worked there for Eder and Gaguin.

LECARPENTIER
Violinist in the theatre orchestra at Paris, 1822, and amateur violin maker.
----------------------------
Lecarpentier luthier
rue Saint Sauveur, 47.
à Paris, 1822.
----------------------------

LECAVELLÉ, FRANÇOIS
Worked at Mirecourt, 1850. Modified Stradivarian modelling, light brown varnish. Violas of 15-1/2 inches in body length, deep ribs, corners rather thick and blunt, oil varnish. Name printed in ink on the inside of back, sometimes branded. £60, 1960.

LECAVELLÉ (LECAVALLÉ), FRANÇOIS XAVIER
Worked at Mirecourt, 1852-1882. Strong and vigiorous but heavy looking instruments, flattish arching yet with a fairly deep groove in which the purfling is set, good wood, brown varnish.
----------------------
Fois X. Lecavallé----------------------
“Lecavalle” or “Lecavelle” branded near soundpost, also below button. £60, 1960.

LECAVELLÉ, VICTOR
Born at Mirecourt, 1836. Son of F.X. Worked for Bernardel and the Brothers Gand at Paris. Resident at Béziers, 1863-1908. Pose of sound-holes, outline and arching, bring up pleasing thoughts of the Stradivarian. Scroll not sharp or compressed in style. All workmanship desirably neat. Reddish brown varnish shaded on yellow ground. Tonal quality, quite robust and not without a modicum of mellowness. Violas and ’cellos equally attractive. Name branded on the back, sometimes with date, occasionally a written label. £80, 1960.
--------------------------------
Fait par Victor Lecavelle
luthier à Béziers. An 1888
--------------------------------

LECCHI, GIUSEPPE BERNARDO
Born 1895. Pupil of Cesare Candi. Established at Genoa. Regarded by Italians, 1949, as standing at the top of the ladder. Won several gold medals. Modelling which propitiates Strad, Guarnerian and Amatese, alluring reddish orange varnish. Obtained gold medal for magnificent bows at Rome, 1933. Violas and ’cellos greatly appreciated for deep yet brilliant tone. Guitars in Guadagnini style for virtuosi, also some for jazz orchestras, with arching, bridge and tailpiece similar to the violin.
---------------------------------------------------------
Giuseppe Lecchi
Bicentenario Stradivarius 1737 Cremona 1937.
l’or Premio Quartetti
Fece in Genova 1938
---------------------------------------------------------
(with signature)
--------------------------------------
Giuseppe B. Lecchi G B
Fece in Genova Anno 1947 L
--------------------------------------
(also initials inscribed)
-----------------------------
Giuseppe Lecchi
Allievo di Cesare Candi
fece in Genova 1927
-----------------------------
(with signature)
Some instruments branded. £100, 1960.

LECHERTIER
Branded as of Paris, 1765-1775, but made at Mirecourt. Violins of ordinary workmanship, strong tone.

LECHI, ANTONIO
Worked in Cremona, 1900-1930. Bold and flat modelling, not especially typical of any particular school. Varied scrolls, some small, others large, satisfactory workmanship, slanting sound-holes, various shades of warm-looking varnish, particularly the reddish-brown. £50, 1960.
-------------------------
Antonio Lechi
fece Cremona 1923
-------------------------
Also “Antonio Lechi” boldly written across.

LECHLEITNER (LECHLETNER), CHRISTIAN
Born in the Tyrol, 1758. Worked at Leyden (Holland), 1780. Died 1821.
Varied modelling, Stradivarian and Amatese with German traits, also some reminding of a Jacobs, the second named received his best attention. Varnish generally chestnut brown in colour. Apparently worked for dealers. His name is found in ordinarily cheap (but not mediocre) violins as well as in some of better (though never of the highest) class work.
------------------------------------
Christian Lechleitner
me fecit Lugdini Batav. 1783
------------------------------------
Sometimes Christianus (instead of Christian), and Lugdini.
--------------------------------
Christian Lechletner
me fecit Leyden Ao. 1784
--------------------------------
A few really fine violins are known.

LECHNER, FRANZ
Pupil of Stoss. Worked at Prague 1834-1873. Violins and ’cellos, generally of Stradivarian contour, neat workmanship, clear yellow varnish.
-----------------------------------
Franz Lechner
Geigenmacher in Prag. 1852
-----------------------------------

LECLERC, JACQUES
Violins made by Laberte-Magnié at Mirecourt, 1925.
----------------------------
Instruments d’Artistes
Jacques Leclerc
Année -
---------------------------

LECLERC, JOSEPH NICOLAS
Born at Mirecourt. Worked at Paris, 1760-1778. Belonged to the “Quinze-Vingt”, thereby enjoying various privileges and being exempt from paying certain taxes. Among Stradivarian offsprings from the French, none are more felicitous than these of Leclerc. On this model he has conferred all the “eclat” of refined workmanship. Sound-holes and scroll caressed by an accomplished hand. Rich orange varnish, sometimes a kind of rose shade, very effective indeed. Serviceable tone, well worth £20 (1924). £80, 1960.
------------------------------
fait par Leclerc
au 15 vingt à Paris 1773
------------------------------
------------------------------------------------
J. N. LeClerc. Luthier aux quinze-vingt
à Paris 1770
------------------------------------------------
(decorative border)
------------------------------
Racomodé par Leclerc
au 15 vingt à Paris 1771
------------------------------

LECUYER, PIERRE
Worked at Paris, 1770-1786. Violins of Mirecourtian style. Branded “P. Lecuyer”.

LE CYR, JAMES FERDINAND
Born in California, 1887. French parentage. Established at Los Angeles 1911-1927. Instruments for modern orchestral players. Workmanship and design artistic in the comprehensive acceptation of the term. Orange-red or brown shades of varnish specially prepared from own formula. Tonal quality well-spoken of by professionals and amateurs.
-----------------------------
J. F. Le Cyr, fecit
Los Angeles. Cal. 1926
-----------------------------
(decorative border)

LEDENT, SÉVERIN
Worked at Anzin (France), 1812.
---------------------------------
Rétabli par Severin Ledent
à Anzin, 1812
---------------------------------

LEDERER, CARL WILHELM
Born 1803. Founder of the firm Lederer and Kreinberg (makers of stringed lnstruments) at Markneukirchen. Died 1862.
-----------------------------
Gefertig
von C. W. Lederer aus
Neukirchen bei Adorf
-----------------------------

LEDERER, CONRAD
Worked at Strasburg, 1908. Made a few violins of good style and varnish.
-------------------------------
Conrad Lederer
maître luthier Strasbourg
Fecit anno 1939
-------------------------------
(with design of Cathedral)

LEDERER, LOUIS
Born 1909. Pupil of Jacquemin at Mirecourt. Established at Strasbourg, 1928. Won diploma 1929.

LEDERHOFER, OTTOMAR
Worked at Troppau (Silesia), 1886. Harmonica maker. Won medals at Wels and Freiberg for excellent violins and ’cellos.

LEDUC, PIERRE
One of the earliest known in Paris. Principally made pochettes. Backs ornamented with silver and ebony purfling.
---------------------------------------------
Pierre Leduc à Paris
rue Saint-Honoré au Duc doré, 1647
---------------------------------------------

LEE, H. W.
Resident at Blackheath (Kent), 1925. Excellent violins and double-basses.

LEE PERCY
Born 1871. Resident in Cricklewood (London), 1925. Viola player. Died 1953. Skilled specialist in violas and viols. Made about 50 instruments including ’cellos.

LEEB, ANDREAS CARL
Worked at Vienna, 1784. Moved to Pressburg, 1790. Returned to Vienna about 1801. One of the first Viennese makers to discard the high arching. Most of his violins are of a rather large flat model of Stradivarian outline, but others have Amatese characteristics and medium arching. Edges rounded very delicately, a marked contrast to the general vigour of the contour. All parts nicely worked with the possible exception of the scroll, which sometimes appears unwarrantably heavy. Early specimens (of sparsely flamed maple) have a thick and very dark brown varnish not especially attractive. Moreover the tonal quality is neither free or clear, consequently not valued higher than £20 (1925). Later specimens generally of prettier material, covered with a moderately warm-looking golden-brown varnish, often very thick in the valleys of the back, and often cracked. Some have realised £40. Belly wood sometimes of wide and slightly curvy grain. ’Cellos not infrequently so very flat as to appear sunken on the bass-bar side.
----------------------------------
Andreas Carolus Leeb
fecit Posonii, 1790. No. 67
----------------------------------
-------------------------------
Andreas Carolus Leeb
fecit Viennae 1813 No. -
-------------------------------
(decorative border)
ALC encircled between the name Carolus. A.L. sometimes branded on back.

LEEB, BALTHASAR
Worked at Pressburg and Tyrnau, 1740-1758.

LEEB, GEORGE
Worked at Pressburg, Vienna and Budapest.

LEEB, JOHANN CARL
Born 1792. Worked at Vienna. Died in 27th year. Talented maker but unfortunately died too young to reach maturity. Yellowish-red varnish uniformly applied. Instruments seldom labelled.

LEEB, JOHANN GEORG (1)
Born 1740. Worked at Pressburg until 1810. Much occupied, and recognised as one of the best Hungarian makers of his day. Early specimens somewhat partake of Stainer traits. Others of medium arching closely adhering to the Amati. Some also in the style of J. G. Thir. In every instance he introduced individuality though very slight. Plumpness of scroll always noticeable. Belly wood of good acoustical properties, backs and ribs mostly of unflamed material. Reddish-brown varnish thinly applied. Tonal quality seldom very mellow nor particularly brilliant, but of an agreeable sonority. £25 (1925).
-------------------------------
Johann Georg Leeb
in Pressburg, Anno 1788
-------------------------------
Some labels have Joannes Giorgius etc. £80, 1960.

LEEB, JOHANN GEORG (2)
Born 1779. Worked at Pressburg. Died 1817. Son and successor of the preceding. Generally Amatese modelling, but also some very flat and broad. Dark and light-brown shades of varnish. Scrolls also strikingly plump. £20 (1925). Very industrious, made a very large number of instruments. £70, 1960.
-----------------------------
Joannes Georgius Leeb
fecit Posonii. 1813
-----------------------------

LEEUWEN, DR. VAN
Born 1872. Doctor of medicine at The Hague, 1925. Made several experiments in violin construction. Exhibited Strad model violins at Brussels, 1910. Awarded silver medal for fullness, softness, and easily responsive tonal quality, though very strongly built.

LEFÉBVRE (LEFVRES), JACQUES B.
Born at Mirecourt, 1700. Spent a few years in Cremona. Worked at Amsterdam, 1726-1773. Delightful Amatese modelling with fairly high arching, workmanship absolutely refined, always one-piece backs, golden-yellow varnish of rich texture, purfling of wood strips, and occasionally of whalebone, smallish sound-holes, non-robust scroll rather inclined forward. Tonal quality of moderate strength, but pellucid and brilliantly sonorous. £40 (1926). Also ’cellos of small pattern, nearer to the Italian than the customary French style, yellow varnish, all workmanship details very skilfully manipulated. £80, 1960.
-------------------------
J. B. LeFebvre fecit
in Amsterdam. 1770
-------------------------

LEFEBVRE, J. B. (2)
Son of the preceding. Work less refined and more of the Mirecourtian style. £20.
-------------------------
J. Lefebrve
à Amsterdam. 1802
-------------------------
Others branded “J. Lefebre”. £45, 1960.

LEFÈVRE, TOUSSAINT NICOLAS GERMAIN
Worked in the Rue de Cimetiere Saint-Jean, Paris, 1762-1789. Well constructed violins of ordinary workmanship and varnish. Tone fairly strong but unsympathetic. More famed for bows, Pernambuco sticks, faultless workmanship, gold-mounted, generally too heavy for ideal solo playing, catalogued at three guineas (1920).
Stamped “Lefèvre à Paris”.

LEGIPONT, IWAN
Worked at Verviers. Good Italian models, orange-red varnish, also brownish-red.
----------------------------------------------
Iwan Legipont
Luthier du Conservatoire de Musique
Verviers année
----------------------------------------------
(on rose or yellow paper, also signature)
----------------------------
Iwan Legipont
Luthier
à Verviers. Anno 1918
----------------------------
Also five-lined manuscript label. £90, 1960.

LEGNANI, LUIGI
Worked at Naples, 1760-1770. Pupil of Bergonzi. Modelling very similar. Moderate arching, one-piece backs, reddish-brown varnish. £350, 1960.
------------------------------------------
Luigi Legnani alumnus
Zosimo Bergonzi fecit Neap. 1765
------------------------------------------

LEGRAIN, CAMILLE
Worked at Tournay (Belgium), and Brussels. Ordinary designs of Strad modelling.
------------------------
Fait par C. Legrain
Tournai, 1877
------------------------

LEHMAN, EUGÈNE
Born at Sharon Springs, 1883. Made 100 violins up to year 1940. Cremonese models, flawless workmanship, erect and graceful scrolls, ruby-brown and golden-brown shades of radiating varnish.
-----------------------------------------------
Eugène Lehman
Violin Maker, 1929
Sharon Springs, N.Y.
Horvath’s Philamona Process Applied.
-----------------------------------------------

LEHTO, JOHN
Born at Sukkala Lappi (Finland), 1893. Resident at San Pedro (California), 1915. Straightforward designs of the Cremonese, preference given to a very flat arched and large Strad. Workmanship completely skilful. Oregon curly maple. Splendid transparent cherry-red varnish of own formula.
--------------------
John Lehto
935-14th St.
San Pedro. Cal.
1926
--------------------
(written)

LEICHT, ALFRED
Born at Hohendorf (Saxony), 1901. Pupil of Emil Stark. Worked at Brunswick, and for Möckel at Berlin. Established own premises in that city, 1934. Excellent copies of Italian and Tyrolean standard types.
Written label, and name branded. Also splendidly designed bows.

LEICHT, MAX
Bow-maker at Hohendorf, 1910-1930. £10 to £15, 1960.

LEICHT, RUDOLF HERBERT
Born 1907. Brother and pupil of Max. Also studied violin playing. Worked at Berlin and Hamburg. Finally settled at Hohendorf. Produced violins inspired by those of Möckel. Labels dated from Berlin, Hamburg and Hohendorf, some bearing an additional label “R. Herbert Leicht, akustik umgearbeitet und lackiert”. Good bows stamped “R. H. Leicht. Hamburg” or “R. Herbert Leicht”.

LEIDOLFF, CHRISTOPH NICOLAUS
Worked at Vienna, 1774-1788. Similar style to that of Johann Christoph.
High arching, brownish varnish, prettily marked wood, small tone, but of pleasing quality. £80, 1960.
-------------------------------------
Christophus Nicolaus Leidolff
Viennae anno 1776
-------------------------------------

LEIDOLFF, IGNAZ
Son and pupil of Nicolaus. Worked at Vienna, 1699-1714. Produced attractive viol d’amores and viol-da-gambas.

LEIDOLFF, JOHANN CHRISTOPH
Born 1690. Died 1758. Son of Nicolaus. Worked at Vienna. Instrument maker to the Viennese Court. Exaggerated. Stainer model arousing no specially new impression by any outstanding beauty. Angular outline, very deep ribs, and altogether over-arched. Whole contour attains no grandeur. Scroll carved and poised in the typical Viennese style. Sometimes of pear-tree wood. Sound-holes do not seem to be designed for complete harmony with the arching though carefully done. Purfling and edges faultlessly neat. Good acoustical wood for belly, sometimes emphasised by. exceptionally close grained material, and often nicely figured maple for backs. Harder wood occasionally used for sides and linings. Early dated instruments varnished dark brown of pretty tint. Later he applied one of reddish colour, and occasionally a yellow-brown very transparent. Made many examples and worked right up to the year of death. Tone certainly not powerful, but satisfactorily pure. Not wonderfully mellow yet of flute-like quality. £40 (1925). Also made a few which somewhat follow the Amati model. Nice instruments with much of the former exaggeration subdued, and certainly more graceful.
---------------------------------
Johann Christoph Leidolff
Lauten und Geigenmacher
in Wienn 1757
---------------------------------
(German lettering, others in bold Gothic lettering)
----------------------------
Joannes Christophorus
Leidolff fecit
Viennae. 1748
----------------------------
Name sometimes given as “Leydolff”. £90, 1960.

LEIDOLFF, JOSEPH FERDINAND
Worked at Vienna, 1756-1780. Large and well developed model, Amatese outline, medium arching, altogether more elegant in design than any of Johann Christoph. Very occasionally he built on the Stainer model. Workmanship well sustained in neatness. Wood happily chosen, often handsome figured backs. Variegated varnishes, his worst instruments have a very dark concoction impregnated with aloes, others have an ordinary brown, but his favoured specimens have a finely transparent reddish-yellow, or a deep mahogany colour with rose tint showing through. Tonal quality fairly large but not of lofty beauty. Built several violins of high modelling and rather small proportions, body-length a trifle less than 15 inches. Broad flame backs, rich dark red-brown varnish, ideal chamber music tone. £50, 1925. £125, 1960
---------------------------
Josephus Ferdinandus
Leidolff, fecit
Viennae. 1769
---------------------------
(large lettering)
--------------------------------------
Josephus Ferdinandus Leidolff
Lauten und Geigenmacher
in Wien 17-
--------------------------------------
(German lettering)
-----------------------------
Joseph Leidolff Lauten
und Geigenmacher in
Wien 17-
-----------------------------
Some instruments anti-dated 1727, etc.

LEIDOLFF, NICOLAUS
Worked at Vienna, 1673-1710. Lived in Italy previous to settling in native place. Violins of Italian appearance, several specimens with Cremona labels. Violas known of large proportions, rather flat arching, long corners. Testore-like sound-holes, and scroll, and reddish-yellow varnish with golden sheen. Also ’cellos of superior workmanship and similar varnish.
-------------------------------------
Nicolaus Leidolff Lautten und
Geigenmacher in Wienn 1700
-------------------------------------
(German lettering)
Name sometimes appears as “Leudolf” - also anti-dated to 1650. £125, 1960.

LEIFSEN, H.
Worked at Jevnacker (Norway). Workmanship fair.
--------------------
H. Leifsen
Jevnacker 1942
--------------------

LEIPELT, FRIEDRICH
Worked at Glatz (Silesia), 1883-1914.

LEIPP, E.
Born 1913. Violinist. Went to Paris, 1932, and worked at violin making with Carchereux. Pursued investigations in acoustics and varnish. Produced several violins, violas, and ’cellos of considerable individualistic conception. Reddish-orange varnish of own formula.
--------------
E. Leipp
Paris 1949
--------------
(bearing signature and monogram)
Also branded “E. Leipp”. Author of Cremona Varnish - 90 pages (Paris, 1946).

LEISSMÜLLER, CHRISTOPE
Worked at Krünn (Bavaria), 1760-1798. Clever craftsman, also very industrious as instruments quite prolific. Rather broad modelling, medium and flat arching, reddish-brown varnish, usually well-sounding in mellowness. Generally catalogued at £10. Some instruments anti-dated 1720.
-------------------------------------
Christoph Leissmüller
in Krün bey Mittenwald, 1774
-------------------------------------
(German lettering)

LEISSMÜLLER, MARTIN
Worked at Krünn, 1750-1784. Similar to the preceding, medium arching, satisfactory workmanship, warm-looking reddish-brown varnish. £20.
-------------------------------------
Martin Leissmüller
in Krün bey Mittenwald 1757
-------------------------------------

LEITZSCH, CONSTANTIN
Born 1835. Worked at Danzig and Koeslin. Died 1890. Conceived several finely modelled violins which were highly appreciated. Being very much of an artist, and negligent of any capabilities as a salesman, he had a continuous existence full of financial worries, and all aggravated by long periods of illness.

LEITZ, FERDINAND
Worked at Mittenwald, 1820-1845. Most probably the name is Seitz. Some ordinary ’cellos, and good double-basses known.

LEJAY
Worked at Mirecourt and Paris, 1748-1760. Excellent modelling and a nice tone. Branded “Lejay à Paris, 1753”.

LE JEUNE, FRANÇOIS
Worked at Paris, 1740-1780. Named his shop “At the Royal Harp”. Dean of the Luthiers’ Guild, 1765. Early dated violins rather esteemed by collectors. Modelling rather long and somewhat slender. Long Brescian type of sound-holes. Scroll also of long slender pattern with small volute. Beautiful golden amber varnish. Generally two-piece backs, the grain showing in wide lines. Tonal quality particularly sweet though perhaps small. Later dated instruments of more variable order in the matter of design and workmanship, some quite ordinary. Light yellow varnish not of the best quality. Also produced many excellent violas (body length, 15-7/16 inches) and five-stringed viols. Particularly celebrated for fine harps.
-----------------------------------
François Le Jeune rue de la
Juiverie, à Paris, année 1750
-----------------------------------
Some labels have the design of a harp over his name. £80, 1960.

LE JEUNE, JEAN BAPTISTE
Worked at Paris, 1775-1820. Principally harps. A few violins known.

LE JEUNE, JEAN CHARLES
Established at Paris, 1776. Shop sign “Au dieu de l’Harmonie”. Worked up to 1823. Good violins and double basses.

LE JEUNE, AINÉ Produced violins of excellent design. Also guitars with round bodies.
------------------------------------------
Lejeune luthier cour de commerce
no. 19, faubg : St. Germain, Paris
------------------------------------------

LEKANDER, NILS
Worked at Stockholm, 1949. Pupil of Wahl at Carlsruhe. Won diploma at The Hague, 1949.

LE LIÈVRE, J. C. PIERRE
Worked at Paris, 1750-1780. Probably born at Mirecourt. Pupil of Grosset. Modelling not quite so broad as the usual French violin of that period. Arching also slightly more pronounced. Workmanship of scroll and sound-holes estimable. Varnish varies from yellow to a rich orange red. Tonal quality that reaches the heart of amateur chamber music players. Altogether instruments of charming contour. £30, 1925. £90, 1960.
----------------------
Le Lièvre rue des
Noniandières
à Paris. 1754.
---------------------

LELIO
see DI LELIO.

LELLI, DINO
Born 1919. Cabinet maker at Cesena (Italy). Excellent designs and workmanship. Oil varnish, reddish yellow or chestnut shades.
-------------------------
Lelli Dino
fece in Cesena 1949
-------------------------
(with signature; unique design)

LELLIS
see DE LELLIS.

LE LYONNAIS, CHARLES
Born at Nantes, 1892. Laureate at the Luthiers’ Exhibition, Paris, 1921. Pupil of Emile Audinot (Mirecourt). Modified Stradivarian modelling, perfect designs and flawless workmanship. Brownish red varnish of elasticity and transparency.
--------------------------
Charles Le Lyonnais
à Nantes Année 1921
--------------------------
C.L.L. on the right. Signature on third line. See “Chenantais”.

LÉMAN, ANATOL IVANOVITCH
Born at Moscow, 1859. Composer, pianist, linguist and connoisseur. Also dabbled in philosophy and occultism. Worked at Strelna and St. Petersburg. Died 1913. Produced over 200 violins, etc., all well constructed on the several standard models, superbly varnished and tonally quite remarkable. Many of them often realised fabulous prices from the numerous wealthy officers and amateurs in that country. Before his advent few violins (other than the national rustic ones) had been made in any Russian city. Frequently designated the “Messiah of the Violin” by enthusiastic adherents. Similarly convinced was he concerning the absolute correctness and superior technical and acoustical laws promulgated by himself, since he asserted (in one of his Essays), that “If Stradivari were alive I should be his teacher”. Also stamped his name on many bows, ingeniously planned to have strength and elasticity. Labels in Russian and French, signature generally appearing thereon.
--------------------------
Anatole le Léman
Messie du Violon
St. Petersburg. 1909
-------------------------
Author of the following Essays : -
The Violin and Bow (1885); Letters on the Violin and ’Cello (1900); Violin Acoustics (1903); My Violins (1905); Violins and Violinists (1905); The Russian Violin (1909).
Succeeded by his son Marc Anatolvitch, 1913.

LE MAIRE
French bow maker, 1910. Stamped “Le Maire”. £10.

LEMARQUIS, JEAN BAPTISTE
Born 1730. Worked at Mirecourt. Died 1775. Rather broad modelling, yellow brown varnish.
-----------------------
Lemarquis de l’air
d’oiseau. anno-
-----------------------
Also branded “Lemarquis”. Label and brand subsequently used by Claudot and other French makers.

LEMBÖCK, GABRIEL
Born at Ofen (Budapest), 1814. Pupil of Peter Teufelsdorfer. Worked for Fischer at Vienna. Set up own premises which he called “At the Golden Eagle”, 1840. Received an appointment to the Imperial Court. Died 1892. Won medals at Munich (1854) and London (1862). Instruments finely patterned on the models of Stradivarius, Guarnerius and Maggini. Especially splendid copies of Paganini’s Guarnerius violin, which he had got to thoroughly know by having several times to repair it. Tonal quality frequently of refreshing fullness and gratifying responsiveness. Various shades of varnish from yellow to red brown, transparent but somewhat glassy. Wood always carefully selected, backs of the prettiest flame, some instruments have bellies of cedar wood. Also made varied experiments in the length of the bass bar. Also violins of Guarnerian modelling, golden red brown varnish. £90, 1960.
------------------------
Gabrielis Lemböck
Vienna Anno 1846
------------------------
--------------------------------------------------
Gabriel Lemböck fecit secundum
Josephi Guarneri Cremonensis originale
ex Nicolai Paganini Concertuosa Violina,
Viennae Anno 1852. I.H.S.
--------------------------------------------------
----------------------------------------------
Gabriel Lembock
K.K. Hof-Instrumentenmacher. 1863
----------------------------------------------
Some labels have designs of medals. G.L. branded on tail pin and button.

LEMERCIER
French trade violins, amber varnish. £5 (1920).

LEMME, CHARLES
Worked at Brunswick, 1780, and Paris, 1792. Died 1832. Instruments with a “special working” of the top plate.

LEMONIER
Instruments indubitably made at Mirecourt. Commonplace modelling, somewhat Stradivarian in outline and arching. Indifferent scroll. Spirit varnish, yellow and transparent. Unsuccessful tone. £10.
----------------------
Fait par Lemonier
à Paris. 1825
----------------------

LENDSEY, GFORGE CURTIS
Worked at Los Angeles. Died in 88th year, 1943. Produced 540 violins with varying success.

LENGYEL, KALMAN
Born 1880. Pupil of Schunda at Budapest. Worked for Pilát and Laumann at Vienna. Established at Kolozsvar (Hungary), 1906. Died 1920. Violins much esteemed.

LENHART, JOSEPH RUDOLF
Born 1862. Worked at Leitmeritz (Bohemia). Went to America, 1902. First instrument dated 1895. Followed the various Italian models and Stainer. Very good orchestral instruments. Made many cheap violins covered with a spirit varnish of own preparation, in various shades from golden yellow to chestnut brown. Had a golden oil Varnish (also own formula) for better instruments. Invited criticism when he impregnated the wood and varnished the inside. Recipient of several medals.
-----------------------------
Jos. Rudolf Leuhart
Geigen und Zitherbauer
Leitmeritz. Anno 1901
-----------------------------

LENK, JOSEF
Worked at Schönbach, 1911-1940. Skilfully made instruments with a considerable sale in Germany.

LENK, OTTO ERNST
Born 1887. Worked at Markneukirchen, 1925. Very good workmanship and varnish.

LENK, WENZEL
Born 1840. Worked at Frankfort, 1870. Died 1902. Good Stradivarian copies. Won gold medal, 1881.

LENOBLE, AUGUSTE
Born at Mirecourt, 1828. Apprenticed to Peccatte. Worked for J. B. Vuillaume. Opened own atelier at Paris, 1862. Died 1895. Bows of very skilful manipulation but generally too heavy for soloists, usually dark sticks. Stamped “Lenoble” or “Lenoble à Paris”. £25, 1960.

LENOIR, JEAN BAPTISTE
Worked at Strassburg. Mirecourtian style, dark red brown varnish.
-----------------------------
J. Lenoir Geigenmacher
Strassburg, 1753
-----------------------------

LENSEN, RAYMOND
Born at Visé, 1889. Double bass player (pupil of Morin at Paris). Made violins violas and ’cellos, various Italian models, red varnish on golden ground. Won diplomas for tonal sonority at Brussels, 1934.

LENTZ (LENZ), JACOB
Son of J.N. Chamber musician to a nobleman residing near Cheltenham. Subsequently worked in London. Produced a fairly large number of magnificent double basses. Said to have made only two violins, both of Guarnerian model. Body length, l4-5/8 inches, upper bouts, 6-5/8; middle 4-3/4; lower, 8-1/8; ribs, 1 all round. Marvellously deft copying of a famous original. Belly wood of beautifully regular grain, the gradual accretions of age perfectly simulated. Old appearance of scroll fascinatedly replicated. Sound-holes have an aspect of soundpost setter usage in the worn widening at the middle. Varnish of back extremely antique-like. Tonal quality unique in respect of warmth and clarity. Unfortunately not labelled.

LFNTZ, JOHANN NICOLAUS
Born in the Tyrol. Came to London. Associate of Bernhard Fendt. Worked at Chelsea, 1800-1813. Variegated modelling and workmanship, possibly because he worked principally for dealers. Best specimens generally Tyrolean, outline of fine curves, not of broad proportions, and rather narrow waist. Fine grain belly wood, two-piece backs of close flame material, handsome appearance back and front. Dark brown varnish, now nearly opaque. Also Stainer-like modelling, very scoopy and with an unnatural gradient. Produced a few good ’cellos of narrow pattern but of fine curvatures.
---------------------------------------
Johann Nicolaus Lentz fecit
near the Church, Chelsea. 1803.
---------------------------------------
--------------------------------------------
Johann Nicolaus Lentz frcit
Lower Sloane Street, Chelsea, 1813
--------------------------------------------
Sometimes only the name, no address.

LENTZ, J. F.
Son of J.N. Similar Work.
---------------------------------------------------
John Frederick Lentz, fecit
No. 1 Lower Sloane Street, Chelsea, 1814
---------------------------------------------------

LEONARD, JOHN FRANKLIN
Born at Caribou (Maine), 1878. Pupil of Rockwell. Worked at Elizabeth (New Jersey), 1920. Stradivarian outline, own arching. Brownish-red or yellow-brown varnish.
-------------------------------------
Male by / XVIII
John F. Leonard / U.S.A.
Elizabeth N. J. / Oct. 1927
-------------------------------------
(written)

LEONARDI, ELEUTERIO
Born 1847. Pupil of Francesco Fabbri. Worked at Spoleto, 1872. Produced 100 violins and ’cellos. Good modelling and varnish. £100, 1960.

LEONARDSON
Resident at Orebro (Sweden), 1890-1915. Excellent Amatese modelling.

LEONHARDT, KONRAD
Born 1907. Pupil of Winterling. Worked at Munich, 1934. Individualistic modelling, satisfactory workmanship, whale-bone purfling, excellent varnish.

LEONHARDT, ROBERT OSKAR
Born 1872. Worked at Markneukirchen for Voigt, and Heberlein. Died 1945.

LEONHARDT, ROBERT WALTER
Born 1901. Son of R.O. Worked at Düsseldorf, and for Max Möckel at Berlin. Established at Markneukirchen, 1922. Good workmanship.
--------------------------
Robert Leonhardt
Geigenbauer
Markneukirchen i/Sa
--------------------------
(within design of a violin body)

LEONI, CARLO
Worked at Treviglio (Italy), 1851; and at Treviso, 1861. Acquitted himself rather creditably in producing violins, guitars, and zithers, considering that he aimed at little beyond eight guinea value. £75, 1960.

LEONI, FERDINANDO
Worked at Parma, 1812-1820. Instruments showing an exactitude of form and precision of arching strictly imitative of the Amati model in its minutest detail, but for some unaccountable reason none have a fine quality of tone. £90, 1960.
----------------------
Ferdinando Leoni
Parmae, 1816
----------------------

LEONI, GIOVANNI
Father and son worked at Naples, 1829-1870. Usual model somewhat after the Stradivarius. Purity of form not attained, and no originality anywhere. Ordinary wood, usually wide grain for the top. Passable workmanship. Red-brown varnish. Catalogued at 10 guineas. £80, 1960.
--------------------
Giovanni Leoni
Napoli, 1829
--------------------
-------------------
Giovanni Leoni
1870
-------------------

LEONI, GUIDO
Born at Genoa, 1902. Resident at San Benedetto del Tronto (Ascoli Picino), 1927. Average modelling, golden-orange or hazel nut shades of varnish.
--------------------------
10 - 951
Guido Leoni fece
S. Benedetto Tronto
-------------------------

LEONI, MATTEO
Worked at Florence, 1895-1925. Admirable instruments (generally Stradivarian), at extremely moderate prices. £90, 1960.

LEONI, NICOLA
Worked at Parma, 1855-1865. Guarnerian outline, arching rather swelled, short sound-holes cut very wide, everything heavy looking. Dark brown varnish. Also built violins with waist curves of outward crescent, edges beaded immediately on leaving the purfling.
----------------
Nicola Leoni
Parma. 1860
----------------

LEONORI, PAOLO
Born at Rome, 1903. Professional ’cellist in orchestras at Rome and Milan. Became passionately attached to violin making. Presented a remarkable quartet of instruments at Cremona, 1949. Individualistic modelling based on various standard types. Golden-yellow varnish.
----------------
Paolo Lenori
Roma 1949
----------------
(with designs of two sound-holes)

LEONTIEV, A. D.
Russian. Worked at Leipzig, 1895. Established at Moscow, 1920. Little known work.

LEOPOLD, LUDWIG
Worked at Neukirchen, 1840. Stainer outline, medium arching, moderate workmanship but not unskilled.

LEOPOLDSEDER, J.
Worked in Bavaria, 1848-1862. Mediocre modelling, poor varnish, and a small tone.
--------------------------
Joseph Leopoldseder
1852
--------------------------

LEORIPORRI, C. M.
Bows stamped with this name have been seen. Very nice sticks.

LEORIPORRI, GIOVANNI FRANCESCO
Worked at Milan, 1750-1765. Probably a Tyrolese who Italianised his name. Somewhat similar to the Amati-Klotz in outline and arching. Workmanship of considerable artistic skill though his imagination did not revel in giving much gracefulness to the rather straight sound-holes. Neither does the scroll touch a responsive chord. Yellow-brown varnish, sometimes recalling that of Grancino, but also frequently of muddy aspect. Tonal quality not calculated to send us into rapt ecstasy. £350, 1960.
---------------------------------
Fetto da Giovan Francesco
Leoriporri Milanese
aquila, 1758
---------------------------------

LEPER, DOMINICO
Worked at Rome, 1860. Little known.

LEPILEUR, FRANÇOIS
Worked at Paris, 1750-1760. Not a very good style. Model of too decided a partiality for length and not proportionate width. Good scroll. Unambitious brown varnish. Frequently pretty wood for backs. Several excellent ’cellos known.
---------------------------------
Apud Franciscum le Pileur
veteri Palatto Parisius
1752
---------------------------------

LEPILEUR, PIERRE
Worked at Paris; 1725-1760. Obtained certain privileges through being associated with the Abbaye Saint-Germain, which exempted him from taxes as well as being free of the expensive ceremony conditioned by being received into the Corporation of Instrument makers.
Instruments rather alienated from the canons of good taste. Where one specimen might please, ten will have the opposite effect. Long model, workmanship not nicely consummated. Brown varnish of repellant shade. ’Cellos of far superior style, generally handsomely wooded, orange-red varnish.
---------------------------------------------
Pierre Le Pileur, priviléiez du Roy
dans l’abbaye Saint-Germain à Paris
1754
--------------------------------------------
Also styled himself “Pietro Le Pilieri”.

LEPOIVRE, C. L.
Amateur at Mons (Belgium). Most unattractive modelling, gradient rising almost immediately from the edge, slovenly workmanship.
-------------------
C. L. Lepoivre
Mons, 1864
-----
-------------------
(neatly written)

LEPORE, LUIGI
Worked at Rome, 1850-1880. Excellent violins somewhat after the Tecchler style; purfling in a pronounced groove, brown varnish of fine texture. £150, 1960.

LE POT, CHARLES
Worked at Lille. Violins and ’cellos.
-----------------------------
Fait par Carolus Le Pot
à Lille, 1726
-----------------------------

LEPRI, GIUSEPPE
Born 1896. Pupil of Pollastri at Bologna. Worked at Santarcangelo. Generally Strad modelling, a few more individualistic. Golden-yellow varnish of rather dark hue.
------------------------------
Giuseppe Lepri
fece anno 1947
Santarcangelo Romagna
------------------------------
(written; border of small circles; also monogram)
Branded in two places inside. £100, 1960.

LEROY, C.
Trade-mark of Charles Bailly at Mirecourt. Golden-brown oil varnish.

LEROY, THOMAS EDOUARD and LÉON
Father and son. Worked at Armentières and Paris, 1880-1920. Generally Guarnerian modelling, refined workmanship, excellent varnish, colour scheme nicely conceived.
-----------------------------------------
Armentières-Paris le 26 Juin 1901
Thomas Edouard et Léon Leroy
-----------------------------------------

LESLIE, JOHN B.
Resident at Mossknowe (Scotland). Exhibited three violins at Edinburgh, 1890.

LÉTÉ JOSEPH DOMINIQUE
Born at Mirecourt, 1804. Apprenticed to Moitessier. Worked for Gand at Paris. Associated with Vuillaume, 1825-1828. Settled at Nantes. Died 1871. Generally very similar to the instruments of François Gand. Edges perhaps regarded as too broad, giving an aspect of heaviness and stiffness. Workmanship consistently smooth. Fine belly wood, often slab backs. Red, red-brown (mostly), and yellow-brown shades of varnish, each lacking suppleness. Tonal quality of vigorous clarity. £20 (1925). Occasionally built Strad replicas, masculinity of his other instruments slightly pruned, brilliant red varnish with a tinge of golden, not unlike a good Lupot, valued at £50.
--------------------
Jh Lété, Luthier
à Nantes, 1834
--------------------

LÉTÉ SIMON
Born about 1768. Worked at Mirecourt. Died 1832. Vuillaume was one of his assistants, 1821-1825. Produced satsifactorily toned violins at one guinea each and enjoyed great vogue for several years; awarded a silver medal 1823. Also made ’cellos.

LE TEINTURIER
Worked at Rouen (according to Poidras). Castagneri style, neat purfling near edge, pale yellow varnish.
---------------------------
Jacques Le Teinturier
à Rouen 1758
---------------------------

LETELLIER, J. C.
Composer, violinist, and conductor at Choisy-le-Roi (near Paris), 1920. Inventor of a violin of low sounds. Proportions approximating to those of the viola. Body length, 39 cm; width of upper part (shoulders very sloping) 17; lower 23. String length from nut to bridge, 34; short neck 13. Height of ribs less at top and bottom than at middle. Sound-holes crescent shaped, no turned corners at the waist curves, whole appearance practically replicating the ancient viol-d’amour. Four thick strings tuned an octave below those of the ordinary violin. Tonal timbre similar to that of a small ’cello, no doubt useful in small cinema orchestras.

LE TOUZEL, CHARLES
Born 1773. Rector of St. Martin’s, Jersey. Amateur maker of violins. Died 1818.

L’ETOILE, E.
Vannes mentions a uniquely modelled violin with pronounced arching, fanciful head decorated with mother-o’-pearl, one-piece back.
---------------------------------
Etienne L’Etoile, luthier
rue Grenelle à Paris, 1799
---------------------------------

LEVIEN, JULIUS
Medical doctor. Resident at Berlin. Worked with Fischesser at Paris, 1894. Studied acoustics and Cremonese varnishes. Brought out superbly built instruments of uniform design (comprising a string quartet) at Berlin, 1912. Journals etc., commented on the high standard of tone.

LEVINVILLE
Worked at Besançon (France). Fair modelling and workmanship, reddish varnish on golden background, agreeable tonal quality.
-----------------------
Levinville luthier
à Besancon, 1712
-----------------------

LEWER
Worked in Moorfields, London, 1763. Careful work. Andrea Amati outline. Full model similar to H. Jay. German type sound-holes, edges very neat. Scroll well cut with long peg box. Violins slightly under full size. Back thickness 1/8in. to 3/32. Breast 5/16in. to 3/32. Has sweet and attractive tone when breast has been re-thicknessed. Varnish good oil golden-red-brown in colour.
------------------------
Lewer. Moorfields.
London, 1763
------------------------
Signed inside on breast and back.

LEWICKI, HANS
Born at Zurich, 1864. Studied the violin and ’cello at Dresden, also violin making with Patzelt. Worked at Garmisch (Bavaria) 1893; Hellerau near Dresden, 1912; and at Rähnitz (Dresden suburb), 1925. An ambitious maker, not one of mere hankering after popularity, but with an honest desire to have a glorious posterity. Instruments built from a conscientious reverence for the old masters. Tonal quality of sufficient healthiness as not to need exaggerated laudation of “Italian resuscitation”, etc.
------------------
Hans Lewicki
------------------

LEWIS, EDWARD
Worked in London, 1687-1745. Rare violins having mighty superiority over many by native contemporaries, all having the essentials of real beauty. Some models approximate to the Maggini. Finely carved scroll, also splendidly conceived. All intricate paths, externally and those hidden from general view, traversed with confidence. Varnish, light yellow, or more frequently a red with golden ground, superbly transparent and elastic. Also constructed violas and ’cellos equally authoritative in design.
------------------------------------------
Edward Lewis.
in St. Paul Allay in London, 1687
------------------------------------------
One instrument known with “E. Lewis 1742” branded on that part of the breast where chin-rest is placed. £80, 1960.

LEWIS, H. F.
Worked at Sydney (Australia) from 1862. Died 1925. Recipient of medal at the Melbourne Exhibition, 1888, for violins made of native woods. Modelling of rational ideas, artistic thought suffuses the scroll, sound-holes a trifle less satisfactory, purfling inserted without a tremor, good varnish completes a splendidly masculine conception.
-------------------------
H. F. Lewis
Violin Maker
Ash Street. Sydney
------------------------

LEWIS, THOMAS
Resident in Gloucestershire, probably a cobbler. Fairly nice violins. Written on the wood “Made by Thomas Lewis in 1823. Played it in the Chire in 1824. Its a good Fiddle when I plays”. Coat of glue quite 1/8in. thick given to the inside to strengthen the very thin wood. Two-shilling size pieces of leather on the back and belly to hold up the soundpost.

LEWIS, WILLIAM & SON
Established at Chicago (U.S.A.), 1874. Employ a large number of first class luthiers. Specialise in rare violins and expert restorations. President: Mr. R. Olson; Chief Executives - Mr. Carl Becker, and son, and Mr. H. Benson. Publishers of “Violins & Violinists”, etc. Many of the famous instruments now in America have passed through this well known Violin House with a great reputation.

LEYDEN, JOHN
Born 1869. Worked at Glasgow. Cremonese modelling of considerable attractiveness, varnishing skilfully accomplished.
--------------------------
John Leyden, Maker
Linthouse. Glasgow
No. 20. 1922
--------------------------
-----------------
John Leyden
Glasgow
No. 38. 1926
-----------------

L’HUMBERT
see HUMBERT.

LIANER, ALBERTO
Worked at Rome, 1665-1680.
--------------------
Alberto Lianer
In Romae 1674
--------------------

LIDHOLM, ERIC JOHAN
Born in Sweden, 1871. Violinist. Established at St. Louis (Mo.) 1914. Modified Stradivarian modelling, every detail carefully attended. Imitative old varnish, yellow tinted with red, very responsive tone.
--------------------
E. J. Lidholm
St. Louis, 1926
--------------------
(initials circled)

LIDHOLM, FRIDOLPHE
Resident at Des Moines (Iowa), 1930. Little-known violins.

LIEBEL, CHRISTIAN
Worked at Quittenbach, 1750-1760. Well designed violins, rather superior to many of his contemporary countrymen. Klotz-like in contour, dark yellow varnish, non-flamed but good material for the back, belly wood especially tonal. Internal workmanship as well done as the exterior. Tonal quality of ingratiating mellowness.
----------------------------------------
Christian Liebel
Violinmacher in Quittenbach 17-
----------------------------------------

LIEBEL, JOHANN
Born at Mittenwald. Worked at Markneukirchen, 1800-1830.
-----------------------------------
Johannes Liebel aus
Mittenwald an der Iser 1803
-----------------------------------

LIEBETREU, H.
Worked at Dessau, 1804. Very ordinary violins, generally weak tone.

LIEBICH, ERNST (1)
Born at Reibnitz (Silesia), 1796. Worked at Breslau, 1824. Died 1876. Happily conceived copying of a Strad or Guarnerius. Also constructed guitars and harps.

LIEBICH, ERNST (2)
Born 1830. Son and pupil of preceding. Worked at Munich and for Vuillaume at Paris. Spent a few years with Hart (London). Assisted Bausch at Leipzig (where he also played in the Gewandhaus Orchestra). Succeeded to father’s business at Breslau. Died 1884. Violins and ’cellos of varied modelling, some specimens realising £40. Especially skilful as a bow maker.

LIEBICH, ERNST (3)
Born 1862. Son and pupil of Ernst (1). Worked for Bittner and Voigt at Vienna. Succeeded to father’s business at Breslau, 1884. Awarded silver and gold medals at Breslau and Posen. Appointed instrument maker to the Duke of Saxe-Coburg and Gotha. Had the assistance of five or six workmen, repaired about 300 instruments yearly, enjoyed undisputed sovereignty as a connoisseur etc. in Silesia, 1926. Produced about six new instruments every year. Principally Stradivarius and Guarnerius models, Amati and Maggini occasionally. All beautifully made and splendidly varnished. Also violas, ’cellos, guitars and lutes. Many delicately worked bows bear his name.
-----------------------
Von Ernst Liebich
Breslau. 1886
-----------------------
(with designs of medals)

LIEBICH, GOTTLIEB
One of the wandering Bohemians who found his way to the Silesian side of the Giant Mountains. Settled at Hermsdorf (lower Kynast), about 1730. Found very suitable pine and maple in the forests at the foot of the mountains, and built violins somewhat reminding of the Stainer. Belly wood especially fine, always one-piece backs. Sometimes without purfling, honey-brown varnish, of unpretentious and dullish aspect. Praiseworthy workmanship, satisfactory tone.
-----------------------------------------------------
Gottlieb Liebich
Violinmacher in Hermsdorf unterm Kynast
-----------------------------------------------------
(German lettering, decorative border)

LIEBICH, JOHANN GOTTFRIED
Born 1752. Went to Breslau to work with Sebastian Rauch. Set up own premises, 1789. Died 1824. General contour reminds of both the Prague and Saxonian schools. Outline sometimes Stradivarian and rather broad, and at other times more after the Amati of less breadth. Always medium arching. Status of workmanship indubitably high. Even grain material for the tops and handsomely figured maple for backs. Conventional scroll and often rather plain wood. Rich orange or red gold or brown varnish, applied with masterly freedom. Nothing to decry concerning the tone, which is of sufficient mellowness and satisfying responsiness. £40 (1925).
------------------------------------------
Johann Gottfried Liebich
Geigen-Lauten-und Harfenmacher
in Breslau, 1791
------------------------------------------
(sometimes Johann is omitted)

LIEBICH, JOHANN GOTTLOB
Worked at Hamburg until 1792, then at Breslau.
-------------------------------------------
Johann Gottlob Liebich
Musikalischer Instrumentenmacher
in Breslau, 1793
-------------------------------------------

LIEBIG
Worked at Breslau, 1810-1820. High arching, cracked varnish, no purfling, weak bass bar, hollow tone. Utterly commonplace, probably nondescript pick-ups given an artifically aged label.
--------------------------
Liebig
Instrumentenmacher
in Breslau. 1815
--------------------------

LIEBIG, GOTTFRIED
Long and narrow model, waist curves very elongated. Rather high arching, purfling very near the delicate edge. Small scroll, flat at the front, also inclined to dip as though weak, but smoothly carved. Good wood covered with a dull brownish varnish. Very acceptable workmanship throughout and a particularly sweet though small tone.
------------------------------------------
Gottfried Liebig
Instrumentenmacher Breslau 1683
------------------------------------------
(written)

LIEBIG, GOTTFRIED SIGISMUND
Worked at Harttenberg. Full arching, narrow edges, brown varnish, one-piece backs, moderately skilful workmanship.
-------------------------------
Gottfr: Siegismund Liebig
Harttenberg
-------------------------------

LIEBL, A.
Born 1867. Worked at Griesbach (Bavaria), 1882-1925. Son and pupil of J.N. Tyrolian style violins, varnish with his special “Cremonese” preparation.

LIEBL, FRIEDRICH GEORG
Worked at Quittenbach. Violins and ’cellos, old yellow varnish.

LIEBL, JOHANN
Born 1770. Worked at Griesbach (Bavaria). Died 1841. Conscientious imitator of the Mittenwald school. Excellent wood though the material for backs is seldom of much flame. Pale yellow varnish of hard appearance.
--------------------------
Johann Liebl
Burgl: Geigenmacher
in Griesbach, 1823
--------------------------

LEIBL, JOHANN NEPOMUK
Born 1811. Son and pupil of Johann. Worked at Griesbach. Died 1889. Graceful modelling of medium arching, Klotz-like sometimes rather long in body. Fine grain breasts, backs of well defined flame. Light brown varnish. £20.

LIEBMANN, OTTO
Born 1855. Large export firm at Klingenthal (Saxony), 1879-1925. Violins, guitars and mandolines at cheap prices. Many assistants kept busy.

LIESSEM, REMERUS
Worked in London, 1730-1760. Made lutes and cithers. Violins invariably of small proportions. Body length generally 13-1/8 inches. Good outline, graceful but never robust. Short sound-holes but do not seem to be out of size, rather straight stem, not graceful, only 2-3/4 inches from each other across the middle. Beautifully neat scroll with a fascinating bottom turn. Wood for top frequently has an unusual feather figure. Very close flamed material for the back which, with the hard and thin yellow (not very light) varnish gives the appearance of a rather common type of instrument, but the workmanship counteracts all this. Very nicely inlaid purfiing. ’Cello of his (dated 1753) was catalogued at £65, 1924. £125, 1960.
----------------------
Remerus Liessem
London 1735
----------------------
One violin known to be labelled: -
-----------------------
Reinerus Liessem
fecit Vienna, 1743
-----------------------

LIEVES, EDUARD
Worked at Königsberg (Prussia), 1805-1816. Made violins and guitars, the former never departing from the accepted academical pose and of fairly good workmanship, but the latter are superior in every way.
--------------------------------------
Eduard Lieves
Mechanicus und musikalischer
Instrumentenmacher
Königsberg
1813
--------------------------------------

LIGHT, EDWARD
Worked in London, 1780-1820. First at Foley Place, later in Marylebone Street. Harpist, etc., to the Princess of Wales. Inventor of the Dital harp. Some rather inconsequential violins bear his name, but they were supplied to him by comparatively obscure makers. Inventor of a lute guitar, 1816, which had great vogue in social circles for many years. Specimens now eagerly sought for by collectors.

LIGHT, GEORGE
Worked at Exeter, 1780-1795. Not eccentric rhapsodies of an incompetent amateur but a definite and enthusiastic aim to copy the Amati model, and skilfully too. Golden brown varnish applied with artistic freedom. Particularly sweet, mellow and clear tonal quality. £80, 1960.
----------------------------------------
George Light
Violin Maker
near the Cathedral, Exeter, 1791
----------------------------------------

LIGNE, LAURENT JOSEPH DE
Worked at Antwerp, 1747-1755. Violins rightly winning approval though having considerable grooving, nothing ill prepared, excellent yellow varnish and an impressive tonal quality. Often lion heads and fanciful peg boxes. Also ’cellos, generally of small size.
-------------------------------------
Laurentius Josephus De Ligne
fecit Antwerpiae 1752
-------------------------------------

LIHARZIK
Born 1814. Medical doctor at Vienna. Died 1866. Conceived certain principles in violin making and incorporated them in some instruments made for W. T. Gutermann.

LILJEMARK, ALAN
Born 1901. Amateur maker at Tystberga (Sweden).

LILLEY, JAMES Worked at Leeds, 1800-1820. Fine workmanship and fair tone.

LIMPRECH, C.
Worked at Elberfeld, 1880-1926. Fairly good instruments with mellow tone.
---------------------------------
Carl Limprech
Geigenmacher in Elberfeld
---------------------------------

LINARO, LUIGI
Born at Vicenza, 1920. Artist painter and sculptor. Resident at Padua. Ardently studied violin making and became very adept. Violins and ’cellos each instrument a veritable “objet d’art”, back and ribs enriched with decorative inlay (sometimes a portrayal of Stradivari), corners, pegs, and scroll wondrously arabesqued. Golden red varnish. Instruments destined for collectors and museums. Arrassi (violin maker) after critical examination, etc., has subscribed the following lines for posterity: -
----------------------------------------------------------
A superba Dimonstrazione Della Liuteria-Arte
Sublime Riserbata A Pochi Eletti - T.A.
Delizia Degli Intenditori
Luigi Linaro - Maestro Liutaro Vicentino
Costrui in Padova con Rara Maestria
L’Anno MCMLXVIII. Enza Arassich - Expert
1948 - in Milano
----------------------------------------------------------

LINAROLO, FRANCESCO
Born at Bergamo, 1516. Worked at Venice, 1520-1563. Beautiful tenor viols and viol-da-gambas. Also maker of an “Accordo” (1514) having a fine ornamental back of inlaid tortoiseshell.
------------------------------------------
Franciscus Linarolus Burgomensis
Venetii faciebat
------------------------------------------

LINAROLO, GIOVANNI
Son of Ventura. Worked at Venice, 1590-1625. Viols and violins. Label of a violin in the Vienna Museum: -
-----------------------------------
Giovanni D’Ventura Linarol
In Venetia 1622
-----------------------------------
--------------------------------------
Giovanni di Ventura in Venezia
1622
--------------------------------------

LINAROLO, VENTURA
Son of Francesco. Worked at Venice until 1581, then went to Padua, returned to Venice 1590. Strikingly beautiful lira-da-gamba in the De Wit Museum at Leipzig, in magnificent preservation, not the least scratch, exceptionally strong in wood, covered with a lovely light yellow Amati-like varnish. Shape greatly resembles that of the violin, back and front perfectly arched and double-pieced, remarkable curvatures of outline, magnificent approaches to the pointed corners, very artistic waist curves. Ribs splendidly moulded out (not ordinarily bent), height only 2.5/16 inches, bottom sections also curved on each side of the extremity of tail-piece. Full length, 36-1/4; body length, 23-1/4; breadth of upper part of back, 12.13/32; lower breadth, 15-3/4; dimensions across sound-holes, 9.1/16. Ornamental peg box, flat at the back. Sound-holes not crescent shaped, but of the form (and not at all primitive) later developed by violin makers. Fingerboard, 12.7/32; neck, 6.5/16; an extraordinary shortness found in all instruments of that period. Five playing strings, two sympathetic ones suspended on the left, very wide bridge, consequently great breadth between the sound-holes. Not a fantastic creation, but of a type in general use and demand, out of which originated the modern violin shape.
--------------------------
Ventura di Francesco
Linarolo. In Venetia
1577
--------------------------
Another master work is a violin (dated 1581), now in the Vienna Collection, reddish-brown varnish on back, brownish-yellow on deck. Interesting because of its non-primitive shape, and most characteristic sound-holes, also with a short angular neck. Viol-da-gamba in the Morsli Collection at Rome. Length, 76 cm; upper breadth, 40; lower, 44; thickness, 14.
----------------------------------
1585 Ventura di
Franco. Linarol in Padoa, f.
----------------------------------
Label in another viol -
---------------------------------------
Ventura di Francesco
Linaroli fece in Venetia, a. 1591
---------------------------------------

LINCKE, JOHANN PETER
A German working at Copenhagen, 1770-1780. Ordinary style and workmanship, typical of his countrymen of the period.
------------------------------------
Johannes Peter Pincke
Violinmacher in Copenhagen
------------------------------------

LINCOLN, HARRY
Worked at Medina (New Jersey), 1940. Made a few violins, but has dedicated his abilities more to the making of splendidly built ’cellos.

LIND, ALBERT
Worked at Boston (U.S.A.), 1908-1923. Produced some pretty instruments on the Grand Amati model, fine wood, very artistic varnishing.

LIND, F. O.
Born 1870. Amateur at Skebrokvarn (Sweden). Won bronze medal, 1929.

LINDAHL, ANDERS
Worked at Pilgrimstad (Sweden), 1925. Won silver medal at Stockholm. Elegant model, refined workmanship, warm looking varnish, and excellent tone.

LINDAHL, MARCUS
Born 1889. Amateur at Wallsta (Sweden). Strad modelling, yellow varnish. Signed on the wood inside.

LINDBERG, AUGUST O.
Born 1860. Amateur at Charlottenberg (Sweden). Several well-worked violins and ’cellos.

LINDBERG, J. S.
Worked at Hälsingborg (Sweden).
------------------
J. S. Lindberg
i Halsingborg
------------------

LINDBERG, P. O.
Born 1879. Amateur at Strömsbro (Sweden). Violins, ’cellos and double basses, all carefully made.

LINDBLOM, BROR SIGFRID
Born 1880. Amateur at Harestad (Sweden). Won silver and gold medals, 1925 and 1938. Strad and Guarnerian modelling, artistic designs and workmanship, yellow-brown or dark orange varnish. Signed on the wood inside.

LINDBLOM, ERIK BERTIL
Born 1895. Amateur at Norköping (Sweden). Won silver medal at Stockholm, 1925.

LINDEMAN, JAN WILLEM
Born 1890. Worked at Amsterdam. First instrument made 1914. Self-taught. Own model with subsequent variations according with experience. Early instruments have reddish varnish, later a yellow, and in 1928 a yellow undercoating with red. Very good workmanship.
-----------------------
Jan W. Lindeman
fecit Amsterdam
anno 1930, No. . .
-----------------------
(monogram in upper righthand corner)

LINDEVALL, IVAR
Born 1904. Amateur at Spillersbodo (Sweden). Conscientious workmanship.

LINDGREN, AUGUST FERDINAND
Born 1865. Amateur at Vastervik (Sweden). Won silver medal at Stockholm, 1925. Much esteemed in own country.

LINDGREN, SETH
Born 1903. Amateur at Umea (Sweden). Won silver medal, 1929. Strad modelling, golden-yellow or reddish brown varnish. Signed inside, also branded.

LINDHOLM, BENGT
Working (1960) at Mastersamuelsgatan, Stockholm, Sweden. Studied the art under his father Erik Lindholm, also with Paul Seckendorf in Markneukirchen, later with Rembert Wurlitzer of New York. Upon the death of his father in 1952, took over the family concern of Lindholms violinatelje. Made a few instruments of his own model. Repairer and dealer.

LINDHOLM, ERIK
Born 1874. Studied at Markneukirchen. Worked at Stockholm, 1907-1950. Various classical models well copied, also an individualistic one. Assisted by son Bengt (born 1917).
------------------
Erik Lindholm
Stockholm
------------------

LINDHOLM, ISAK
Born 1868. Amateur at Ingelstorp (Sweden). Died 1949. Exellent violins and violas, especially well carved scrolls.

LINDMARK, JÖNS ERIK
Born 1866. Worked at Stockholm. Died 1942. Amateur.

LINDQVIST, FRANZ
Amateur at Stockholm. Exhibited several well built violins and ’cellos, 1897.

LINDQVIST, FRANS
Born 1865. Worked at Upsala (Sweden). Won gold medal at Falau, 1927. Good workmanship and tone.

LINDQVIST, GUSTEN
Born 1873. Amateur at Stockholm. Won bronze medal, 1925.

LINDSAY, DAVID
Amateur. Worked 1885-1905. Strad and Guarnerian modelling of fair achievement.

LINDSAY, MICHAEL H.
Born in Ireland, 1837. Capable performer on the violin, ’cello and double-bass. Began 1860 without instructor, to make instruments. Worked at Stockton-on-Tees. Died 1906. Awarded prize medal for excellence of work, at Liverpool Exhibition, 1886. Outline follows that of a Stradivarius. Arching slightly deviates from that classic model. Sound-holes give the impression of a perfectly free and easy manner of manipulation. Purfling, corners and edges all neatly finished. Scroll furnishes something to admire beyond the pale of commonplace interest. Amber oil varnish specially prepared by himself, a richly tinted yellow beautifying the splendid workmanship. Some early instruments have a thin yellow varnish similar to some French factory fiddles, and often unevenly applied. Wood generally nicely figured. Bold semi-circular button not to everyone’s taste. Tone now powerful, and only of fair quality; this, as a matter of fact is surprising considering his first-class workmanship, but we attribute this to his arching originality. Consequently his productions seldom exceed £15 in value. Made more than 500 violins, ’cellos and double-basses. £50, 1960.
------------------------------
Michael Lindsay M.+L
Maker
Stockton-on-Tees. 1895
------------------------------

LINDSTRÖM, CARL ALBIN
Born 1874. Worked at Göteborg. Splendid Strad and Guarnerian modelling, brown varnish less captivating.
--------------------------------
017 C.A. Lindström 1949
Göteborg
--------------------------------
--------------------------------
Reparerad 19. .
C.A. Lindström
Wiolinbyggare. Göteborg.
--------------------------------

LINDSTRÖM, NILS
Worked at Strängnäs (Sweden). Violin-alto signed “Nils Lindström i Strängnäs 1774”. Viol signed “N.L. Fecit Strengnes 1749”.

LINDSTRÖM, ZETH
Born at Lydesels (Sweden), 1905. Produced first instrument, 1928. Strad and Amatese modelling. Body length 358 mm; upper bouts 170; middle 112; lower 112. Reddish-brown varnish.
--------------------------
Zeth Lindström artal
Lydcan Lydesels
--------------------------

LINN, LEWIS F.
Born 1883. Worked at Buffalo, and Los Angeles, 1930. Also a violinist and teacher of instrumental music. Produced over 100, Strad model exclusively, reddish-brown oil varnish.

LIONE, F.
Worked in Italy, 1780. Chiefly mandolines, some 12 stringed.
--------------------------------
Francesco Lione
Fabbricatore di Strumenti
Torino sotto li Portici
di Piazza s. Carlon. 1790
--------------------------------

LIORNI, A.
Worked at Rome. Died 1923. Ordinary type instruments.
---------------------------------
Augusto Liorni
Via del Gonfalone Num. 8
Fece in Roma. 1900
--------------------------------

LIPP, IGNAZ
Worked at Mittenwald, 1740-1778. Good copyist of the Klotz model, brown varnish. £45, 1960.

LIPP, JOHANN GEORG
Born 1756. Son of Ignaz. Worked at Mittenwald. Good examples of the Tyrolese style; brown varnish. Unusually critical in his choice of wood which he got for himself from the richly laden forests around.
----------------
Johann Lipp
Anno 1780
----------------
(name of town omitted)

LIPP, JULIUS AUGUST
Worked at Mittenwald, 1768-1795. Ordinary Tyrolian style, wood chemically treated, dull dark varnish.

LIPP, MARTIN
Born at Mittenwald, 1809. Worked at Dillingen-on-Danube, 1835-1843. Style similar to that of his contemporaries, but rather more careful in workmanship and superior in varnish. £50, 1960.
---------------------------
Martin Lipp
Instrumenten-Macher
in Dillingen. 1835
---------------------------
------------------
Martin Lipp
Dillingen 1843
------------------
(decorative border)

LIPP, MATHIAS
Worked at Benedictbeuren (Bavaria). Violins wholly of the Klotz school, very ordinary workmanship, often plain material for backs, dull brown varnish. £10.
---------------------------------
Mathias Lipp violinmacher
in Benedictbeuren
---------------------------------
(German lettering)
-----------------------------------
Mathias Lipp Geigenmacher
in Benedictbeyrn 1760
-----------------------------------

LIPP, STAN
Born 1751. Worked at Mittenwald. Ordinary workmanship.
-------------------------
Stanislaus Lipp
in Mittenwaldt 1785
-------------------------

LIPPERT, CARL
Born 1870. Worked at Markneukirchen. Assisted by two sons, Karl Friedrich, and Reinhold Ernst. Died 1934. Nothing outstanding in workmanship.

LIPPI, COVIAUX
Worked at Marseilles, 1720-1750. Ordinary violins, generally Tyrolian models, dark brownish varnish. Better known for fine guitars.

LIPPI, PIETRO
Neapolitan. Worked at Marseilles, 1755-1770. Produced several good double-basses. Especially esteemed for mandolines.
-----------------------------
Pietro Lippi Napolitano
fece Marseglia, 1765
-----------------------------
--------------------------------------
Marseille, chez Lippi, Luthier
et Maître de Musique
Sur la Port prèz la Loge No. 3
--------------------------------------

LIPPITSCH, H.
Pupil of Herzlieb. Worked at Graz (Styria), 1870. Died in Bosnia, 1878.
-------------------------
Heinrich Lippitsch
Reparirt Graz 1877
------------------------

LIPPOLD, CARL ANTON
Trade violins largely circulated by Beare & Son, London, 1920. Strad model, fully lined and purfled, golden-brown varnish of dark shade.
----------------------------------------------
nach
Carl Anton Lippold
musikalischer Instrumentenmacher in
Neukirchen bey Adorf 19. .
----------------------------------------------

LIPPOLD, CARL FRIEDRICH
Born 1772. Son and pupil of J.G. Worked at Markneukirchen. Died 1854. Ample composite of Stradivarian-Amati modelling. Medium arching, good scroll, accurate purfling. Wings of sound-holes sometimes close cropped. Really attractive brownish yellow varnish. Tonal quality often quite clear and rather far carrying. . Also well-toned violas, body length 15-1/8 inches. £70, 1960.
-------------------------------------------
Carl Friedrich Lippold
Musikalischer Instrumentenmacher
in Neukirchen. 1794
-------------------------------------------
(German lettering)

LIPPOLD, JOHAN GEORG
Born 1739. Worked at Markneukirchen. Died 1824. Nothing especially distinctive in the contour (flat model), but the yellow-brown or cherry-brown varnish has a superior look to any used by his contemporaries. Supposed to have visited Cremona and found the recipe there. Backs generally of small flame material, although some are quite plain, fine grain belly wood. £90, 1960.
-------------------------------------------
Johann Georg Lippold
musikalischer Instrumentenmacher
Neukirchen bey Adorf 1807
-------------------------------------------

LIPPOLD, JOHANN GOTTLOB
Born 1777. Son and pupil of J.G. Died 1808. Ordinary violins.

LIPPOLD, WOLF ERHARDT
Born at Klingenthal, 1696. Son and pupil of W.N. Master in the Guild at Markneukirchen, 1719. Died 1768. Produced excellent instruments in later years.

LIPPSKY, FADEI FADEJEVITCH
Russian officer. Became fascinated with violin building solely as an enthusiastic amateur, 1892. Studied and experimented in the usual paths, and after five years took up the art professionally. Opened premises at Jelabuga (Vjatka, Russia). Subsequently Director of the Industrial School there. Productivity quite large, original modelling, rather high arching, and deep grooving running along the purfling. Well seasoned Vjatka pine, and Caucassian non-flame maple. Exceedingly dark brown oil varnish thickly applied. Soft tonal quality but lacks the the penetrativeness necessary for solo instruments.

LIRSCHER, JOHANN GEORG
Worked at Wels (Upper Austria), 1774. Modelling somewhat on the Viennese lines, second-rate workmanship, poor quality wood, varnish of indifferent texture. Tonal quality “shut-in”. £10.

LISSIEUX
Worked at Lyons 1770. Principally wind instruments. Violins bearing his name possibly made at Mirecourt.
--------------------
Lissieux Luthier
Lyon. 1770
-------------------

LISTER, JOHN
Resident at Leeds, 1715-1732. Exaggerated Stainer modelling, rough workmanship, clumsy scroll, poor yellow varnish.

LITHNER, GUSTAF
Born 1879. Amateur at Alsen (Sweden). Won bronze medal at Stockholm, 1925.

LITT, PAUL
Born at Dison, 1885. Pupil of Jean Pierret (Verviers). Worked at Brussels. Good replicas of a Maggini, reddish brown oil varnish. Well known for specially designed banjos.
----------------------
Paul Litt, Luthier
fait a Bruxelles.
le Juillet. 1916
----------------------
Sometimes branded “Paul Litt Bruxelles”.

LITTIN, IVAN
Resident at Auckland (New Zealand), 1925. Splendid models of a Strad or Guarnerius, golden red varnish, bright tone. Also bows of delightful balance. Written label on parchment.

LITTO, ALBERT S.
Born at Budapest, 1892. Pupil of Raab at Tombor. Head of the Litto Manufacturing Co. at Buffalo (N.Y.), 1935, assisted by son Albert, and A. M. Zisser. Various models and shades of varnish, productivity of 1,000 instruments up to the year 1940.

LOBB, JOHN
Born at Portsmouth, 1899. Produced first violin at The Hague, 1949, after much research and experimenting. Golden yellow oil varnish. Resident at Fernbank, Wroxall.

LOBRASZEWSKI
Worked at Warsaw, 1865. Modelling, workmanship and varnish definitely confined to the boundary ordinarities.

LÖBZIEN, HEINRICH
Born 1860. Worked at Rostock (Mecklenburg), 1884-1925. Modified Stradivarian modelling, spirit varnish of own formula.
--------------------------
Heinrich Löbzien
Instrumentenmacher
Rostock i M. 1918
-------------------------

LOCATELLI, IGNAZ
Worked at Innsbruck (Tyrol). Very indifferent representations of the native style. Excessively high arching, frequently unpurfled.
------------------------------
Ignatius Locatelli
Lauten u Geigenmacher
Innspruck Ao. 1764
-----------------------------

LOCK, CHARLES C.
Patented an “improved violin”, United States, 1925. Two sets of strings, four bowed in the customary manner, and an auxiliary four located underneath and passing through small holes made in the bridge. The back has four strips of wood curving diagonally from the four corner blocks to the neck and bottom blocks. Hollow soundpost. Peg box like that of a mandoline. Designed to improve tonal freedom.

LOCK, GEORGE HERBERT
Born at Dorchester, 1850. Professor of mathematics at Shrewsbury, 1873-1904. Made 60 violins and 3 ’cellos of very commendable designs and workmanship.

LODIN, ANTON
Born 1888. Amateur at Sörvik (Sweden).

LODOVICO
Worked at Genoa, 1795-1830. Label in a guitar belonging to Paganini -
--------------------------------------
Lodovico
da me ristorato
Genoua - piazza posta vecchia
--------------------------------------

LOESSEL, G.
Born at Oberstephans (Silesia), 1882. Amateur. Worked for Woitok at Breslau. Produced about 140 violins. Artistic Strad modelling. Two varnishes of own formula, one with a soft resinous base, the other (spirit) of a brownish shade.
--------------------------------------------------------
Georg Loessel Rektor und
Geigenbaumeister Ludwigsdorf Grafsch Glatz
z.Z. Ostvertriebener.
in Dorten Hervest in Westfalen
--------------------------------------------------------

LOGAN, JOHN
Amateur at Abington (Lanark), 1870-1898. 50 violins, Cremonese models, especially good scrolls, yellow oil varnish, dance band tone.
--------------------------
Made by John Logan
Abington N.B. 1873
--------------------------

LOHR, THEODOR
Worked at New York, 1880. Maker of violins, guitars and harmonicas.

LOLIJ, JACOPO
Worked at Naples, 1720-1735. Grancino style, expert workmanship, rather flat arching, often non-pretty woods, lovely yellow varnish, warm tone. High prices sometimes realised. £300, 1960.

LOLIO, GIOVANNI BATTISTA
Worked at Valtezza (Bergamo), 1740-1750. Model of a Grancino rather faithfully delineated. Workmanship plainly shows he was not particularly minute in minor matters. Very frequently chose wood without much, or any flame. Yellow varnish of considerable transparency. £350, 1960.
---------------------------------
Jo. Batta Lolio di Valtezze
F. anno 17-
---------------------------------

LOMAX, JACOB
Pawnbroker at Bolton (Lancashire), 1925. Fair workmanship.
-----------------
Jacob Lomax
Bolton 1900
No. 31
-----------------

LOMAX, VICTOR W.
Born at Laclade (Missouri), 1892. Violinist. Constructed several well designed violins.

LOMBARDI, COLOMBO
Worked at Rome, 1930.

LOMBARDI, JULIUS
Worked at Rimini, 1782-1793. Made few instruments, apparently not particularly ambitious in circulating them. For many years the majority were owned by a connoisseur who only showed them to friends. Meritorious workmanship and good varnish but there is a certain deficiency in real quality of penetrative tone.
-----------------------
Julius Lombardi
fecit Arimini, 1789
-----------------------
Arimini - ancient spelling for Rimini.

LONG, JAMES
Hairdresser at Cork (Ireland), 1927. Enthusiastic maker who used good wood and knew how to respectfully treat it.

LONGIARU, GIOVANNI
Born at Pozzale di Cadore (Italy), 1886. Pupil (in woodwork) of Gottardo at Venice, and (in violin making) of Pezzoni at Cremona. Repairer to the Conservatoire, Venice, where he also studied violin playing and became quite proficient. Went to New York, 1903. Produced about 270 violins up to year 1948. Also violas, ’cellos and double basses. No adherence to any particular model, but rather favoured the Guarnerius. Workmanship distinguished in a pre-eminent degree, specially refined finish of the inner edges of the sound-holes. Used finest Italian woods, and worked most assiduously to the attunement of the plates. Golden red varnish made from a special preparation, claimed to be “Cremonensis secundus”. Rich in tonal quality. These gems are glorious witnesses of the powers of a great master, instruments to win imperishable renown, a great joy to all succeeding ages and to all soloists. Also produced perfect replicas of the various masterpieces. Renowned for restoring and perfecting the tone of old instruments by what he termed the “Longiarised Process”, which included special treatment and position of the bass bar. Considerable productivity of bows in early years.
-------------------------
Giovanni Longiaru
Venice - New York
A.D. 1926. No. 125
-------------------------
Signed “Giovanni Longiaru” between second and third lines. Also bearing the design of violin surmounted on a fancifully shaped lyre with -
-------------------------------
G L
i o
o n
v g
a i
n a
n r
i u
Sempre lo Spirito elevhto
-------------------------------

LONGMAN AND BRODERIP
Instrument dealers in Cheapside (London), 1741-1798. Bought all sorts of instruments, and put in their trade label. Many of the better instruments sold by them (also labelled), as made by them, were really the work of Benjamin Banks or Jay. These are usually of the Amati type, medium high arching, handsomely flamed maple and brown varnish. Tone always mellow and nicely full. Other specimens either branded or labelled, have a commoner appearance. Sometimes the name appears as Longman and Lukey.
---------------------------
Longman & Broderip
No. 26 Cheapside
No. 13 Hay-Market
London
---------------------------
(square lettering)
Violas stamped with these names were made by Joseph Hill. Body length l5-1/4 inches.

LONGSON, F. H.
Resident at Stockport, 1890-1905. Quite ordinary in every detail.

LONNQVIST, JANOS GUSTAF
Born 1882. Amateur at Knivsta (Sweden).

LONSDALE, WILLIAM P.
Worked at Preston (England), 1870-1895.

LOOS, G. KARL
Born 1852. Worked at Schönbach. Violins and guitars. Won several medals for good designs and workmanship.

LOOS, WENZÈL
Born 1839. Pupil of Placht. Worked at Schönbach. Died 1907. Ordinary workmanship.

LOPEZ, LACARRE JULIO
Medical doctor at Buenos Aires. Constructed violins, violas and ’cellos. Wood subjected to ultra-violet rays. Presented at a public audition, 1948, a quartet of instruments not varnished. Received felicitations, testimonies from connoisseurs regarding the beautiful workmanship and clarity of tone.

LORANGE, PAUL (1)
Born at Mirecourt, 1873. Worked with Blanchard (Lyons), Gautié (Toulouse) and Mougenot (Brussels). Established at Lyons, 1899. Died 1920. Stradivarian, Guarnerian and Amatese modelling, the latter especially esteemed. Woods very happily selected, accoustically fine as well as beautifully flamed. Reddish orange or cherry red shades of varnish, oily, thick of tender composition, applied uniformly or to imitate “wear”. £80, 1960.
---------------------------
Paul Lorange
à Lyon. 1902. No. 99
---------------------------

LORANGE, PAUL (2)
Born at Lyons, 1900. Son of preceding. Associated for a few years with Diter at Marseilles. Established own premises, 1933. Splendid modelling, refined workmanship, orange yellow or red varnish. £70 1960.
---------------------------------
Diter & Lorange, Luthiers
à Marseille, l’an 19. .
---------------------------------
--------------------------
Paul Lorange, luthier
à Marseille 19. . No.
--------------------------
------------------
Paul Lorange
Marseille 19. .
------------------
(monogram on left)

LORENZ, FELIX WOLDEMAR
Born 1885. Worked at Wernitzgrün. Died 1950. Excellent bows which have had considerably popularity. £15, 1960.

LORENZ, JOHANN ADAM
Born at Markneukirchen, 1688. Died 1763. Ordinary workmanship. Branded inside on back and ribs.

LORENZ, JOHANN FRIEDRICH
Worked at Klingenthal, 1780-1810. Branded “ Friedrich Lorenz”.

LORENZ, L.
Violin seen bearing this name -
--------------------------
L. Lorenz
Instrumentenmacher
in Marxhausen
--------------------------

LORENZI, ANTONIO
Worked at San Raffaelo (Italy), 1925. Attractive modelling. Signed in red ink on dark label and branded on button.

LORENZI, GIOVANNI BATTISTADE
Worked at Piacenza, 1848, and at Pieve San Stefano, 1878. Famous as an organ builder and several inventions relating to that instrument. Also made a few violins.
----------------------------------
B. G. de Lorenzi
Fece in Vicenza anno 1862
----------------------------------

LORENZINI, GASPARE
Worked at Piacenza (Italy), 1743-1804. Pupil of J. B. Guadagnini. Carried out the principles of his famous teacher to their thorough end, at every turn shows he intimately and profoundly comprehended and consequently idealised that model. Workmanship has that force which constitute real artistry. Happy in his choice of wood and invariably found material with a particularly handsome figure. Very lustrous and mellow varnish. Tone, though of no tremendous strength is, nevertheless very penetratingly full and has a peculiar sweetness, half Italian and half Tyrolese, being the nearest description we can think of. Instruments made previous to 1754 are not so beautifully modelled or finished. Certainly a rather imposing model, arching splendidly graduated but sound-holes too straight and the upper curves ugly. Rather well shaped scroll, although we are loth to criticise the unnecessary (according to our taste), scooping round the top. Purfling very neatly done. Brown varnish effectively applied. £250, 1960.
---------------------------
Gaspare Lorenzini
fecit Placentiae. 1743
---------------------------
(plain border, G. L. scrolled and the T. G of Gaspar illuminated)
----------------------------
Gaspare Lorenzini
Allievo de Guadagnini
fecit Piacenza. 1804
---------------------------

LORRET, H.
Worked at Gand, 1750-1780. Two violas and quinton in the Conservatoire (the latter with a flat back), at Brussels.
--------------------------------
Par Hyacinthe Lorret,
dit Jaurot
rue de la clé, Gand. 1758
--------------------------------

LOTT, GEORGE FREDERICK
Eldest son of John Frederick. Born in London, 1800. Worked many years with Davis in Coventry Street. Achieved considerable fame for skilful copying of Italian masterpieces. Regarded his work as a duty incumbent to the man who has a scrupulous appreciation for the model he imitates. Workmanship beautifully executed. Tonal functions have not the vigour of his brother’s instruments but their marketable value is not less. Varnish sometimes apt to be cloudy. £125, 1960.

LOTT, JOHN FREDERICK (1)
Born in Germany, 1775. Came to London and was employed as a chair maker. Eventually formed a friendship with Fendt, who persuaded him to become a permanent member of Thomas Dodd’s workshop, 1798. Later established own place of business in King Street, Seven Dials. Died 1853. Especially famed for double basses. Called the King of English makers in this respect. Modelling of fine contour and proportions. Style resembling and equal to that of the best Italian, many being re-labelled with Italian names. Backs almost of the flat pattern. Felt the indispensable obligation of turning out only the most finished workmanship both externally and internally. Bestowed equal vigilance in preserving all the recognised beauties of a scroll. As a man of sense he made use of all the well-known principles of securing, preserving and prolonging the tone of his instruments by not stinting the quantity of wood but though of very substantial build, he was far too astute to overdo any of the thicknesses. Tonal quality particularly sonorous and flexible. ’Cellos built on Stradivarian principles with apersonality exempting them from absolute copies. Tonal quality of Italian richness. Violas usually 15-1/4 inches body length. Also a fair productivity in violins. Splendid Stradivarian modelling, finished workmanship and of fine acoustical woods. Necessary concomitant of fine quality varnish sometimes missing and perhaps accounts for the comparatively small price his productions have realised. £150, 1960.
---------------------------------
J. F. Lott, maker, London.
---------------------------------
Many have the label of Thomas Dodd.

LOTT, JOHN FREDERICK (2)
Second son of the preceding. Born in London, 1805. Taught by father and became efficient with the management of tools before his 15th year Apprenticed to Davis in Coventry Street. Studied the violin and played in theatre orchestras. Had a roaming and restless disposition. Accepted an engagement with a travelling circus, his duties consisting of looking after the elephants during the day and playing in the band at performances. Went to America, ultimately became manager of the circus and as quickly relinquished the position, henceforth never to resume it.Met a chemist in the United States from whom he learnt a few “secrets” in varnish and varnishing. Returned to England and seriously began his career as a violin maker. Established at 60 Wardour Street, London, and soon attained a splendid reputation. Became acquainted with the violin connoisseur and enthusiast Charles Reade, who subsequently in his fine novel Jack of all Trades, made Lott the hero and portrayed his restless genius in many real and fancied adventures. Vuillaume occasionally employed him for certain delicate bits of restoration, also acted as interpreter for the famous Frenchman when visiting this country. Many amateurs flocked to his shop and spent agreeable hours in his company, and never came away without adding a little to their knowledge. Ever ready to help the young and struggling, his criticism and judgment ever their command, and several subsequently well established makers spoke with the utmost gratitude of the counsel and direction they had received from him. Died 1871. He had an ingenious spirit actuated by a generous emulation in the pursuit of cunning reproductions of the Guarnerius model (with its attendant “wear” and usage) to such a degree that his instruments have frequently been mistaken for genuine Cremonas. This facsimile artistry was his special line and no Englishman has ever surpassed him. Connoisseurs often compared him favourably with Vuillatime and could not prescribe any boundary to his wonderful proficiency. Gave every attention to the quality of woods, exactly chose the same grain and figure as that of the prototype he imitated. Achieved remarkable results in tonal quality. Bergonzi-like instruments (very scarce) equally as fine in their extraordinary similarity to that maker’s traits. Tonal quality invigorating and healthy. Also produced fine Stradivarius replicas, superior in tone and workmanship to those of many well-known French copyists including Pique. His powers of imitative varnishing in thickness, colour and shading were truly marvellous. His assiduity of application in the matter of fusing amber is well known and for this purpose he invented special machinery. The importance of putting oil on the wood previous to any colour seems to have been his regular practice, for he never applied anything but amber varnish for the first coat. Some instruments have a brittle and chippy varnish but generally it is a composition of splendid texture, elastic, brilliant and rich in colour. Shades vary from brown, dark orange to a deep red. It is reported that he varnished a violin and ’cello with “dragon’s blood”, a gum, rather a tedious undertaking to find sufficient perfectly clear pieces. Produced a few wonderfully toned violas, modelled on Guarnerius style, with a particularly rich red varnish. Also a few ’cellos known. Edward Withers (Wardour Street) possessed a very beautiful quartet of Lott, violin, viola, ’cello and double bass (the only example he made). Finally, his Guarnerius replicas are gems of art, such as are very rarely seen and no player should permit such a treasure to pass out of his hands. Regrettable that Lott seldom labelled his instruments. £250, 1960.
------------
J. F. Lott
London
------------

LOTTE, ALBERT
Worked at Mirecourt, 1927. Artistic violins. Varnish and tone very nice indeed.

LOTTE, FRANÇOIS
Born at Mirecourt, 1883. Splendid reputation for bows. £20, 1960.

LOTTE, GEORGES
Born at Mirecourt, 1856. Died 1896. Good reproductions of the Vuillaume style. Very well made “trade” violins, popular in England for many years. £8.
---------------------------------------------------
Georges Lotte
élève de J. B. Vuillaume Mirecourt, 1890
---------------------------------------------------

LOTZ, ROBERT
Born at Gotha, 1817. Died at Dresden, 1865. Some violins (yellow varnish), known. Specialised in making decorative guitars.
----------------
Robert Lotz
in Gotha
----------------
-------------------------------------
Robert Lotz
Instrumentenmacher in Gotha
-------------------------------------

LOTZ, THEODOR
Worked at Pressburg and Vienna, 1780-1820. Repairer to the Court. Principally made wood-wind instruments, but a few violins bear his label.
-------------------------------
Theodor Lotz K.K. Hof
instr.Macher in Wien
-------------------------------

LOUGHTON, ALFRED J.
Aamateur at Southwell (Notts), 1924. Gasparo da Salò first copied, then Stradivarius and Guarnerius. Red and yellow varnishes. Professional players speak well of the tone and workmanship.
--------------------
A. J. Loughton
Market Place.
Southwell 1923
-------------------

LOUIS, FRANZ CONRAD
Born at Dudweiler, 1870. Pupil of Kessler at Markneukirchen. Established at Saarbrücken (Sarre), 1897. Soon achieved recognition and ultimately became the most prominent man in that Province. Died 1927. Won first prize for a quartet of instruments at Turin Exhibition, 1911. Stradivarian and Guarnerian modelling. Beautiful oil varnish most attractively applied. Tonal quality of particularly speedy response.
------------------------------
F. C. Louis
Geigenbaemeister
Saarbrücken anno 1911
------------------------------
Also built an altogether original model of parabolic construction, large proportions, bass bar and linings quite visible. Label enclosed in a frame and autographed “F. C. Louis, Saarbrücken, 1909”.

LOUIS, J.
Worked at Mulhouse, 1818 and Besancon, 1840.
------------------------
Repare par J. Louis
Luthier à Besancon
1841
------------------------

LOUIS, JEAN
Worked at Geneva, 1825-1850. Violin in the local museum, ordinary workmanship, two-piece back of small undulating flame, medium arching, Stradivarian sound-holes and reddish yellow varnish.
---------------------
J. Louis lutheir
A Genève, 1829
---------------------

LOUVET, JEAN
Known as Louvet le jeune. Worked at Paris, 1730-1778. Flat modelled instruments, harsh and uncouth sort of tone. Workmanship never particularly neat, sometimes very rugged and careless. There is an irregularity of outline which sets them at a remote distance from the classic productions of some Frenchmen. Yellow brown varnish looks quaint but is not of good quality. Also produced a few violas of fine tone.
----------------------------------
Louvet à la vielle
Royal, rue Croix des Petits
Champs, à côté de la porte
Saint-Honoré à Paris. 1750
---------------------------------
--------------------------
Fait par Jean Louvet
à Paris. 1756
--------------------------

LOVERI, CARLO AND SON
Established at Naples, 1880. Known as Loveri Brothers, 1825. Violins and mandolines.

LOVERI, DIEGO
Born at Naples, 1888. Worked there, 1920. Stradivarian modelling, clear, light chestnut spirit varnish.
-----------------
Diego Loveri
-----------------

LOWENTHAL, LOUIS (LOWENDALL OR LOWENDAHL)
Established as a musical instrument manufacturer in Berlin, 1866. Born 1836, son of a draper in a small provincial town of Northern Prussia. When about seven years of age, displayed considerable talent for music and even at that early age he constructed a violin according to his own ideas namely, from an unplaned wooden board making the neck, pegs, etc., from similar material. The strings he made from strong cotton thread, the bow as best he could, securing a supply of hair from the tails of horses in the street. His father discovering his son’s love for the violin bought him a real fiddle, an instrument of reddish tint, sounding very harsh. Commenced his musical studies in earnest in 13th year at Königsberg High School, and in 19th year was an efficient performer on the ’cello. At Leipzig, he became acquainted with the renowned instrument maker Bansch and, later, at Berlin he connected the well-known violin bow maker Heinrich Knopf, under both of whom he took the opportunity of studying violin and bow making. Opened a retail music shop in Berlin in 1855, and from that time the business expanded. Manufactured a large number of the musical instruments he sold and the business grew and prospered. In 1867 he went to the United States and set up in business. His very valuable stock of old violin wood and musical instruments, especially a fine collection of about 60 genuine old violins, soon became known among musical circles and created a sensation as many of the instruments were very costly. One of his friends and customers was George Gemunder the violin maker, who bought some of his most beautiful wood and many valuable instruments. He soon became aware that his German-spelled name was pronounced by his new American friends differently from the original and accustomed sound, so he changed it to the English version, Lowendall. After six years he returned to Europe and devoted himself to collecting on a large scale, old Italian violins which he sold very profitably in America which he visited at regular intervals. In 1873 he lived in Dresden for a short spell and in the following year visited England for the first time, and stayed for about six weeks doing very good business. For the next five years he went annually to America and in 1878 made the acquaintance of ‘Ole Bull in St. Louis who permitted him to take a copy of his famous grand concert violin which he was playing there at the time. The copy of this instrument became known as “Lowendall’s ’Ole Bull”. He thereafter divided his time between America and England, having enormous success in both countries. Awarded a silver medal at the London Inventions Exhibition and a similar one at Bologna, Italy, for a fine display of his excellent violins. In 1889 he bought a spacious four-storey building at 121 Reichenbergerstrasse, Berlin, and employed many skilled workmen.
------------------
L. Lowendahl
1880
Dresden
------------------
(branded on wood where label usually lies)
Strad modelling, finely shaped sound-holes, nice golden red varnish. Scroll of rather weak appearance because of rather deeper cutting towards throat. Tone loud, sometimes even harsh. Patented a “resonator bar for stringed instruments” in 1900. £45, 1960.

LUBANS, CHARLES
Worked at Dunkirk, 1840-1860. Ordinary workmanship.

LUBINO
Italian. Worked at Melide (near Lugano), 1740-1755. Excellent Italian style violins and ’cellos. Yellowish red varnish. Branded “Lubino, 1745”.

LUBOCKI, RICHARD
Born at Riga, 1874. Pupil of Wunderlich at Leipzig. Worked at Dortmund.

LUCARINI, VINCENZO
Worked at Faenza, 1800-1820. Violins, double basses, guitars and lutes.
--------------------------------------
Vicentius Lucarini
Restauravit Faventiae An 1804
--------------------------------------

LUCAS, GABRIEL
Worked at Indria (Slovak-Istria), 1770-1785. Studied in Italy. Admirable Amatese modelling. Velvety reddish yellow varnish.

LUCCA, ANTONIO
Worked at Verona, 1905-1923. Large and long model, medium arching, strong edges, excellent scroll, workmanship altogether good. Brownish red varnish, rather hard in appearance though splendidly applied. Tonal quality not superlatively clear, though loud, consequently not especially penetrating. £15. ’Cellos also of very robust type. £65, 1960.
-------------------------------
Antonius Lucca
fecit Veronae Anno 1910
-------------------------------

LUCCI, GIUSEPPE
Born 1910. Pupil of Pietro Borghi at Modena. Cremonese models, superfine workmanship, beautiful golden red varnish on resinous base. Won the highest diplomas in each category for violins, violas and ’cellos at Cremona, 1949.
--------------------------
Lucci Giuseppe.
Liutaio
Bagnacavallo - 1947
Ravenna (Italia).
-------------------------
(decorative border)
Branded on the interior, also near tailpiece pin. £95, 1960.

LUCCIA
see DE LUCCIA.

LUCHANO, MATHIAS
Model and arching suggest that he was a Tyrolese working at Brescia or (more probably), labelled his violins to make believe he lived there. Very indifferent workmanship. Bold scroll of ungraceful contour. Sound-holes ugly and straight. Wood of uneven grain, poor figure and absolutely of common appearance. Light brown varnish of poor quality.
-------------------------------
Mathias Luchano
fecit Brescia. Anno 1631
-------------------------------

LÜDEMANN, JULIUS
Born at Cologne, 1858. Pupil of Hammig at Berlin. Worked in various cities. Established at Cologne, 1875. Worked there, 1925. Modelling after Stradivarius and Guarnerius. Oil and spirit varnish. Medals at the Cologne Exhibition, 1889. Instrument maker to Prince Joachim Albrecht of Prussia.
-----------------------------
Julius Lüdemann
Coloniae fecit anno 18-
-----------------------------
---------------------
Julius Lücemann
Geigenmacher
Cöln 19-
---------------------

LÜDEMANN, KARL
Brother and pupil of J. Worked at Berlin, 1884-1940.

LUDICI, GERONIMO PIETRO DI
Worked at Conegliano, 1693-1710. Adroit workmanship, good varnish and tone.
---------------------------------------
Hieronymus Petrus de Ludice
animi causa faciebat Conegliani
A.D. 1709
---------------------------------------

LUDWIG, GUSTAV
Born at Hebendorf, 1868. Apprenticed at Schönbach. Worked for Stark at Rohrbach. Settled at Schönberg, 1915. Fairly good workmanship.

LUGERT, ANTON
Born at Schönbach, 1894. Worked at Potsdam and Hamburg, 1920. Followed the old Italian styles and was successful.

LUGLIONI, GUISEPPE
Worked at Venice, 1777. Splendid imitator of Cremonese work. Made such interesting fascimiles that his name has almost disappeared because so much of his work has been re-labelled. Authentic examples worth about £50.

LUIGI, C.
Worked at Venice, 1840. Excellent full looking model. Body length 14-1/8 inches. Deserves considerable praise for his admirable workmanship. Good acoustical belly wood and handsome curly maple. Well covered with red brown varnish. No digressions from a straight forward course in the sound-hofes. Tone that has caused the amateur player to enthuse. £150, 1960.

LUKESCHITZ, MATHIAS
Worked at Indria (Slovak-Istria), 1790-1810. Nothing particularly fine about these instruments.

LULLIER, CHARLES
Worked at Boulogne, 1830; and at Douai, 1849-1869. Excellent Mirecourtian style. Correct workmanship but no real individuality. Generally flat modelling. Light brown or reddish brown varnish. Sometimes double purfling. Resonant tone and of considerable power, but not mellow.
---------------------------
Carolus Lullier. Duaci
faciebat anno 1849
---------------------------
---------------------------------
Repare par Lullier. Luthier
à Douai en 1866
---------------------------------
Sometimes no label but signature written on the inside of the back.

LULLIER, JOSEPH PHILIPPE
Bow maker. Worked at Mirecourt, 1762.

LÜLSDORFF, JOSEPH
Born at Düsseldorf, 1863. Worked at Cologne, 1894-1925. Inventor of rib bending iron with a spindle warming. Also a fingerboard called “Chaconne”.
---------------------
Joseph Lülsdorff
Koln a Rh:
fecit anno.
---------------------
(- large, with reproduction of Cologne Cathedral)
------------------------------
Josef Lulsdorff
Coloniae fecit anno 19-
------------------------------
(small, with design of the river and bridge effectively scrolled)

LÜLSDORFF, V. ERICH
Born at Cologne, 1917. Son and pupil of J. Worked at Ber1in. Conscientious workman.

LUMIÈRE, LOUIS
Resident at Lyons, 1926. Inventor of a new system of interior harmonic plates, a very complicated arrangement of thin strips of wood going longitudinally, transversely and diagonally from somewhere near the soundpost to the edges, with sound apertures (instead of the customary sound-holes) in the lower part of waist curves.

LUND, NIELS JENSEN
Worked at Copenhagen, 1802-1858. Pupil of Ole Dreier. Small and pretty modelling, orange varnish. Very sympathetic tonal quality. £30. Also made splendid Tourte model bows.
------------------------------------
Reparirt af Instrumentmager
N. Lund 1846
Livgarden til Heftes Kaserne
i Kjöbenhavn
-----------------------------------
(italicised lettering)

LUNDAY, IRWIN W.
Born 1895 in Central Texas (U.S.A.) Went to Mesa (Arizona) in 1937. Always a lover of the violin, played at many square dances. Made 53 violins, Stradivarian modelling, also 1 viola of Strad design and 1 viola Tertis model. Various varnishes, including one of own formula. Careful work, attractive tone.

LUNDBERG, JOHAN
Worked at Växiö (Sweden), 1925.

LUNDGREN, SVEN OTTO
Born 1919. Amateur at Norköping (Sweden). Fair workmanship and tone.

LUNDH, JACOB O.
Born in Norway. Worked at Minneapolis (U.S.A.), 1896-1925. Merged into Lundh & Rowe, 1927. Died 1951. Original outline, Guarnerian arching and thicknessing. Special varnish, combination of oil and spirit from yellow to red. Produced 400 up to year 1940.

LUNDSTRÖM, AXEL
Born 1884. Amateur at Södertalje (Sweden). Died 1943. Very good workmanship, brownish yellow varnish. Good tone.

LUNDSTRÖM, CARL JOHAN
Born 1887. Amateur at Stockholm. Won silver medal, 1938, and diploma at The Hague, 1949. Attractive Strad modelling, yellow brown varnish.
----------------------
Carl Lundström
Stockholm. 1945
----------------------

LUPO, PIETER
Worked at Antwerp, 1555-1561. Principally made viols.

LUPOT
Trade bows of various grades, chiefly emanating from Mirecourt. Stamped “Lupot”. £8 to £12, 1960.

LUPOT, FRANÇOIS (1)
Son of Laurent. Born at Plombières, 1725. First worked with father at Lunéville, 1746-1754. Appointed violin maker to the Duke of Würtemberg at Stuttgart, 1754-1768. Worked at Orleans, 1770, and at Paris, 1794. Died 1804. Claimed to have been a pupil of Guarnerius but the various dates of the two men prove the assertion to be a little bit of boasting on his part or fictitious imagination of some writers. This well accomplished man (superior to either Laurent or Jean but outclassed by his son) made several violins of uncommon merit which are yearly becoming highly valued by those who cannot afford the 400 pounds and upwards specimens by the old Italian makers. Broad pattern, perhaps to be slightly censored as being a little stiff; but the fullness of the tone excuses this and gives the greater reason for the growing popularity of the instruments. No remarkable invention of ingenious cutting in the matter of the scroll and sound-holes but his resources enabled him to bestow considerable polish of art on them. We cannot, however, expatiate so approvingly on the poor virtues of the dark brown varnish which is sometimes rather transparent on the back but very muddy on the front. Violin (dated Orleans, 1771), exhibited at Paris, 1900, sculptured head, artistic inlays on corners and ribs.
------------------------
françois lupot lutier
a luneville 1747
------------------------
(written)
---------------------------------
Francois Lupot, Luthier de
la coure de Wirtenbergt
à Stoutgard l’anno 1767
---------------------------------
(note the curious spelling)
---------------------------
Francisco Lupot fecit
in Orleans, anno 1775
---------------------------
(strikingly pretty border)
----------------------------
Francisco Lupot fecit
In Orleano, anno 1772
----------------------------
Name generally branded under the button. £300, 1960.

LUPOT, FRANÇOIS (2)
Son of the preceding. Born at Orleans, 1774. Worked at Paris, 1797-1837. Made a good number of instruments in early days at Orleans and Paris, showing that he was equally destitute of real delicacy as having no adequate idea of the dignity and comparative perfection of what a violin should be. Label states he was a pupil of Stradivari, a poor attempt at deception for everybody has known that the Cremonese maker died about 36 years before Lupot’s birth.
------------------------------------------
François Lupot, Luthier
Elève de Antonius Stradivarius
Rue de Gramont à Paris l’an 1798
------------------------------------------
About 1815 be seems to have realised his non-success at violin making and renounced it in favour of making bows. Ascended out of the pit of former carelessness and put his heart and pride of work into copying the principles of Tourte, thereby bringing around him an influential phalanx of purchasers who eventually circulated his bows around Europe. Invented the “coulisse” or metal groove attached to the nut and carefully fitted to the stick on which it works, a very sensible notion and one since adopted by every other maker. Many of his bows (particularly those with octagonal sticks) have inherited all the vivacity, strength and elasticity of genius; but others show that occasionally he descended into his slip shod habits. These are clumsy looking things of little use. Design of his bows differ considerably. Heads of finest specimens not so broad as those of a Tourte or any famous makers perhaps excepting Tubbs. Top gradient has a quicker descent than the Tourte, Voirin or Dodd, and the front part (where the ivory is) has a more decided slant. Poise of this head seems to give strength and equilibrium without using too much material. Some have no stamp, others stamped “Lupot” in three places (third place found under the lapping). One of the infallible signs of a genuine Lupot is the “full-stop” after name, a trait not generally noticed. Many manufacturers of trade bows brand the name Lupot, so it behoves us to remember how to detect the guaranteed article. £20 to £30, 1960.

LUPOT, JEAN
Born 1652. Died 1696. Worked at Mirecourt. The first of this family to make violins.
----------------------
Jean Lupot
à Mirecourt 1687
----------------------
(large, ugly writing)

LUPOT, JEAN FRANÇOIS
Son of the preceding. Born at Mirecourt, 1684. Died 1749. Instruments not furnished with the plenary attributes of first-class workmanship. Did not altogether comprehend the cogent necessity of gradient unity (a complex affair admittedly) in the thicknesses of the wood, hence the tone is imperfect. We cannot assign any sort of character to the scroll except the one of comparative ugliness which is strange considering that he was expert in wood carving and that his lutes and viols have much ornamented and pretty, fancy heads. His fame (whatever it may have been) was only temporary.

LUPOT, LAURENT
Son of Jean. Born at Mirecourt, 1686. Originally a schoolmaster at Plombières. Started violin making at Lunéville, 1751. Worked at Orleans, 1757-1762. Though having the necessary gifts of clean workmanship he missed gaining the tone that affords pleasure to players. There is considerable interest however, attached to them as showing the gradual climb of the various members of the family to the illustrious summit reached by Nicolas.
-------------------
Laurent Lupot
Lunéville 1751
-------------------
(written)

LUPOT, NICOLAS
Son of François (1). Born at Stuttgart, 1758. Commenced his art study under father at Orleans, 1768. Resided there until 1794, then went to Paris. Whilst at Orleans he was (in 1792) commissioned by Pique (celebrated Parisian maker at that time) to supply regularly a certain number of violins “in the white” at the rate of 30 francs each. Established a workshop at Paris, 1798, and soon made remarkably headway as a maker and repairer. Appointed violin maker to the king, 1815, and to the Conservatoire, 1816. This latter post involved the furnishing (on the demand of Gaviniés) of all violins and ’cellos given to the first-prize winners. Ordered by Louis XVIII to make an orchestra of stringed instruments which were embellished with Arms of France. Ambitiously undertook (in 1820) to replace all the imstruments of the royal orchestra with new ones of his own make, but death in 1824 prevented him from entirely fulfilling his plan. C. F. Gand (his son-in-law and successor) was commissioned to complete the transaction. Greatest of all French makers and exercised remarkable influence on contemporaries and all those of later generations. Frequently received the title of “The French Stradivarius”. In Mirecourt there is a street named after him. He had great variety of style. Some of those made at Orleans when compared with those produced at Paris, seem to be as though from a different hand. Modelling (except a few after Guarnerius and Amati) always after that of Stradivarius and he imitated that genius more minutely than anybody else had or has ever done. His great aim in life was to be a second Stradivarius and he put all his enthusiasm and talent to that purpose. At the same time he was not bound by a servile adherance to an undeviating plan of adopting one model but preferred to be cosmopolitan and built his violins on all the Stradivarius models. This is why there is such a refreshing variety in his productions some of broad proportions, others more normal and some under the recognised full sizes as well as a few of long pattern. Perfect replicas in shape and measurement, and he wisely refrained from giving his instruments an old-looking appearance. It is asserted that every instrument bearing his name was entirely made by his own hands and deservedly he became the greatest French genius. Look at the perfection of his aggregate and we find a prevailing harmony accompanying the whole structure which imparts a mutual lustre. Always put plenty of wood in his instruments and constructed them very solidly, a fine feeling of strength which he seldom carried too far. Workmanship generally beautifully finished. Scrolls absolute wonders of Stradivarian poises and of superlatively quick and certain carving. Margins always particularly strong and full. Early violins generally with light yellow or a dull brown varnish, the latter looking rather well now that some of it has worn away but sometimes the texture varies and occasionally it is somewhat scaly, peels off rather freely, other times becomes cracked and lumpy-looking and never particularly brilliant. There are, however, a few of his Orleans fiddles which have the front covered with the lovelist ruby tinted varnish imaginable. Exquisitely shaded and equal to anything on the Cremonese instruments. These examples are of the smaller Stradivarian modelling and of perfect workmanship particularly the scroll. Not a robust tone but of Italian quality, not big under the ear (like so many French violins) but very penetrating and silvery. Ideal instruments for quartet playing. Most beautifully marked woods, the backs being a gorgeous picture with a lovely dark yellow varnish in the centre, graduating to a deep ruby red in the hollows. Parisian specimens covered with a variety of colours from brown through orange to red. Texture of this varnish is much finer than that on the majority of those of early date, more lustrous and stands the wear better. Instruments varnished with red on orange background are considered to be his finest toned. These are generally of the large proportioned pattern. The mahogany tinted also belong to his best period, from 1805 onwards. Some almost vividly scarlet, a shade that frequently causes the eyes to blink. Others covered with a very dark red varnish very thickly applied. Guarnerius modelled instruments (rare) noteworthy for the fine positioning and accurate design of the sound-holes. Orleans examples catalogued at £100 (1925), but Parisian ones reached £400 (1928). What a gorgeous tone some of the latter have! No fiddle, unless it be a Joseph Guarnerius, can fulfil the demands of the modern soloist in the performance of the heavily scored modern concertos so easily as a Lupot can. Some writers have stated that he repeatedly used whalebone for purfling, but surely “repeatedly” is wrong, as so many experts have failed to notify the fact. Personally we have never seen it on a Lupot. Made quintets of instruments (two violins, two violas and one ’cello) which he endeavoured to give appearance and quality of tone similar to each other. Naturally, the presentday value is very high and reaches four figures. Violas and ’cellos (particularly the latter) belong to the “nobility” of their kind and their “aristocratic” contour is never disputed. Violins won yearly by the Conservatoire students are now much sought after. They are distinguished by inscriptions on the sides, gold letters attesting the fact and giving the name of the prize winner, also on the back is a beautiful design of the Royal Emblem.
Measurements of one dated 1816:
Body length: 14-1/8 in.; upper bouts 6-5/8; lower 8-1/8; ribs 1-1/4; thickness of back exactly 3/16; shading off to 3/32. Large linings, finely rounded to a feather edge; corner blocks splendidly constructed, end blocks similarly perfect.
Especially fine specimen, dated 1822, with gorgeous red varnish, offered for sale at 4,000 dollars by Lewis & Sons of Chicago, 1949.
’Cello of Guarnerian modelling: body length 74 cm; upper bouts 32-1/2; middle 23; lower 43.3.
Also made viols, often richly ornamented. One dated 1817, exhibited at Paris, 1900, paintings of butterflies and birds on the breast, one-piece back with figures of Apollo, Orpheus, Terpsichore and Love. Sides painted azure, golden inscription on waist curves, sculptured head of a girl with turban and crescent of pearls, six sympathetic strings.
-----------------------
1786 rue d’illiers
à Orleans
N.Lupot fil luthier
fecit
-----------------------
(with scrolled circular design)
---------------------------------------
Nicolaus Lupot filius
fecit in Aurelianensis anno 1776
---------------------------------------
-------------------------------------------
N. Lupot Fils, Lutheir
rue d’Illiers, à Orleans. L’An. 1790
-------------------------------------------
Some of these early dated instruments are branded in two places.
------------------------------------
Nicolas Lupot, Luthier rue de
Grammont; à Paris l’an 1798
------------------------------------
----------------------------------------------
Nicolas Lupot, Luthier rue Croix
des petits-Champs, à Paris, l’an 1815
----------------------------------------------
------------------------------------------------
N. Lupot. Luthier de la musique du Roi
et de l’Ecole Royale de Musique
Paris, 1820
------------------------------------------------
Last three labels have a circled monogram in the right-hand corner. Many instruments signed with his autograph. Sometimes branded
------------
N. Lupot
à Paris
------------
on the belly.
The artist violin maker and repairer in his workshop, with a mind devoted to his employment is perhaps the most enviable of human beings. His is not the pleasure derived from a transient glance at beautiful instruments, sometimes forgotten almost as soon as felt but the deep and joyous swell of the heart exulting in the loveliness of the entire world of violins. He looks around him as if all of them were made for his delight. He is thus, more than Lord of all he surveys, for he is able to repeatedly enjoy and blend himself with every different specimen presented to his observation. Look at the innumerable number of valuable instruments that are entrusted to his skill; think of the scores of fine fiddles he has for sale. It is no wonder he is more sensible of their different beauties and derives more pleasure from the contemplation of them, than the casual purchaser or the private collector of but a few. He has learned to understand them and to treasure the various degrees and ages of art as they unfold, his own workmanship and ideas take their expression from this universal source. There is a consciousness also of intellectual power, of a high and creative faculty, evinced in the operation of his art, the ideal beauty of images and impressions, derived from a hundred various sources, become fixed and amalgamated into a creation of his own, and he feels in himself the power of a mighty magician, who can raise, by his potent spell, instruments of the fairest and finest proportions. Is it not wonderful therefore, that we should have had instances of violin makers so devoted to their profession that neither the calls of pleasure nor the decline of health, could prevent their exercising of it under the most difficult circumstances, for an artist to give up his most fascinating skill is like Prospero breaking his wand and buying his book under the waters of the ocean. Much of this enthusiasm and this kind of feeling is also requisite to enable us to enter into the full enjoyment of his productions, for if
“A perfect judge will read each work of wit
With the same spirit that its author writ”
a true lover of violins will bring the same feelings to the contemplation of the instrument as did the maker in the construction of it. It is in the liveliness of the impression that is made and in the vividness of the ideas that are excited, that we see the merit of the production and the power of the art. We want all violinists to share these feelings with us in the appreciation of the Nicolas Lupot violins. Were the pleasure derived only aroused by the power or accuracy of his imitation of the Strad pattern we should not expect from other violinists the full meed of approbation which we possess for these fine instruments, but it is the “poetry” and brilliance that this Frenchman gave to the art that should appeal to all persons of taste, to all not prejudiced, to all not solely in favour of Italian instruments, to all who desire not to be termed bigots. Lupot added that, grace which exists independantly and beyond the reach of mere mechanism, and which for us is the distinction between the conceptions of genius and the productions of commonplace imitators of Italian models. These fiddles arrest and fix the attention of all whose eyes have been quickened by the broadmindedness of universality. How many varied sensations of delight are blended together in viewing a Lupot! What a feeling of contented satisfaction comes over the senses when the soloist wants to give expression to all the most beautiful elements of his playing! These violins respond to any touch, forcible or caressing. They cause the artist to forget everything but the charm of his performance. The writer has a passionate attachment for Lupot violins, but this attachment is by no means singular. Spohr was also captivated and at times gave preference to his Lupot thereby neglecting his equally beautiful Guarnerius and Stradivarius. Remenyi was so smitten with his specimen that he saluted it with the tender names of his love, his darling and his goddess. Other wellknown virtuosi have published many eulogistic paragraphs about their partiality for a Lupot. We pity all players who cannot, or will not, see the many beauties and splendid utility of these instruments. We all have faculties to perceive beauty, and as a Lupot has beauty to be perceived it is sheer stupidity, ingratitude, and silly prcjudice that prevents absolute admiration. Now, violinists, throw away from you this aversion to French instruments. Take up a Lupot with a free mind and if you ever do associate the idea of strength with grace, you will be enamoured with the ‘tout ensemble”. £600 to £850, 1960.

LUSTKANDL
Born at Schönbach, 1838. Worked at St. Petersburg and Moscow. Died 1909. Violins and ’cellos of a superior style and large, expanding tone. Much favoured in Russia.

LUTHER, ANDREAS
Modern trade violins, Stradivarian model, amber varnish. 30s. (1925).

LUTON, GEORGE
Worked at Leicester, 1850. Average instruments.

LÜTSCHG, GUSTAV
Born 1870. Violinist up to 18th year. Pupil of Methfessel in violin making. Worked with Mougenot at Brussels. Lived at Zurich and Berne (Switzerland), 1892-1925. Produced 300 violins of various models. Fine designs with neat workmanship and an oil varnish of reddish colour, corresponding in quality. Discovered a process by which (in his opinion) tonal facility and amelioration approaches the old Italian beauty.
---------------------------------
Gustav Lütschg
No. 310 fecit Bernae 1926
---------------------------------
--------------------
Gustav Lütschg
fecit Turici, 18-
--------------------
(with monogram on left)

LÜTSCHG, GERHARD
Born at Berne, 1890. Brother of Gustav. Also an excellent violinist. Established at Allmendingen (near Berne). Generally replicas of the old Cremonese, almost exclusively one-piece backs, reddish yellow varnish.
----------------------
Gerhard Lütschg
fecit Bernae 19. .
----------------------
(with design on left)
Also stamped inside.

LUTZ, ANTON
Born at Schönbach, 1814. Died 1896. Good violins, ’cellos and double basses.

LUTZ, ERICH
Born 1906. Pupil of Otto at Carlsruhe. Worked at Pforzheim (Baden), 1930. Excellent old classical modelling and suitably varnished.

LUTZ, IGNAZ (1)
Born at Schönbach, 1843. Worked at Vienna, 1868. Maker to the Court. Died 1907. Splendid violins of refined workmanship.

LUTZ, IGNAZ ANTON
Born in Vienna, 1881. Son and pupil of preceding. Worked in father’s business and finished his apprenticeship by working under the auspices of the best luthiers in Vienna, Berlin, Paris and London. Very adept worker. Went to the U.S.A. and whilst there repaired many of the finest violins. Had a true artists eye for colour and artistic shading and re-discovered the methods used by the old masters in producing in new violins the so-called “Cremona tone”. Many well-known violinists who had the opportunity of playing on his instruments, among them were Fritz Kreisler, Zimbalist, Spalding, Enesco, Carl Flesch and many others, all agreed that his creations were on par with those of the best Cremona masters. His secret of the lacquer and “filler” he used, died with him. The colours he used are stable and do not fade, neither does sunlight affect them. Was fortunate in owning a fine toned Stradivarius violin made in the year 1726, and this he used as a model, both for shape and tone. Plentifully wooded, very rich tone. Used only the choicest wood. Died in 1927. One of his most well-known instruments was made in 1921, perfect copy - colour, shape, varnish of the famous “Ehrich” Stradivarius. £100, 1960.
----------------------------
Ignaz Lutz
San Francisco, Cal. 19
---------------------------
(decorative border)

LUTZ, JOHANN T.
Established at Schönbach, 1875. Good class “trade” violins.
-----------------------------
J. T. Lutz
Instrumenten-Erzeuger
Schönbach (Böhmen)
-----------------------------

LUTZ, THEOPHILE
Resident at Lausanne, 1850-1890. Guarnerian modelling, reddish brown varnish.

LUZZATI, JACOPO
Born at Corvetto, 1886. Chemist and amateur violinist. Resident at Ponte lagoscuro (Italy), 1925. Delved for 20 years in varnish “secrets” and succeeded in finding one of great elasticity and transparency. Made violins on his own acoustical principles and model.
----------------------------------
F.Giacobvs Lvzzati
Ponte Jagoscuro. Anno 19-
----------------------------------
“D.L.G” in an oval.

LUZZI
Worked at Paris, 1768-1789. Pretty modelling, effecting a lodgement in the viewer’s mind. Golden yellow varnish also leaves a permanent impression of satisfaction. Also made viols and other ancient instruments.
----------------------------------------------
Luzzi Maître Luthier, rue
Mazarine près le Carrefour de Bussy.
----------------------------------------------

LUZZINI, ANGELO
Worked at Bologna, 1840-1848. Stradivarian modelling, handsome wood, deep red varnish, flexible tone. £40 (1924).

LYE, HENRY
Amateur. Resident at Camerton (Somerset), 1860-1916. Violins, violas and ’cellos well constructed.

LYEKI, LOUIS
Born at Kassa (Hungary), 1884. Worked for Stowasser at Budapest. Produced first instrument in 1906. Ultimately settled at St. Louis (U.S.A.) where, up to 1927, he completed 250 violins. Assisted by his son John. Stradivarian and Guarnerian models. Almost flawless workmanship in every detail. Golden yellow to blood red varnishes. Perfectly equal tone, full and powerful, and no wolf notes on the middle or upper part of G string.
------------------------
Louis Lyeki
Violin Maker
St. Louis. Mo. 19-
------------------------
-------------------
Repaired St.
by Lyeki Louis
19-
-------------------

LYNGAAS, OTTO (1)
Worked at Christiana (Norway), 1890-1925. Won many diplomas.

LYNGAAS, OTTO (2)
Son and pupil of preceding. Established at Bergen, 1920.